writing process

Character-driven fiction, plot-driven fiction

Leave a comment
Charles Baxter
Charles Baxter

Last year I wrote about dysfunctional narratives, a type of story that Charles Baxter first identified in the 1990s and which now seems overly prevalent today. He quoted a description of them by poet Marilynne Robinson, who also identified this type of narrative. She called it a “mean little myth”:

One is born and in passage through childhood suffers some grave harm. Subsequent good fortune is meaningless because of the injury, while subsequent misfortune is highly significant as the consequence of this injury. The work of one’s life is to discover and name the harm one has suffered.

In my post, I wrote about a “Cambrian explosion” of dysfunctional narratives in our culture since the 1990s, this sense that we’re being overwhelmed by them. They’re in our magazines and books, in our cinema, in our newspapers, and on social media. “Reading begins to be understood as a form of personal therapy or political action,” Baxter wrote, and his observation seems as acute today as it did back then.

Last year I offered a few explanations for what energized this explosion. Recently I thought of another reason to add to the list. It’s a concept repeated endlessly in creative writing classes and how-to guides on writing fiction, namely, character-driven fiction versus plot-driven fiction. Respectable authors are supposed to write character-driven fiction and to eschew plot-driven fiction, which is largely associated with genre fiction.

When I first heard this edict of character versus plot, I accepted it as sage wisdom, and sought to follow it closely. Over the years, I kept hearing it from instructors and successful writers, especially writers of so-called literary fiction. I heard it so much, I began to question it. What exactly is character? What is plot?

I began to pose these questions to my peers. Their response usually sounded like this:

“‘Character’ is all the things that make a character unique. ‘Plot’ is the stuff that happens in a story.” A character-driven story is supposedly rich with humanizing details, while a plot-driven piece is a fluffy story where “a lot of stuff happens.”

Aristotle is not the final word on literary analysis, but his opinions on how a story succeeds or fails is far more nuanced than what many of my peers and instructors in creative writing programs could offer.

Aristotle defines character as a set of human traits imitated in the text. Traits could be run-of-the-mill personality markers, such as a character who is studious or arrogant, or complex and contradictory, like Hamlet’s brooding and questioning nature. Before modern times, playwrights often used traits associated with the four humors to define characters in a play.

The four humors

For Aristotle, plot is the series of decisions a character makes that propels the story forward. These decisions generally take two forms: The character speaks, or the character acts. In line with the saying “actions speak louder than words,” Aristotle holds that a character’s actions are more significant, and more revealing, than the words they mouth.

When one of the salesmen in Glengarry Glen Ross announces he’s going close a big sale that night, and then crosses the street to have a cocktail, his actions reveal the hollowness of his words. Both decisions (speaking and acting) are also plot. Plot proves what character traits merely suggest.1

In other words, plot is not “stuff that happens.” (Note the passive voice, as though plot elements are forced upon the characters.) Rather, plot is a sequence of decisions made—and readers are very interested in a character’s decisions.

To be fair, inaction by a character is a kind of decision. Certainly there’s room for stories about characters who ponder a great deal and do little about it. In successful fiction, though, the final effect of inaction is almost always ironic. (Two good examples are Richard Ford’s “Rock Springs” and Thurber’s “The Secret Life of Walter Mitty.”) The problem is when inaction in literary fiction is treated as sublime.

The inaccurate, watered-down definition of plot-driven fiction—”A story where a lot of stuff happens”—has led to contemporary American literature’s fascination with flabby, low-energy narratives. I’ve met authors proud that the characters in their stories don’t do anything—never get off the couch, never pick up the phone, never make a decision of any consequence. Literary fiction has come to regard passivity as a virtue and action as a vice. A writer crafting a character who takes matters into their own hands risks having their work classified as genre fiction.

For decades now, creative writing programs have been pushing an aesthetic emphasizing character traits over character decisions. It’s frustrating to watch, year after year, the primacy of character-driven fiction getting pushed on young writers, with too many of them accepting the mantra without further consideration.

And this is why I think the Cambrian explosion of dysfunctional narratives is tied to this obsession with character-driven fiction. Passivity and inactivity are keystones of Baxter’s dysfunctional narratives. In his essay, he notes the trend toward “me” stories (“the protagonists…are central characters to whom things happen”) over “I” stories (“the protagonist makes certain decisions and takes some responsibility for them”).

