Category Archives: Lynda Wilcox

Unknown Enemy*

There are a number of ways to build tension and suspense in a crime novel. And that suspense is an important part of keeping the novel engaging for readers. One of the approaches crime writers sometimes use is to include what you might call an unknown enemy.

I’m not talking here of the evil villain out to take over the world. Rather, I mean situations where a character is targeted by an unknown person. If you think about it, that is an eerie feeling. Most of have a fairly good sense of who might be gunning for us. But what if you had no idea who was targeting you? That anxiety, and the wondering whom to trust, would likely add to your unease.

We see that in a lot of crime fiction. For instance, in Agatha Christie’s The Moving Finger, we are introduced to Jerry Burton and his sister, Joanna. They’ve recently moved to the village of Lymstock, so that Jerry can continue his recovery from a wartime injury. They’ve not been there long when they receive a vicious anonymous letter that suggests they are not siblings, but lovers. Soon, the Burtons learn that they’re not the only victims. Other people in town are also receiving such ‘poison pen’ letters, and it’s got everyone upset. Then, a letter to a local solicitor’s wife leads to a suicide. And then there’s a murder. Miss Marple takes an interest in the case when the local vicar’s wife, who knows her, suggests she might be able to help. Part of the tension of the novel comes from the fact that people don’t know who this unknown enemy is, and why that person might be targeting them.

There’s a similar plot point in Nicolas Freeling’s Double Barrel. Amsterdam Inspector Piet Van der Valk is sent to the small town of Zwinderen to help with an unusual problem. Several people in town have received ugly anonymous letters. This is the sort of town where everyone knows everyone, so one’s local reputation matters a lot. The tension caused by the letters is so high that the result has been two suicides and a mental breakdown. The local police haven’t made much progress, so it’s hoped that Van der Valk will be able to help. And in the end, he and his wife, Arlette, find out who wrote the letters and why. One important cause of unease in the novel is that the local residents don’t know who their enemy is, if I may put it that way.

In Michael Robotham’s The Suspect, we are introduced to London psychologist Joe O’Loughlin. He gets involved in a murder case when the body of a former client, Catherine McBride, is pulled from Grand Union Canal. Detective Inspector (DI) Vincent Ruiz wants whatever insights O’Loughlin may have about this case, so he persuades a very reluctant O’Loughlin to help out. Then, there’s another murder – one that very much implicates O’Loughlin. Now, Ruiz actively wonders whether his consultant may know more about the case than he’s letting on. What’s more, the leads that O’Loughlin has given Ruiz don’t seem to pan out. Before long, it’s clear that someone has set O’Loughlin up, and is framing him for multiple murders. The problem is, O’Loughlin doesn’t know who would deliberately target him. He’ll have to go back to his own past, and go after a very dangerous killer, if he’s going to clear his name. And part of the suspense as he does so comes from the fact that he doesn’t know who’s after him.

Neither does Merete Lynnggard, who is featured in Jussi Adler-Olsen’s Mercy (AKA The Keeper of Lost Causes). In the novel, Copenhagen homicide detective Carl Mørck is assigned to head up a new police initiative, ‘Department Q.’ This new department will be devoted to cases ‘of special interest’ (i.e. cold cases), and is at least in part designed as a way to demonstrate that the police take all of their investigations seriously. Shortly after Mørck and his assistant, Hafez al-Assad take up their duties, they begin to look into the five-year-old disappearance of Lynnggard, who was a promising politician. Everyone thought that she went overboard in a tragic ferry accident. But new evidence suggests that she may still be alive. If so, Mørck and Assad may not have much time to find her. I can say without spoiling the story that part of its tension comes from the fact that Lynnggard didn’t even know who was targeting her.

