Because they are part of a series. And books in a series eventually run of steam. The author runs out of ideas and begins recycling old plots and old concepts and he or she doesn't really care because they know the books will sell. Publishers and bookshops love series because people buy them without thinking. And then read them without thinking. It's very rare that series titles retain quality after say book 5 or 6. They've almost certainly lost credibility by that stage because no character could possibly go through that much and not have a nervous breakdown (although clever authors include the nervous breakdown as part of the plot.)...
In an ideal world only first novels would be published. The new writer has something to say and they put everything into that one book - all their jokes, all their sylistic quirks, all the things that make them weird and interesting; the book would come out and it would either be a hit or a miss and then someone else would come along with their story. Wouldn't that be great? Readers would be continually getting new and original voices and because no one would have a reputation publishers would have to rely on a writer's talent alone. Alas that isn't how the world and especially the crime fiction world works. The books that sell a lot of copies are by established professional writers churning out series titles. Readers are reluctant to try new things and the non crime fiction reader who browses a random one of these books is put off because the novels are generally beyond terrible. When I was down at the caravan site in Warrnambool last week I talked to a bloke with the new Tom Clancy novel. "How is it?" I asked him. "It's awful, but what else am I going to read?" he said cheerfully.
...
The only series I know that maintained quality throughout (except for the penultimate novel) are the Patrick O'Brian Aubrey-Maturin books. If you know of others I'd be happy to hear about them...
149 comments:
Interesting views Adrian and I agree with you to an extent. I do believe though that successful series writers are victims of their own success and have to produce books too quickly as they have to get books out annually to satisfy their new mass market readership. This often is to the detriment of the plot and the character. Long running series which are now way past their sell by date are Reacher, Inspector Banks and Lt Harry Bosch.
There have been some series which have delivered consistently such as Rebus, Resnick, Farraday & Winter and Elvis Cole. Their writers have pensioned them off at the correct time.
Lehane did bring back Kenzie and Gennaro after a long gap and writing some terrific non series books, Shutter Island excepted, and Rankin will probably go back to Rebus at some point.
I'd be interested to see how you would feel if Duffy took off the way we all feel it should. Would you do more than a trilogy? By setting it in 1981, you could take Duffy right through to the formation of the PSNI and still have a credible character.
I was all set to argue with you about all the series I like that have go one strong for more than five books without suffering in quality.
Until I tried to think of one.
James Lee Burke comes to mind. Declan Hughes and Tim Hallinan are right at the point in number of books where the decline should start to show, if you're right. Ed McBain kept getting better, but he had the whole 87th Precinct to draw on.
Parker's later books were nowhere near as good as the early Spensers, and I respectfully disagree with Remy about Connolly's Bosch books; the early ones are far better. Lehane was good with the original Kenzie/Gennaro stories, but MOONLIGHT MILE isn't up to those standards.
Robert Crais is still going strong, though he's had the smarts to give Joe Pike his own books now, which is a way to freshen things up.
Sorry, but I try to only read books that aren't "bad" but when I don't like a book, I put it down and start something else. So, I can't say much about Clancy, Paterson, et al.
I think there's lots of series that are good and also go well beyond three books in the series.
I'm not really a fan of fantasy novels, so I can only pass along that my son thinks Terry Pratchett and the Discworld books are excellent. I'm not sure how many Discworld books Pratchett has written, but it's a lot, maybe more than 30.
What about "Ed McBain" and his 87th Precinct books? It's been a while since read those, but wonder if you think those are in the same class w/ T. Clancy or J. Paterson.
What about P.G. Wodehouse and his Blandings Castle series, his Psmith books or his Jeeves and Wooster books? I admit that some of Wodehouse's books are weaker than others, but these series hold up well.
The Martin Beck books by Wahloo/Sjowall?
Chandler's Marlowe books?
Highsmith's Ripley novels?
Remy
4 stars? Really?
Its very wise to pension off your characters or give them a long hiatus or better yet kill them.
Duffy definitely wont go beyond 3 books. I'll be sick of the character by then and even if we're in the poor house I wont write another. And I plan to put him through the mill, so I'm not sure how much of him will be left by the end of a third book.
Dana
I'm not as familiar with Ed McBain as I'd like to be. I've read a few of them and what I read I liked.
I like Dec Hughes a lot and I'm intrigued to see what he does with his next few books.