This is why I’m wary of character-driven writers who do not permit their protagonists to make mistakes, instead strategically devising stories where they make no mistakes, and are therefore blameless. No wonder plot—that is, decision-making—is being eschewed, when this is the kind of story being upheld and praised.

  1. Aristotle’s Poetics are obviously far more complicated than my three-paragraph summary, but the gist described here holds. ↩︎

.

Ten years of blogging: Writer’s block

Leave a comment
John Turturro in Barton Fink

Previously: An all-too-familiar utopia
Next: Flaubertian three-dimensionalism

From a novel-writing perspective, 2018 and 2019 was a creative interregnum. After publishing Hagar’s Mother in late 2017, I found myself juggling energy between two books. One was the third installment of the Bridge Daughter series, the other a futuristic detective novel where society has essentially become a giant social media simulation. While working on the former, 2018 fizzled away with a fearful lack of progress. As 2019 marched on, a slow panic developed inside me. Would I burn off a second year with nothing to show for it?

I learned a hard lesson: Writer’s block is real. Before this, I’d read articles by well-known writers who either denied it existed, or called it a semi-phony condition covering for laziness. The cure for supposed writer’s block, they explained, was to turn off your Internet, silence your phone, and write.

The early chapters of the Bridge Daughter sequel emerged in fits and spurts. Like a teenager learning how to drive a stick shift, I couldn’t find second gear and launch the story forward. Eventually I admitted that I’d hit something like writer’s block. I recalled what the Coen Brothers did when they were blocked developing Miller’s Crossing: They wrote a movie about writer’s block, Barton Fink.

While I didn’t go that meta, I used the problem to pivot to my science-fiction detective novel. Encouragingly, I was far more productive. It was also a much longer story. As a tightly-wound mystery, it was vital the chronologies of the different characters matched up, as story events were occurring in the background that the detective only learned about later. This required a fair amount of revision to clean up and synchronize.

The pivot did unblock me, and in a big way. During a stay in Tokyo at the end of 2019, I finished the remainder of the third Bridge Daughter book over a six-week sprint. Unlike the grind of the detective novel, Stranger Son spilled forth all at once. It and In My Memory Locked were published in 2020.

Photo of cappuccino with leaves drawn in the foam
Cappucino by Scott Rocher (CC-BY-NC 2.0)

The other writing outlet I used over 2019 to break my writer’s block was this blog. It’s no surprise my focus that year would be on the writing process itself. I blogged about keeping a writing notebook on your phone, story revision, story structure, and even on (bad) cover letters. Basically, any problem I faced while writing, I at least attempted to compose a post about it. (Most were never published, trapped forever in my blog software’s Drafts folder.)

So desperate to write anything to keep the blood flowing, I even wrote about writing in cafes. It couldn’t have been more flagrant: Sitting in a cafe, desperate to jump-start the creative engine, I started writing about what I saw around me. What began as a lark grew into a lengthy diatribe on the different cafes I’d written in over two-and-a-half decades, and the varieties of cafe patrons and owners I’ve had to put up with.

The cafe I wrote that post in was near-perfect for my writing habit. Plenty of seating, open late, electrical outlets, free Wi-Fi, good drinks, good food, reasonable prices, a cozy college student vibe—and a mere one block from my apartment. That’s why at the end of the post I didn’t reveal its name. I feared it would be discovered and ruined.

Well, not long after posting, the cafe changed owners. One by one, the wonderful perks disappeared, prices crept upwards, and hours were reduced. By the end of 2019, I was on the hunt for a new cafe.

A few months later, my preference for writing in public spaces would become a very distant problem.

A quarter-century writing in cafes


. Last updated .

I, erotica writer

2 Comments
Illustration from The Erotic Review for "At the White Stands Motel, 1956"
Illustration from Erotic Review for “At the White Sands Motel, 1956”

I once wrote erotica by accident. Writing and getting the story published is a wild tale.

If you know of anything of my output—my novels, my interactive fiction—that might surprise you. You’ve probably never read anything by me that remotely involves the sex act: No kinky sex, no ho-hum sex, not even missionary style. Generally, I shy away from that kind of thing. Getting a story published in an erotica magazine still tickles me to this day.

The story-behind-the-story begins in a creative writing class. The instructor offered us a list of writing prompts. We were to select one and write an opening.