And then there’s Lynda Wilcox’s Strictly Murder, the first of her series featuring research assistant Verity Long. She works for famous crime novelist Kathleen ‘K.D.’ Davenport, who uses old cases as inspiration for her novels. When Long goes house-hunting, she discovers the body of well-known TV presenter Jaynee ‘JayJay’ Johnson. Badly shaken up by the experience, she’s happy on one level to let the police handle the investigation. At the same time, though, she found the body, so like it or not, she is involved. And she’s both curious and skilled as a researcher. So, she starts to ask questions. And it’s not long before she runs into serious danger. More than once in the story, it’s clear that someone is targeting her. And part of the suspense comes from the fact that she doesn’t know her enemy.

There are, of course, a lot of other crime novels in which someone has a secret enemy. That plot point can add suspense, even drama, to a story if it’s done effectively. And it can add to character development.
 
 
 

*NOTE: The title of this post is the title of a song by CKY.

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Filed under Agatha Raisin, Jussi Adler-Olsen, Lynda Wilcox, Michael Robotham, Nicolas Freeling

You’d Think I’d Know by Now*

Crime writers get to know the worst side of human nature. After all, they’re the ones who create stories in which people do pretty awful things to each other. Crime writers do research, too, when they’re working on a novel. So, they know about all sorts of dangers and risks.

With all of that background and preparation, you’d think they’d know better. And yet, fictional crime writers are always getting into trouble. Perhaps it’s the same curiosity and interest in crime that got them started writing in the first place.  Whatever it is, all it takes is a quick look at some fictional crime writers to see that forewarned isn’t always forearmed. Some crime writers just can’t stay out of trouble…

For example, Agatha Christie’s Ariadne Oliver is a sensible person. Yet, she certainly gets herself into danger. In Third Girl, for instance, a young woman named Norma Restarick pays a visit to Hercule Poirot, and tells him she may have committed a murder. She leaves, though, without telling him her name, so he can’t really help her. It happens that Mrs. Oliver knows Norma, though, and decides to help Poirot find her. That turns out to be difficult, though. Still, one day, Mrs. Oliver gets her chance. She knows that Norma has been seeing a young man named David Baker. When she spots Baker one afternoon, she decides to follow him. And that gets Mrs. Oliver into quite a lot of danger. In the end, though, we learn what happened to Norma Restarick, and we learn the truth about the murder.

Dorothy L. Sayers’ Harriet Vane is, as fans can tell you, a detective novelist. She isn’t a particularly rash or reckless person, but she is independent and intelligent. And somehow, trouble has a way of cropping up around her. For instance, in Gaudy Night, she gets an invitation to attend her alma mater’s annual Gaudy Dinner and festivities. She’s not inclined to go, but an old friend persuades her to attend. She is warmly welcomed back, and ends up enjoying herself. But then, some scary things begin to happen at the school. There’s vandalism, nasty anonymous notes, and more. The administrators don’t want to bring the police in, so they ask Harriet to see what she can find out. Under the guise of doing research for a new novel, she returns to the school and starts looking into the matter. And before she finds out the truth, she’s nearly killed.

Any fan of Ellery Queen can tell you that he is, among other things, a detective novelist. And in several of the Ellery Queen stories (I’m thinking, for instance, of Calamity Town and of Origin of Evil), he’s looking for some peace and quiet so that he can write. But it usually doesn’t work out that way. Sometimes, he’s drawn into cases because he happens to be on hand (that’s what happens in Calamity Town). And sometimes, he’s drawn in because someone insists on it (that’s the case with Origin of Evil). Admittedly, he doesn’t usually get into life-threatening danger. But that doesn’t mean he never faces trouble (right, fans of Four of Hearts?). You would think that, with a police inspector for a father, and his own experience, Queen would know better, but that’s often not enough to keep him out of trouble.

In Kate Atkinson’s One Good Turn, we are introduced to crime writer Martin Canning. Canning generally tries to avoid trouble as much as he can. In fact, he very much wishes life could be as pleasant as the fictional world he’s created. But it’s not. When his agent persuades him to appear at the Edinburgh Arts Festival, Canning goes, but not eagerly. While he’s in Edinburgh, he plans to attend a lunchtime comedy radio broadcast, mostly because he’s got a free ticket. He’s at the studio to pick up his ticket when he witnesses a blue Honda collide with the Silver Peugeot in front of it. The two drivers get out and begin arguing. Then the Honda driver pulls out a baseball bat and attacks the Peugeot driver, whose name is Paul Bradley. Without really thinking about it, Canning throws his computer case at the Honda driver, knocking him over and saving Bradley’s life. That one gesture gets him involved in fraud, murder and more. And that’s sort of thing he’s always tried very hard to avoid.

