Never
assume you can’t learn something new, even when it’s about something you’ve
been doing for years and think you know inside and out.
This
past weekend I attended a group signing at a local independent bookstore. Since I live in an area with plenty of
outstanding writers, it was a great bunch of authors, but the event was not
heavily attended (could it have been that football game down the highway a
piece?). On the plus side, those readers
who did attend were serious about books and happy to talk to us. From our side it was nice to have time to get
into some serious discussion with our readers, when they didn’t feel that they
had to hustle along and let the person behind get a signature.
To
my surprise, I learned a couple of things.
First I spent some time talking with a local mystery buff, who has done
a lot of personal research into the murder of Lizzie Borden’s parents, which
took place not far from where we were.
She’s not a ghoul, but she’s been intrigued by the legal case, to the
extent that she’s actually read the trial transcripts. Her take:
based on the evidence presented, there’s no way Lizzie could have done
the deeds, but there’s no way anyone else could have either. I’d like to know more, if I can find the
time.
But
that wasn’t what struck me. We got to
talking about genre fiction versus what is loosely defined as “literature” and
how they differ. In a broad sense there
is much overlap: there is a protagonist, and there are other people surrounding
the protagonist, in one or another supporting role. In mysteries, you add a murder to the mix,
which generates a puzzle to be solved.
What
was most interesting to me was how she saw the role of those secondary
characters in a story. In literature,
they are there as figures who interact with the protagonist, and in doing so
tell us something about that protagonist or stand on their own as interesting
individuals, which tells us something different. In genre, particularly in mysteries, and more
particularly in cozy mysteries, these secondary characters take a more active
part in the story. They are there as part of the local scene, but they have to
earn the right to be there in the story by contributing a piece of information,
whether it is an eye-witness account or a physical piece of evidence or an
alibi for someone else. They are players
in the small drama.
In
a different conversation I found myself discussing the place for “issues” in a
cozy mystery. The woman was talking
about the time in her life when she was a nurse and had an extremely busy and
stressful life, and when she got home at the end of the day all she wanted was
entertainment, so she watched a lot of television sitcoms.
I
can’t speak for all cozy writers, but I’m going to guess that many of us get
frustrated now and then when we’re supposed to write “cute.’ You know what I mean: nice professional young woman returns to her hometown
to start or take over a small business, makes a lot of nice friends, flirts
with the nice local detective, and solves a murder or two. The conventions say we can’t include any sex,
violence, or profanity. Certainly we
can’t insert anything like a cause or politics or religion.
But
this woman in front of me was saying: I
come home and I don’t want to think. I
want to turn on the TV and be entertained. She mentioned one example when by accident or
design one network with a solid lineup of sitcoms scheduled issue-driven
episodes back to back. This made the woman angry (to the extent that she still
remembers the event, you’ll note). She
saw “real” problems all day, and she didn’t want to see them onscreen when she
got home. She wanted to forget them. And she buys cozies for the same reason.
Maybe
people should stop looking down on cozies (come on, I know some of you
do). They fill a niche; they entertain
and amuse people, and take them out of their own lives, just for a while. And maybe it’s enough of a cause that we insure
that whatever crime occurs is solved by the end of the book, and order is
restored in the quaint village with all those lovable quirky people. We cozy writers aren’t going to change the
world, but we do make people happy. Isn’t that enough?
1 comment:
Of course it's enough to provide entertainment. Even so, an entertaining mystery does deliver a "message" -- hurting people is evil, and in the end justice will prevail.
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