The first speed bump in this tale is that these prompts were communicated to us orally. The prompt I selected regarded a teenage lifeguard named Hamke. Years later, I learned I had misheard the details. The prompt did not include the name “Hamke” or anything about a lifeguard. How I managed to screw up so much remains a mystery lost to the shroud of time.

In any event, the name and occupation stuck. I assumed it was a German name, as I’d never heard of it before. (Apparently, I’m not alone.) While I enjoy swimming, I’ve never known a lifeguard nor worked as one. Why this prompt caught my interest, I do not know. Over the following week I roughed out a first draft about a teenage Hamke standing guard over a motel pool in Nevada. In need of a title, I jammed one onto the front page of the manuscript: “Living It Up at the White Sands Motel.” (I believe it was a riff on the quip about a cheap lodging being a “low-rent Shangri-la.”)

Around this time, I dated a woman also enrolled in the creative writing program. She was experimenting with poetry about the body. She read many of my stories, which is generous—even when you’re dating a writer, that’s no guarantee they’ll actually read your output. She called my work cerebral, and noted that my characters seemed “detached” from their physical nature. She challenged me to write a story where the main character’s physicality is centered.

Now, this doesn’t necessarily mean “write about sex” or “write about someone with a smokin’ bod.” It could mean the main character is physically challenged, or has suffered some grievous physical damage they’re recovering from. It could mean some aspect of their body defines them in a material way (which is something I had in mind as I wrote my Bridge Daughter series of books.)

In this case, I went for the obvious: Hamke would have sex. More than that, he would lose his virginity.

I poked and prodded at the manuscript—draft after draft—trying to tune all the off-key notes. In workshops, peer writers would scratch their heads trying to figure out what to make of this strange story. There was a lifeguard with a flat-top and a weird name, an empty motel in the desert, and an older couple from New Jersey who invites him to their air-conditioned room for an afternoon romp. By this time I’d renamed it (still flailing for a proper title) “At the White Sands Motel, 1956.”

I submitted to the usual literary magazines, searching high and low for a place to land it. The rejection slips came back a bit more quickly than the other stories I’d sent out. Perhaps the complaints I heard in in the workshops (“‘Hamke?’ Is that Jewish?”) was now confounding editors. The sex was not graphic, but it was on the page and not merely alluded to. The wife was acidic and domineering, and her husband frustratingly passive. Wide-eyed Hamke, who was simply “along for the ride” (so to speak), was not a character to stand up and cheer for.

Enter London-based writer Saskia Vogel. By chance, she came into the bar I tended while working through graduate school. She was working on a study of kink; I despaired over a short story about a lifeguard losing his virginity. We swapped email addresses and kept in touch after she returned to England.

Around this time, fellow grad student Lizzy Acker mentioned off-the-cuff she was developing a new San Francisco reading series with the theme “funny / sexy / sad.” The work writers presented had to feature one of those elements.

“You know,” I said, not entirely innocently, “I have a story that’s funny, sexy, and sad.”

A Concordance of One's Life by Jim Nelson

It’s true: Hamke’s fumbling and awkward loss of innocence is funny. The wife impatiently orders Hamke across a tour of her body as though teaching him to drive a stick shift. It’s sad, too. As one workshop instructor remarked, the boy is robbed of a positive formative experience.

Lizzy included me in the series’ opening night line-up, and the reading went uproariously well. Maxfield’s House of Caffeine was packed. The audience reacted with every twist and turn of Hamke’s awkward journey. They burst out laughing at all the right moments. Red-faced parents held their hands over their children’s tender ears. People were moved by the ending, and a couple of tears were shed. The applause knocked me off my feet. It was, by every measure, the best reading I ever gave.

How the hell could I not get this story published?

Then, an interregnum. I separated from the girlfriend who challenged me to write about the body. I separated from my appendix, and a few months later, I busted up my right shoulder. I separated from graduate school. (Well, a degree was conferred, how’s that.) Hamke’s story remained a magnet for rejection slips. Meanwhile, medical bills ate through my meager bartender savings.

With no more excuses, I returned to full-time employment. The first year with my new company, the sector we were involved in hosted their annual conference in, of all places, the Canary Islands.

La Palmas de Gran Canaria
La Palmas de Gran Canaria. (Photo by the author.)

That’s how, six months after staring down bankruptcy and unemployment, I found myself on a semi-tropical island in the Atlantic a mere 500 miles from Marrakesh. I rented a cheap open-air room overlooking the Las Palmas promenade and a pristine sunning beach. After the conference concluded, I stayed for another week to explore the island and write.