And then there’s Lynda Wilcox’s Verity Long. She is research assistant to best-selling crime novelist Kathleen ‘KD’ Davenport. Her job is supposed to be looking into true crime cases, and selecting those that might work as plot inspirations for her boss. You would think that wouldn’t be a particularly dangerous job, but it is. In Strictly Murder, for instance, Long is looking for a new place to live. A house agent shows her a nice home, but it happens to have a body in it. She gets advice from more than one person to stay out of the matter, but she feels that she’s already involved, since she found the body. And in Organized Murder, Davenport gives her a simple request: travel to Bellhurst and meet with MBE Ernest ‘Ernie’ Rutland. Rutland wants Davenport to open the Bellhurst Christmas Market, and the details have to be worked out. When Long gets to St. Isadore’s Church Hall, where she’s to meet Rutland, she finds that a murderer has been there before her. Rutland’s body is hanging from one of the pipes on the roof of the building. Once again, she’s drawn into a search for a killer.

See what I mean? Crime writers really do know all the dangers out there, but that doesn’t stop them getting into trouble. Knowing all of the risks doesn’t mean you avoid them…

 
 
 

*NOTE: The title of this post is a line from Ozma’s You’d Think I’d Know.

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Filed under Agatha Christie, Dorothy Sayers, Ellery Queen, Kate Atkinson, Lynda Wilcox

A King Ain’t a King Without the Power Behind the Throne*

Power Behind the PowerIn any group, there are two different sorts of authority, or perhaps power would be the better term. There are those who have official authority, and those ‘behind the scenes’ who actually get things done. In real life, if you want to make a sale to a major business client, one of your most important tasks is to get that person’s assistant on your side. That’s the person who screens visitors, makes most of the day-to-day decisions, and often persuades the boss to do (or not do) something. A wise authority figure listens to, respects and depends on those ‘behind the scenes’ people without becoming too easy to manipulate (that’s another topic in and of itself!).

There are plenty such characters in crime fiction. They may have modest titles and unassuming job descriptions, but everyone knows that they are the ones whose opinions matter. They’re the ones who get things done.

One such character is Rex Stout’s Archie Goodwin. Goodwin is officially an employee of private investigator Nero Wolfe. But anyone who knows this series also knows that Wolfe hardly has all of the power in that relationship. In fact, it’s hard at times to say who really runs this detective agency. While Wolfe certainly directs Goodwin (and the other investigators who work for him), anyone who wants to see Wolfe generally has to go through Goodwin. And although Goodwin is supposed to do what Wolfe says (and frequently does), he’s very much his own man, and does quite a lot of work on their cases. He respects Wolfe’s brilliance, but he has no particular reverence for his boss. And he’s not above manipulating situations to get Wolfe to do what he wants. It’s actually a very interesting dynamic.

So is the relationship between Agatha Christie’s Hercule Poirot and his secretary, Felicity Lemon.  Miss Lemon is frighteningly efficient and competent at her job. That, in fact, is one of the reasons for which Poirot hired her. On the one hand, she takes his business telephone calls, answers his letters and so on. In that sense, she does as he asks her to do, and usually does so immediately. On the other hand, she has considerable authority and power of her own. Poirot depends on her quite a lot, and pays attention to what she says. This is how Christie expresses it in the short story The Nemean Lion:
 

‘He trusted Miss Lemon. She was a woman without imagination, but she had an instinct. Anything that she mentioned as worth consideration usually was worth consideration.’
 

Poirot knows that although he’s the boss, he can’t do his job without an efficient secretary, and he has learned to respect Miss Lemon.