Speedskater
Even the sublime Wodehouse started getting diminishing returns by about 1950. The jokes got staler, the plots less funny.
Chandler's a good example of what I'm talking about. People think there are dozens of Marlowe novels but in fact there are only six spread out over 15 years. Four of them are really masterpieces, two not so hot.
As others have mentioned, I can only think of Pratchett, Wodehouse and McBain as examples of creative longevity. Gore Vidal (I think it was him) once wrote that authors generally have, at most, a 15-year creative lifespan. After 15 years they start to repeat themselves. That might explain why series run out of steam. The only other exception to the rule I can offer is Richard Stark, Donald E. Westlake's pseudonym for his Parker novels. Stark wrote about a dozen or so Parker novels from the early 1960s to 1974. They're all good. He then brought Parker back for 7 novels starting in 1999. They're even better. I wrote something about "old" and "new" Parker here:
http://www.jettisoncocoon.com/2011/09/book-review-butchers-moon-1974-by.html
Adrian:
Yes, Wodehouse's talents changed as he aged. Not uncommon among people generally, and so with authors. I'd give him a break, though, for repeating lines like "quills upon the fretful porpentine" since he knew a good one when he saw it.
No comment about Martin Beck stories or Terry Pratchett's books?
I'll have to chip in for Chandler. Even when he wasn't great (Playback), he was great. Then again, I'm reading The High Window again, so that might have something to do with that.
I humbly suggest that John Connolly's Parker series have actually got better as they've gone along.
Generally speaking, though, I'm not really a series man myself.
I read a blog comment somewhere today from someone who was planning to read the entire Rebus series back-to-back, which would take him, he reckoned, up to summer. I guess some people just like what they like.
Cheers, Dec
I know some that went further than 5 or 6 before they hit the rough patch, but none that never suffered in quality except Block's Matt Scudder. I may be overlooking a weak book but I don't recall any.
Ooh, you are awful. But I like you. Anyway Ray Banks DID the series PI in the Cal Inness books. Four books. May not blow everyone's skirt up, but did mine very much.
If best-selling writers go off the boil - and we all know that some of them do - I suspect it's not the series aspect that causes the problem so much as their publisher's eagerness to put out one (and nowadays often two) books a year, come what may. Not many writers can sustain high quality in that kind of sausage-factory operation, whether it's a series or standalones. But once your earnings represent a big part of the publisher's turnover, I suspect it's very hard for anyone involved to accept the need for a break to refresh the imagination.
It leaves me all the more amazed that some writers do manage to keep up very high standards over many years: for me, Ian Rankin, Michael Connelly, Graham Hurley and John Sandford are the best examples of this, and I'm in awe of them.
Cary
I dont think I've read any of the "new" Parker novels but I like the idea of taking a long break to get some life experience, good ideas, bad ideas etc.
Speedskater
Well I can talk about Pratchett...I read the first three or four T.P. novels when I was in high school and very much enjoyed them. I tried to pick him up again in college and found them twee and irritating but also funny. A few years after that I tried again and I just found them twee and annoying. I dont know if Pratchett declined in quality or whether I had just changed as a reader.
Dec
The Long Goodbye which I think is his last published Marlowe is terrific.
Conan Doyle, Christie and Sayers sustained all theirs pretty well.
I disagree about first books, though. Often they are not the best and the writer gets significantly better with the second. Evanovich and Donna Leon spring to mind.
I do agree the market forces often work againsit quality though, especially now.
Thomas
I dont know if I'd go there with you...I still think Block writes too many books.
Paul
A quartet is a good number. If its good enough for Lawrence Durrell its good enough for anyone.
Tom
But why do they do it? Why?! The publishers don't own them. They are extremely rich already. Why do they feel the need to write a book a year or sometimes two or even three.
Patricia Cornwell, James Patterson, Tom Clancy are already multi millionaires many many times over, what do they get out of it? Its actually quite baffling to me.
Seana
First books are often clumsy, silly and over the top but thats what makes them so interesting. By book 2 or 3 the writer becomes more "professional" and self edits out all the "mistakes" which might have been the best stuff...
I was a huge fan of Block at one time, and while I still read pretty much anything of his, it's more out of habit than anticipation. In recent years Scudder seems to have blurred with Block's other characters in my mind - Rhodenbarr, Tanner, etc. And while I may not like what this says about me as a person, Scudder would be so much more interesting if he got off the wagon for a bit - or if Block forced himself to cap his novels at 200 pages. As New York has become cleaner, more upscale, and less interesting, so for me has Scudder.