During this vacation I received an email from Saskia Vogel in London. She heard from an editor friend that the UK-based Erotic Review was in need of fiction. Didn’t I have a story about a guy having sex for the first time?

In that low-rent Shangri-la, the couch doubling as my bed and the drapes billowing from the breeze coming off the beach, I hustled one more edit pass out of my aging Hamke story. Thankfully I brought my writing notebook computer with me. This was not a time when Wi-Fi was a sure thing in a rented room, especially in an out-of-the-way place like Gran Canaria, but I in this case I was set. I emailed my little story to editor and publisher Jamie Maclean.

Before I did that, though, I used the Wi-Fi to study up on just whom I was submitting to. My search revealed I was not soliciting some amateur outfit. ER had been around since before 1995, and had published numerous erotic books on top of a monthly subscription-based magazine. Their readers spanned the UK and North America. Not only had I never published a work of erotica, I’d never been published by a magazine that survived solely off subscriptions.

With a healthy taste of self-doubt in the back of my mouth, I pressed the Send button. Then I did what I usually do after submitting a piece to a magazine: I got my mind off things. I went downstairs. I walked the promenade. I had a couple of drinks at a beach bar, and got my toes in some sand.

When I returned to the room, I of course checked my email, fully expecting to find nothing. Instead, an acceptance email waited in my inbox. Compared to the usual turnaround times for literary magazines—one sent me a rejection two years after submission—this was lightning fast. Later it dawned on me that my accidental vacation spot had contributed to the quick response: I was in the same time zone as London, where ER was published.

Three months later, a contributor’s copy of Erotic Review and an international money transfer arrived at my apartment in California. My Hamke story was out there.

And that’s how I became a writer of erotica, scribbler of filth and peddler of smut.

Postscript:

My tale might be seen as a reversal of Ray Bradbury’s strategy to seek out unusual places for his work (such as Gourmet publishing his “Dandelion Wine”). I sought out unusual places to publish an erotica story, and eventually found a natural home for it.

Being published in an erotica magazine has become a point of pride for me. I never set out to write erotica, and I’ve never considered pursuing it since. I once read that no one writes erotica under their real name. Well, I did, although when you have as generic a name as “Jim Nelson,” perhaps it doesn’t matter.

Erotic Review Christmas card

Erotic Review is a class act. They continued to stay in touch. I received editorial updates and invites to ER parties (which, sadly, were all in London). They even sent digital Christmas cards, such as the one above.

Recently ER changed hands and is now retooling under a new editorial staff. If you’re interested in supporting the relaunch, visit them at ermagazine.com.

“At the White Sands Motel, 1956” is collected with nine other short stories in A Concordance of One’s Life.


. Last updated .

Why I Wrote “A Man Named Baskerville”

Leave a comment

See the “Twenty Writers, Twenty Books” home page
for more information on this series.

A Man Named Baskerville by Jim Nelson

[Note: The following is adapted and compressed from the afterword to A Man Named Baskerville. It reveals some details from the book. It also contains spoilers to the book it was inspired by, Arthur Conan Doyle’s The Hound of the Baskervilles.]

Years ago, while traveling Japan via its Shinkansen bullet train, I found myself without a book to read. An ebook reader I’d installed on my phone came with a free sample to whet the reader’s appetite. That book was Arthur Conan Doyle’s The Adventures of Sherlock Holmes, a collection of the earliest Holmes short stories. (I explore this incident in greater detail in my 2016 post “Sherlock by Train.”)

The collection stands as a record of a remarkably creative streak. So remarkable, if Doyle were to have stopped writing after its publication, we would still be talking about his literary creation and storytelling prowess. The titles of the stories within are as familiar as the books of the Bible: “A Scandal in Bohemia,” “The Red-Headed League,” “The Man with the Twisted Lip,” “The Adventure of the Speckled Band.” Perhaps the only missing short story title of comparable infamy is “The Adventure of Silver Blaze,” published in The Memoirs of Sherlock Holmes a mere two years later. In toto, they represent the height of Doyle’s powers and inventiveness.

None of this inspired me to write A Man Named Baskerville. As exciting and inventive as a great Sherlock Holmes story can be, never have I entertained the question that has dogged countless other producers of Doyle homages and pastiches: Could I write my own Sherlock Holmes story? Honestly, the thought has never crossed my mind.