Fans of Donna Leon’s Commissario Guido Brunetti series will know that the real power in the Venice questura doesn’t belong to Vice-Questore Giuseppe Patta. It belongs to his assistant, Signorina Elettra Zorzi. Anyone who wants to do business with the questura has to meet with her approval. And everyone who works at the questura, including Brunetti, knows that Signorina Elettra is both an indispensable ally and a formidable opponent. If she wants something to happen, it will happen. If she opposes something, it will stop happening, or won’t happen in the first place. The easiest and most efficient way to get anything done is to enlist Signorina Elettra’s cooperation right from the start.

Craig Johnson’s Walt Longmire may be the sheriff of fictional Absaroka County, Wyoming, but he knows very well that that doesn’t mean he’s all-powerful. For one thing, his position is an elected one. For another, there’s Ruby, his dispatcher/secretary. Ruby has a kind heart, and genuinely cares about people. But she is plain-spoken and direct, and everyone knows better than to take her for granted or ignore what she says. The sheriff’s office is run in the way she wants it to be run; and even Longmire has learned to obey her on certain things.  He knows how dependent he is on her to keep the office running smoothly, and to make sure that he can do his job. And, since she knows everyone, he also knows how valuable she is as an important source of information. She’s not above manipulating situations, either, if she needs to do that, and she usually turns out to be right.

And then there’s Lynda Wilcox’s Verity Long. She is researcher and secretary to famous crime writer Kathleen ‘K.D.’ Davenport. One of her jobs, for instance, is to get information on past true crimes, and provide those details to her boss. Then Davenport adapts those facts to inspire her novels. Davenport is the one with the name recognition and the best-seller income. But it’s Long who does a great deal of the ‘leg work’ and the research. She’s also often a sounding board for her boss’ ideas. Like the relationship between Rex Stout’s Nero Wolfe and Archie Goodwin, the relationship between Davenport and Long is an interesting dynamic. On the one hand, Davenport is bright, quick-thinking and a skilled writer. She’s no figurehead, if I may put it that way. On the other, it’s Long who provides the background information, prepares everything for publication, and deals with the myriad demands on Davenport’s time. The two really do depend on each other, and each one knows it.

One of the more interesting cases of this sort of ‘power behind the throne’ is in the work of Hilary Mantel. Her three-book Wolf Hall trilogy is a fictional retelling of the story of Thomas Cromwell, chief minister to King Henry VIII. Those with an interest in history will know that Cromwell’s life shows both the power that ministers and other assistants can have, and their vulnerability. At the height of his authority, Cromwell was said to have done much to move the Reformation forward, especially behind the scenes. The king depended quite a lot on Cromwell’s ability to manipulate situations; and he certainly got and kept quite a lot of power. But as it turned out, he was also vulnerable. He was executed in 1540, after he lost the king’s good will.

Most of the time, those who get things done ‘behind the scenes’ don’t face execution. But they do have a lot more responsibility and authority than it may seem at first glance. And they can add much to a novel or series.

 

 
 

*NOTE: The title of this post is a line from Marc Shaiman and Scott Wittman’s It Takes Two.

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Filed under Agatha Christie, Craig Johnson, Donna Leon, Hilary Mantel, Lynda Wilcox, Rex Stout

Now Paul is a Real Estate Novelist*

Real EstateIf you’ve ever moved house (and most of us have), you know what a complicated, exhausting and sometimes thoroughly frustrating process it is. But there are plenty of people who make their living in that industry. Yes, I’m talking about house agents. The real estate business is a fixture in most places, and those who represent buyers and sellers can (when times are good and the property is of value) make a lot of money.

Real estate/house agents also play roles in crime fiction. After all, fictional characters buy and sell homes too. And sometimes those homes have secrets, and so do the people who move into them.