Rolling through the current big names of crime in my mind, even those who were meritous at one time - I can't really get through them now. Authors are afraid to pull the trigger, literally. I recently read what was advertised as a conclusion to a popular crime series, with an 'explosive finale' - but nothing really happened. No one died, and everyone came out the other side unchanged. The protagonist went home to his family life. Maintaining the status quo, which is something I firmly believe is necessary to maintain popularity with the Walmart book club.
I remember Michael Forsythe in The Dead Yard, Adrian, fuming with rage because he can't surf in Long Island Sound with his artificial foot. But most characters in these crime series get hit with shotguns, magnum loads, etc., and the next novel they're vaulting over cars when in reality they would be limping like C3PO for the rest of their lives.
But there are some keepers. Fans of the blog know David Peace's series set in the U.K. and Japan are great.
James Crumley's series of novels with Milo Milodragovitch and C.W. Sugrue are classics.
Charles Willeford's Hoke Moseley novels are among the best in the genre, without hyperbole. Apparently he had further books ahead of him - and if you remember the ending of The Way We Die Now, there was endless potential there.
I've been waiting for Kent Anderson (Sympathy for the Devil, Night Dogs) to write The Year of the Horse for ten years now. But he seems to average about 10-12 years between books.
Some years back I heard a popular author say he enjoyed the movie Die Hard much more than the novel it was based on, Nothing Lasts Forever by Roderick Thorp. Somehow this did not surprise me. In the book the character is not a wiseass cop trying to save his wife, he is a retired detective trying to save his daughter and his grandchildren. Although the broad strokes of the novel are the same, the ending is tragic and far more downbeat. Again, while I disagreed with him, I wasn't surprised by his answer. In fact I should have predicted it. John McClane was tailor-made for a series, 60 year-old Joe Leland was not.
The names you mention there are not so much writers as industries, with a whole different mindset at work, I suspect. In their cases, I agree that it's totally baffling, except to say that they must still love what they do (or in Patterson's case he loves what other people do on his behalf.)
Plus, the vast financial success makes them immune to criticism, so when the quality slips they don't need to pay it any attention. I feel more for the not-quite-so stratospheric names, who build a reputation with some really high-quality work but then end up slipping into a parody of themselves. Two names spring to mind here, but of course I'm far too discreet...!
I understand your point, but it doesn't always pan out in practice.
I'd say the Harry Bosch books got a lot better before they got slack.
Damn, how could I forget the Harpur & Iles series by Bill James? The tone and style of this series has changed over the years, but he put out at least a dozen top-notch books.
Haven't read the comments, but Joe Lansdale's Hap & Leonard books are all magnificent. Admittedly they're hyper real, as opposed to the Robert Fisk esque journalism of most crime fiction.
hmmm...I wonder how serious you are being and how much is provocation?
If you are entirely serious then I disagree with the generalisation that long series are always bad, though the majority do go on far too long. One writer who I was somewhat surprised to find was still doing interesting things with his long running series was Reginald Hill - the last 3 books of his Dalziel and Pascoe series were extraordinarily good reads - each one quite different in style and so on. That said I have not read the whole series - only 2-3 of the earlier ones before the last 3 in order.
But then I suspect we might not always be looking for the same things from our reading of crime fiction. I read for lots of different reasons - sometimes to learn, sometimes to escape, sometimes to be entertained, sometimes to delight in an author's particular way of putting words on a page. Very occasionally these all combine in the one book but not often and I can live with that. The books I enjoy most are the ones which explore some aspect of society or culture in an authentic way and use the tropes of crime fiction merely as a backdrop to that but as most of those make me feel pretty wrteched at the end I can't exist solely on a diet of them alone. Sometimes I like to close the back cover of a book with a smile on my face and without despairing that humanity is doomed. So I might turn to the latest Sue Grafton novel or something similar and, yes, part of the reason is the familiarity that offers. I get the sense that you don't do that (which is fine) and that you don't really acknowledge that as an acceptable goal for anyone else (which is, IMHO, less fine). On top of it being way too judgemental for my liking I think it's absurd to think that if all the Patterson's etc were suddenly removed from the bookshelves that the people who used to read them would suddenly turn to the 'worthy' crime fiction of the type you write and admire. Those people would be far more likely to stop reading all together. For the same reason that hideous tv shows like Today Tonight and A Current Affair are popular while shows like Four Corneres have to fight for funding the vast majority of people don't want the kind of reading experience a book like THE COLD, COLD GROUND would give them and wishing will not make it so.