After consuming the first collection in a rush of reading, I used the opportunity of a brief train stop and some free wireless Internet access to download more Sherlock Holmes books for our continued journey. I had read a little of Doyle’s work before, and never found much interest in it. They were too Victorian for my tastes, too concerned with Empire and upright decency and British morality. My California upbringing, and the plain-speaking tastes I inherited from my parents, led me to the hardboiled school of Chandler, Hammett, and Cain. Nathanael West’s grotesqueries and William Gibson’s cyberpunks are a better fit for me than Holmes’ Irregulars.

On that train ride, my interest in Sherlock Holmes kindled. Holmes may not have walked Chandler’s mean streets, but he did present a more compelling moral force than I’d sensed before. As with the hardboiled school, Holmes time and again must balance his own sense of justice against the British legal system’s notion of the same. Doyle wrote for an audience who would understand those boundaries implicitly. A hundred and ten years later, I viewed Holmes’ sense of justice through a different lens. This came to a point when my reading reached The Hound of the Baskervilles.

The book was first serialized in 1901, ten years after that auspicious run of early short stories. Doyle had killed off Holmes in “The Final Problem” (1893) hoping to rid himself of the literary creation upstaging all his other work. An appalled public demanded more stories featuring Holmes, and publishers increasingly pressured Doyle to satisfy the market’s cravings.

Inspired by a trip to Devon and its local folklore of wisht hellhounds roaming the countryside at night, Doyle produced The Hound of the Baskervilles. To avoid what we today call “continuity problems,” he retroactively dated its events to October 1888, three years before the publication of his earliest stories. This places the story square in the middle of the Autumn of Terror, when a serial killer dubbed Saucy Jack terrified London, while, across the Atlantic, the Empire of Brazil was warily beginning its dissolution.

One overlooked quality of Doyle’s writing is that his knack for concise storytelling in the short form executes equally brilliantly in the longer form. I’ve seen adept short story writers get fouled up when they attempt to tackle the novel. The pacing and breathing cadences that permit a runner to win the 100-meter dash do not sustain when attempting a marathon. Yet Doyle’s economical style holds up with Hound, making for dazzling quick cuts between crucial scenes, and exposition that does not lead the reader to impatiently flip ahead. Doyle had a gift for paring down prose to its vital emotional and informational elements without stripping it of that uniquely English sense of mood and atmosphere. One also sees in Hound Doyle’s assiduous control of pacing. The early chapters draw out their eerie scenes, while the closing chapters barrel headlong toward the conclusion. The movement becomes so breathless at the end, it takes pure inference on the part of the reader to detect scene changes.

Readers either love or hate this no-nonsense approach to storytelling. Either way, the final output of his opus on the moors is consistent with this quality, and obviously has held the public’s interest for well over a century.

None of this inspired me to write this book, either. I grew to admire Doyle’s writing while traveling by bullet train, but I never craved to imitate it. The first fourteen chapters of The Hound of the Baskervilles served to reaffirm my growing estimation of the man’s talents, but not to pick up a pen.

What did inspire me to write A Man Named Baskerville? The fifteenth and final chapter of the book it derives from.

All detective mysteries deal in sleight-of-hand. Keeping the perpetrator out of the narrative limelight until the moment the solution is announced is a tried-and-true technique for maintaining the element of surprise. In response, savvy readers have learned to guess whodunnit by evaluating how much “screen time” the author gives the suspects. The most obvious suspect is never culpable. The suspect we’ve read the least about is quite often guilty up to their eyeballs.

First edition cover of The Hound of the Baskervilles by Arthur Conan Doyle
First edition of The Hound of the Baskervilles

And that’s pretty much the case in The Hound of the Baskervilles. The perpetrator is one we hear precious little about, an absentminded collector of butterflies and moths named Jack Stapleton who lives with his sister (the nineteenth-century equivalent to rooming in your parents’ basement, apparently). He’s not the least elaborated-upon character in the book, but he is pictured as far removed from the crimes and the curse of the Baskervilles. When Holmes and Watson finally suspect his guilt, Doyle spends no time speculating on his motivations in favor of keeping the story moving at a brisk clip.

Doyle knew the reader would eventually demand to know why Stapleton posed under an assumed identity to murder his uncle in such a contrived way, and then attempt the same on his cousin. To sew things up, in Chapter 15, Watson calls on Holmes to explain the background of Jack Stapleton. Holmes launches into fourteen pages of exposition, a matter-of-fact recounting of Rodger’s life from the New World to Devonshire, England.