There are several house agents in Agatha Christie’s stories. For example, in Dumb Witness (AKA Poirot Loses a Client), Hercule Poirot and Captain Hastings travel to Littlegreen House in the village of Market Basing at the request of wealthy Emily Arundell. She’s worried that someone in her family may be trying to kill her, and wants Poirot to find out who it is. But by the time Poirot and Hastings get to Market Basing, it’s too late: Miss Arundell has died. No-one in Miss Arundell’s family or household knows of her concern, so Poirot needs a pretext for visiting the house. He goes to the office of Messrs. Gabler and Stretcher, who have Littlegreen House on their books. Here’s what Mr. Gabler says about the property:
 

‘Ah! Littlegreen House – there’s a property! An absolute bargain. Only just come into the market. I can tell you, gentlemen, we don’t often get a house of that class going at the price…Yes, we shan’t have Littlegreen long in our books.’
 

Anyone who’s ever had dealings with real estate people will find this kind of patter familiar. I know, I know, fans of The Man in the Brown Suit.

In Linwood Barclay’s Bad Move, science-fiction writer Zack Walker is increasingly concerned about the safety of his family. They live in the city, and Walker thinks they would be much safer in suburbia. So after being enticed by some attractive newspaper ads, Walker convinces his wife Sarah to at least look at Valley Forest Estates, a new housing development. When they get to the sales office, they’re even more drawn in by the sales representative, who gets them excited about the extra space, the ground-floor laundry room and more. It’s not long before the Walker family is settled into their new home. And that’s when the trouble begins. First, Walker happens to witness an argument between one of Valley Forest’s executives and local environmentalist Samuel Spender. Later, Walker discovers Spender’s body near a local creek. He ends up getting far more involved in this case than he ever intended; he also learns that life in suburbia is no safer than life in the city…

Lynda Wilcox’s Strictly Murder introduces readers to Verity Long, who serves as research assistant to famous novelist Kathleen ‘K.D.’ Davenport. The arrangement has been working out so well that Long has decided to move to a nicer home than the one she currently has. So, she works with a house agent to find the right place. One afternoon, she and the agent visit a likely possibility. Long is exploring the house when she discovers the body of famous TV presenter Jaynee ‘Jay-Jay’ Johnson. Since Long found the body, DI Jerry Farish considers her (at least at first) to be a ‘person of interest.’ Soon enough, she’s able to convince him that she had nothing to do with the murder. But she remains interested in the case, since she’s involved. What’s more, it may be quite useful as the basis for one of her boss’ plots at some point. So Long does some of her own investigation.

Sometimes fictional real estate professionals find themselves on the wrong end of a murder weapon. For instance, in Elizabeth Spann Craig’s Pretty is as Pretty Dies, we meet Parke Stockard. She’s a beautiful and very successful real estate developer who’s recently moved to the small town of Bradley, North Carolina. Soon enough, the residents discover that she is malicious and exploitative, and it’s not long before she manages to alienate just about everyone in town. So there are several suspects to consider when she is found murdered one afternoon. Retired schoolteacher Myrtle Clover discovers the body and decides to investigate the death, mostly to show her son (and anyone else who might wonder!) that she’s not ready to be ‘put out to pasture’ yet.

And then there’s Carin Gerhardsen’s The Gingerbread House. In that novel, Stockholm house agent Hans Vannerberg tells his wife Pia that he’s going out to look at a house for a client, and will be back soon. When he doesn’t return, Pia gets anxious and finally calls in the police. Vannerberg’s body is found in the home of Ingrid Olssen, who’s been in a local hospital recovering from surgery. DCI Conny Sjöberg and his team face several puzzling questions in this case. First, why was Vannerberg at Olssen’s home, when she wasn’t selling her house and in fact, claimed not to know him? And who would have wanted to kill a man who had a loving marriage, a successful business (with no hint of financial wrongdoing) and no criminal associations? In the end, the detective team finds that this murder is connected to other crimes and is linked to the past.

The real estate profession gets quite a different treatment in Phil Hogan’s A Pleasure and a Calling. William Heming is not the kind of man you really notice very much. He’s the local real estate agent who’s sold
 

‘…properties on every street in town.’
 