I can't really imagine the frustration you feel knowing you have written a better book than 96% of what will be published this year and that it's, probably, not going to hit the best seller lists while loads of inferior rubbish will sell by the bucket loads. If I were you I think that situation would make me fantasize about heading to the nearest Dymocks with a shot gun. But just as that isn't really a viable solution to the problem nor is waving your intellectual superiority in the faces of people who don't think as you do. You win people over by pursauding them to your point of view, not by inferring they're morons (even if it might be true).
Matt
Very interesting story about Die Hard. Of course they're going to change it to Bruce Willis not some old dude. And now they've made 4 of the bastards. Each one slightly worse than the one before. (Except in the bizarre world of Roger Ebert).
Did you ever see Miami Blues? There you had a cop with a bad leg and false teeth and he wasn't very fit but he was smart and dogged. But of course it wasnt a huge hit.
Tom
I wonder how much ghosting goes on with writers who dont allow others to share the cover credit with them?
I really dont know and shouldnt say anything here but I've heard a lot of rumours about various people over the years.
Seana
Yeah it definitely takes people a while to find their feet but while they're finding their feet they can often be really interesting.
One of the exceptions- Inspector Morse. Colin Dexter. Bada Bing Bada Boom! Love them all. And love Colin Dexter the man himself.
Paul
Nice use of Robert Fisk there. Even really good, thorough journalists can make a lot of mistakes in their own fields when they turn to writing novels...
ahem:
http://www.washingtonpost.com/wp-dyn/content/article/2007/04/18/AR2007041802362.html
Bernadette
I am NOT lording my intellectual superiority over anyone.
Although I think you mean implying not inferring.
Just kidding!
No my point is not that the general public is intellectually challenged or lazy, its more that publishers are lazy for not challenging their authors and their readerships. It used to be in the day of Charles Scribner etc. that publishers were concerned about the quality of the books they brought out, but now that they are all arms of huge multinationals like Viacom etc. the only thing that matters is units sold. So a punter who isnt a crime afficianado like thee and me will never get to hear about the minority voices in the genre and will just see a huge stack of Tom Clancys stacked up in bookshop. He'll flick through the first five pages and give up declaring that he doesnt like crime fiction or thrillers because what he is reading is utter rubbish.
Frankie
Well I dont about that. It began to strain credibility for me. Oxford has a murder on average every 10 years. Morse had one, sometimes two or three a week.
What about Louise Penny. I really like Inspector Gamache and the series has held up well I'd say. She is in the Murder cozy category.
I also like Rebus and have not read the series. I love Elizabeth George her Inspector Lynley series is really good.
I don't claim to know nearly as much about the publishing industry as you Adrian but I will share a story. I am in a book club - 10 people (all women because as we all know men don't read) and we take turns in selecting a book for the club to read each month. It is a mainly crime fiction club and all the people are at least interested in the genre if not exclusive readers of it. But it doesn't matter how often I choose something at the 'better' end of the scale - even if I bring along copies to share and discuss the book in detail beforehand - some people will not read that selection. But those people who don't read my selections are always happy enough when Lee Child is chosen by the person who always chooses Lee Child). I guess what I am saying is that I don't think it's all the fault of publishers - you can lead some horses to water but you can't forcce them to read good crime fiction.
Bernadette, I'm enjoying your commentary. And I'll agree--it's not like anyone is forcing anyone to read James Patterson. We certainly never even push him here, and it doesn't make the slightest difference. But the flip side is that you never know who is going to be your non stereotypical reader and the publishing companies do seem to assume the lowest common denominator in all their decisions.
Oh and there has always been junk published - sure there is more junk today but that's just because there is more of everything today. Every third person I meet calls themselves a writer these days (first world problem I know). But there has always been a range of quality, styles etc. Heck Scribner used to publish (maybe still does I don't read him any more) Stephen King - one of the most over-rated authors of our time - a couple of good books, lots of mediocre ones and a bunch of utter tosh.