Much detail is omitted, of course, but Holmes’ reckoning of Rodger’s life is a far more plumbed-out biography than I think any reader expected. After all, Holmes could have simply stated, “He was raised abroad and returned to England to kill his uncle and claim his estate.” Yes, that could be worded more artfully, but Doyle stretched himself to fill in the blanks.

I don’t know why Doyle felt the need to so thoroughly detail Rodger Baskerville’s life. I’m not sure anyone does. In my research for A Man Named Baskerville, I never located a definitive answer to the question. Perhaps in Doyle’s papers, or in a complete treatise on his life and work, an answer may be found. Perhaps it was a modernist faith in the triumph of reason—all things must be explained that can be explained—that led Doyle to stretch himself, much as he uses many pages to lay out the backstory in A Study in Scarlet and some of his short stories.

What I do know is, reading those seemingly superfluous fourteen pages of Rodger’s life struck me as a kind of boggy sinkhole in the tale. It felt Arthur Conan Doyle had wanted to write two books, Rodger’s life story and The Hound of the Baskervilles. Unable or uninterested in writing the first, he wrote the latter and included a précis of the former in the final chapter.

Fascinated, I made copious notes of Holmes’ reckoning of Rodger’s life. Later, I transferred and organized them on my computer. A bell tinkled in my mind, a Pavlovian reaction all writers develop: Is there a novel here? I let the idea stew. Holmes’ reckoning might appear a rich vein to mine, but once I started digging, it might yield little more than a couple of small gems.

And how would readers react to Rodger as a main character? Yes, everyone says they like stories about villains—but too often those so-called villains are more like lovable rogues or bad boys with a soft spot. Was I trying to humanize Rodger Baskerville? That’s exactly what a novel does: It humanizes. Would it be a Victorian “Sympathy for the Devil”?

Maybe, I thought, I should just write the damn thing and see what comes out of the keyboard.

I made a private agreement with myself: I would not write yet another pastiche of Sherlock Holmes, of which there are plenty to pass around. The book would be told in Rodger’s voice and not in imitation of Doyle’s Watson. Of course, that didn’t excuse me from the challenges of writing a historical novel, which include diction, grammar, tone of voice, colloquialisms, and historical accuracy. Nor could I write such a book without featuring Holmes and Watson at some point.

Mostly, though, my doubts centered on originality. Certainly someone had executed on this idea since the publication of Doyle’s book. Internet searches yielded nothing of the sort.

It became a secret too juicy to keep to myself: In the final chapter of The Hound of the Baskervilles, Arthur Conan Doyle embedded a working outline for a novel—a rousing novel, in my estimation—that had been overlooked for over a century. It took me five years to set aside my private doubts and write it.

Yes, it was exhilarating to liberally borrow from a master’s synopsis and expand it into this novel. No, having said synopsis to work from did not make my job any easier.

When I planned A Man Named Baskerville, I failed to see how a man with Rodger’s background would not bring to Dartmoor one or more Central or South American dialects along with his impeccable upper-class English accent. He would also bring with him a rich and varied New World culture as his starting point of reference.

Once in England, around his neck would be the weight of several albatrosses: His father’s suspicious exile; his “ethnic” upbringing and foreign tongue; his lack of secure income; his marriage to a dusky woman most un-Anglo-Saxon. Only his upper-crust accent would save him. It would work in the British Isles like a charge card with no spending limit. After all, he didn’t merely fool the English into thinking he was one of them; he fooled them into thinking he was better than most of them.

Freud’s narcissism of small differences is an underappreciated observation of the continuing human condition. As long as people lift themselves up by cataloging their differences with outsiders, there will always be Rodger Baskervilles walking among us.

That’s why I wrote A Man Named Baskerville.


. Last updated .

Interview and review of A MAN NAMED BASKERVILLE at FanFiAddict

Leave a comment
A Man Named Baskerville by Jim Nelson

The final stop of the A Man Named Baskerville tour is at FanFiAddict, where they’ve graciously published an interview and book review.