Most people don’t think much about Heming, and they certainly don’t know that he’s kept keys to all of the homes he’s sold. Heming takes a personal interest in all of the villagers and their doings, and keeps his eye on them. Then, the town is shaken by the discovery of a dead body in a backyard. Heming is just as concerned as anyone. If too much comes out, then everyone will know that selling houses isn’t the only interest he has…

It can be exciting to contemplate a new home, with all of the latest conveniences, in just the right place. But if you do consider a move, just be careful with whom you deal…

 

 
 

*NOTE: The title of this post is a line from Billy Joel’s Piano Man.

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Filed under Agatha Christie, Carin Gerhardsen, Elizabeth Spann Craig, Linwood Barclay, Lynda Wilcox, Phil Hogan

Tell Me What the Papers Say*

True Crime and NovelsAs we all know, there’s at least as much real crime out there as there is fictional crime. And writers can’t help but be influenced by those crime stories. After all, crime writers follow the news like a lot of other people, and sometimes those true crime stories can be fascinating enough that they catch the writer’s interest. Something about them gets the writer thinking.

For example, the 1888-1891 Whitechapel murders – the so-called ‘Jack the Ripper’ murders – have caught the imagination of lots of writers. These eleven murders of women have never been officially solved although there has been a lot of speculation about who ‘Jack the Ripper’ was. Possibly because the murders weren’t neatly solved, and because there was so much interest in them at the time, those killings have inspired many novels; I’ll just mention a few. In R. Barri Flowers’ historical thriller Dark Streets of Whitechapel, Dr. Jack Lewiston has been captured New York and arrested for the ‘Jack the Ripper’ crimes. But before he can be brought to trial, Lewiston escapes to London. Former New York City detective Henry Marboro comes out of retirement and travels to London to try to track Lewiston down before he can claim more victims.

Marie Belloc Lowndes’ The Lodger is also based on the Whitechapel murders. In this story, we meet Robert and Ellen Bunting, highly respectable middle-class Londoners who let rooms. They’re particular about the people they admit, but they are also facing financial difficulties. So when a man calling himself Mr. Sleuth agrees to pay in advance for one of the rooms, Mrs. Bunting is more than willing to have him lodge there. Besides, he speaks and acts like ‘a gentleman.’ All goes well enough at the beginning but soon, the Buntings begin to get an eerie feeling about Mr. Sleuth. After a time Ellen Bunting begins to suspect that he might be a mysterious and vicious killer known as The Avenger, who’s been making headlines in all of the newspapers. The more time goes by, the creepier Mr. Sleuth seems and the more danger the Buntings feel. But at the same time, Mr. Sleuth hasn’t threatened them and they desperately need the money he pays them. Part of the suspense in this novel comes from the dilemma of whether the Buntings will report what they suspect to the police (and give up that rent), or whether they’ll keep quiet.

And then there’s Glynis Smy’s Ripper, My Love, which tells the story of Kitty Harper, a seamstress who lives and works in Whitechapel at the time of the ‘Jack the Ripper’ murders. This novel’s been called romantic suspense and it is in the sense that the novel follows Kitty’s life and the way she deals with three young men who are vying for her. But at the same time there’s a strong thread of crime and danger as the Whitechapel murders are seen from Kitty’s perspective – and the murderer may be closer to her than anyone knows. There are dozens and dozens of other novels that refer to, are inspired by or are retellings of the Whitechapel murders.