The 8 out of 10 review by Victoria Gross is wonderful and offers a lot of grist to consider:

Having a villain as a protagonist is a bold choice. I found myself almost rooting for Baskerville as he continued to make questionable choice after choice. I was still in his corner after LITERALLY MURDERING PEOPLE. I don’t know what that says about me as a person, but it definitely cements the fact that Nelson is a damn good writer. It also posits Sherlock as a kind of dimwit (and if you love Benedict Cumberbatch as I do, it was hard to swallow—at first) which is certainly an interesting take on the famed sleuth. His deductive reasoning had holes and it wasn’t something I was used to seeing in representations of the character. I found it as almost a Wizard of Oz moment, the proverbial pulling back of the curtain to reveal that the Wizard is only a man.

In the interview with Justin Gross, I discuss the making of Baskerville and what led me to write it in the first place. One example:

Were there any specific challenges with writing A Man Named Baskerville? Or, did you find anything to be easier?

The most significant challenge was writing in the style of the nineteenth-century British, as well as researching language, technology, and history, so as to be true to the time and place. As the book is told in Rodger Baskerville’s voice, I didn’t have to imitate Arthur Conan Doyle, but I did use The Hound of the Baskervilles as a primary source for so many things, including diction. I also did a considerable amount of research into more esoteric topics, especially the British peerage system and the baronet title, subjects very important to Rodger.

Was anything easier here than my other books? Actually, it was the character of Rodger that made one thing easier: He’s an audacious fellow, and quite confident. In my other books, the main character would often have to think through doing something outrageous or daring. Not Rodger! He’s the kind of person who barrels into a situation and bluffs his way out of it. That made for some fun chapters.

Thank you Victoria and Justin!


.

A year in the middle

Leave a comment
Man in the Middle, by Jim Nelson

The first chapter of my novel Man in the Middle opens a year ago today.

It’s an odd anniversary to observe, the setting of a book. I didn’t start writing it a year ago today. That came later, after a bit of soul-searching if I really wanted to write a novel about the pandemic during the pandemic.

In some ways, though, I did start writing the novel a year ago. I began keeping a daily diary last March when it grew apparent that the spread of COVID-19 was going to be more than a particularly nasty flu season. The first entry on March 14 is a little over a week before the book’s time-frame. I set the novel’s opening chapter ten days later, March 24, to coincide with the timing of California’s statewide order to lockdown and shelter-in-place. I was tempted to open the book earlier, as my entries on the 21 and 22 both demonstrate the alarm rising within me, as the hard realities of the pandemic started to loom.

The early diary entries show me obsessing over the peculiarities of the then-present moment. Those were days of keeping John Hopkins University COVID-19 map open in a persistent browser tab, so I could check it every few hours. The red dots across the forty-eight contiguous states gave the effect of an America with a case of chicken pox; later I would call it a “creeping horror.” The buses running across San Francisco were suddenly empty, and in a few days most lines weren’t running at all. Downtown San Francisco businesses boarded up their windows, even the storied hotels, which normally operated with doors open twenty-four hours a day. After a trip to Costco for supplies, and witnessing panic-buying first-hand, me and several other beleaguered shoppers took the elevator down to the parking lot. A woman in the back began singing “There’s no way out of here.” At least people still had a sense of humor.

Dog running down a near-empty Geary St., San Francisco on March 17, 2020. I lived near the intersection the dog is approaching. Normally the traffic would be bumper-to-bumper. In a few days, the windows would be boarded up and the streets even more deserted.

During this time period, I jogged down the center line of Montgomery Street at 4:30pm on a Thursday—the heart of San Francisco’s Financial District, normally thronged with stockbrokers and bankers, suddenly looking like the set for a zombie movie. I also recorded having an on-again-off-again cough and running nose, which left me reeling between paranoia and chiding myself for being paranoid.

The nucleus of Man in the Middle is buried in my diary entry for March 22: “It would be funny if we emerge from our shelter-in-place hibernation four months from now and discover the rich and powerful have rewritten all the rules to further favor themselves.” (Four months from now. Ha.)

So many failures of those early weeks have been tossed down the collective memory hole. Multiple times I noted news reports of government officials from both sides of the aisle claiming broad martial law powers during a pandemic. Social network users were suggesting it was time for “appropriate” shaming of people for wearing masks—you read that right—while the media sought to pretend it never downplayed the coronavirus over the flu, or ever referred to COVID-19 by the city it was first detected in.

Months after the first vaccine was greenlighted for the general population, and after a year of lockdowns, fervent hand-washing, and face masks, COVID-19 numbers are still ticking the wrong direction. Or, they’re not. Maybe there is no way out of here.


. Last updated .