Another murder that has generated a lot of interest (and inspired other crime writers) is what’s often called the Crippen case. American homeopathic physician Hawley Harvey Crippen was hanged in 1910 for the murder of his wife Cora. There was significant evidence against him too. A torso which could have been hers was found buried in his basement. He’d purchased hyoscine, a quantity of which was found with the remains. He had a new love, too, Ethel ‘Le Neve’ Neave and in fact, they were captured as they landed in America after leaving England together. There was other evidence too that Crippen had killed his wife. Although the verdict against Crippen has been disputed in the last few years, most people at the time thought him guilty. The story made a sensation and has influenced more than one crime writer. For instance, Agatha Christie’s Mrs. McGinty’s Dead is the story of the murder of a charwoman whom everyone thinks was killed by her lodger James Bentley. Superintendent Spence doesn’t think so though and asks Hercule Poirot to look into the case. Poirot agrees and travels to the village of Broadhinny to do so. He finds that Mrs. McGinty had learned more than it was safe for her to know about one of the ‘nice’ people who live in the village; that’s why she was killed. One of the clues in this case is a story about four old murders, one of which is the murder of a woman by her husband. Like Crippen, this ‘Craig case’ features a body found in a basement and a man who was hanged for the crime while his lover left the country.

Martin Edwards’ Dancing For the Hangman is a fictionalised account of the Crippen case told from Crippen’s own point of view. The story begins just after Crippen is convicted for murder, and follows his thoughts as he awaits execution. Interspersed with reports and newspaper stories of the time, the novel tells of Crippen’s life in America, his move to London and his marriage to Cora. It then details how Crippen met Ethel Le Neve and tells the story of their plans to go to America together. In this novel, Edwards gives an alternative account of what exactly happened to Cora and why.

One of the most famous novels based on true crime is Truman Capote’s In Cold Blood. That novel is a re-telling of the 1959 murders of Kansas farmer Herb Clutter, his wife Bonnie Mae and his children Nancy Mae and Kenyon. Richard Hickock and Perry Smith were arrested, tried and convicted of the crimes. The motive for the murders was money; Hickock and Smith had been in prison before the Clutter murders and heard from a fellow inmate that Herb Clutter had a lot of money at his farm. That wasn’t true but it didn’t stop Hickock and Smith from committing four murders and then going ‘on the run’ until the end of that year when they were caught. Capote’s novel tells the story of the victims’ lives, the relationship between Hickock and Smith and the devastating effects of the Clutter murders on the community. You could call this ‘untrue crime,’ as it is fiction but tells the story of a real crime.

So does James Ellroy’s The Black Dahlia. That novel’s focus is the still-unsolved murder of Elizabeth Short, who was killed in Los Angeles in 1947. LAPD detectives Dwight ‘Bucky’ Bleichert and Lee Blanchard are on a stakeout when they discover Short’s body. The case starts to overwhelm the LAPD and becomes a media sensation. Bleichert becomes more and more obsessed with the case, especially when he meets the enigmatic Madeleine Sprague, who closely resembles the victim, and begins to have an affair with her. Blanchard too is obsessed with Elizabeth Short, in large part because his sister was also murdered. This case takes a heavy toll on both officers as they get more and more deeply involved in finding out who Elizabeth Short really was, what her life was like and why she died. Ellroy presents a fictional solution to the case but the real focus in this novel is on the way the murder case affects the cops who investigate it.

There are many other novels that are based on real crimes. For example, there’s Megan Abbott’s Bury Me Deep, which is based on the 1933 ‘trunk murders’ in which Winnie Ruth Judd was found guilty of murdering two of her friends. Abbott looks at the relationships and history that might have been behind those murders. Some crimes just take hold of the imagination and it can be fascinating to explore different aspects of them. And unlike journalists, novelists can create their own versions of how a crime might have happened and that can make for an absorbing story. In fact, that’s how Lynda Wilcox’s fictional crime writer Kathleen ‘KD’ Davenport gets her inspiration. As we learn in Strictly Murder, KD’s assistant Verity Long researches old cases and KD uses those as the basis for her novels. It’s not hard to see how they might inspire her.

But what do you think? Do you enjoy reading true-crime books or ‘untrue crime’ stories? If you’re a writer, do you use real crime for inspiration?

 

 
 

*NOTE: The title of this post is the title of an Elton John/Bernie Taupin song.

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Filed under Agatha Christie, Glynis Smy, James Ellroy, Lynda Wilcox, Marie Belloc Lowndes, Martin Edwards, Megan Abbott, R. Barri Flowers, Truman Capote