I agree that Louise Penny has maintained the quality of her Inspector Gamache series, which seems to grow stronger with each book. Nevada Barr is another one who has stayed interesting, but I know some readers have stopped picking up new books in her Anna Pigeon series due to the darker turn she took a few books back (I think it's made the series better.) I've struggled with Patricia Cornwell over the years, but at least she still writes her own books, unlike Patterson and Clancy. I don't have much respect for or interest in reading franchise authors.
Thabks Seana - having a cranky Friday morning here in Oz :)
But surely not all publishers are publishing only rubbish - someone bought Adrian's new series right? And I manage to find good stuff to read most of the time even without ever opening a Patterson, Child, Cornwell etc. I have to go looing for it and there are plenty of books which I only read a few pages of before throwing them at the wall).
I guess for some strange reason I am taking the glass is half full stance today (totally unlike me but that's what Fridays after no sleep apparently bring) but I just don't see crime fiction being in such a poor state as Adrian does - though I am only a reader not an under-appreciated writer.
But Adrian can't find a U.S. publisher for these books! This in itself makes the glass at least a quarter less full.
Rev Ravi
The Inspector Linley mysteries? Yeah I've read a couple of those. They werent bad at all.
Bernadette
Thats a pretty disturbing story about your book group, but I'll bet thats very very common. People like what they've heard about and what they know.
And yeah I know you're kidding about it, but its not really that big of a joke: men dont read. God knows what they do, but they're not reading and what they reading makes me weep (Clancy et al).
Seana
Yeah the glass is definitely a quarter full. When I get amazing reviews in The Times, The Guardian, The Irish Independent etc. etc. but can't find a US publisher who wants to take a chance on publishing my book, I do wonder what a guy has to do...
Chris
Thanks for those. I shall check them out.
I have to say that I like Patsy Cornwell for her bold faced cheek. That author pic she used to have in front of the helicopter with the flying jacket was completely bad ass.
I've been reading too many spy novels I think, because I've got a lot of ideas, though maybe not strictly what you might call legal.
Seana
Spy novels, eh? Can I recommend a book? I think I've mentioned this before but I just read this a few weeks ago, Defence of the Realm: The Authorised History of MI5 and its excellent!
Well, spy novels and television. Actually, pretty much everywhere you look these days, you turn up another spy.
Yes, you did mention that book--it doesn't seem to be too available here right now.
Seduction and blackmail--that's basially all you need. That and a sociopathic view of life. Anyone who has worked in a service industry should be able to summon up that without too much effort.
I didn't realise you don't have a US deal - that definitely does empty the glass a little - not terribly surprised now that I think of it (because America as a whole baffles me and I've not noticed any particular inclination for them to care what others - like foreign newspapers - are saying).
Even so I still don't agree that most crime fiction is bad and I would give up reading for knitting if the only thing ever published was first novels. Seriously.
Louise Penny is interesting because she has said she set out to write four Gamache novels - one for each season - but then the books were hugely successful so she kept going. She did branch out past Three Pines, though.
I can say for myself that the fourth in my "Toronto series" was very difficult to write (constantly felt like I was simply repeating myself) and will be the last. Unless, of course, this one sells a few copies....
Exactly, John.
I saw your promo on it. I'll be getting one in any case, but it seems like a good ploy. Or could be.
Seana
Really? The only thing my years in the service industry gave me was a burning desire for cheap vengeance.
Bernadette
I dont know, knitting is an honourable task. My daughter got a junior set of needles and some wool for Christmas and we've been trying to teach her.
My feeling is that life is too short to drink mediocre beer and to read mediocre books. Knitting seems like a worthwhile substitute. Drunk knitting might not be so brilliant though.
John
I think stopping at four is a wise move. Although I can vouch for John's modesty here. I've read book 4 of the Toronto quartet and I think its bloody marvellous.
I've read all the Parker novels and although I enjoyed them all, I enjoyed the later ones less. The edge had been dulled somehow, but whether it was through the character running his course or Stark ageing (Dirty Money was published not long before Westlake died aged 75) I don't know. Perhaps he kept Parker comparitively fresh because he wrote so much else under so many guises. About 15 pen names, I think.
I don't think you wore the retail mask for quite as long as I have, Adrian. Vengeance is only the first phase.
I do have to say that a drunken desire for cheap vengeance plus knitting needles is really a lethal mix.
I've read two of John's books so far and they're great. Another author definitely underrepresented below the Canadian border.
And Adrian, when some bloke in Warrnambool tells you, "It's awful but what else am I going to read?" you're supposed to produce a copy Dead I May Well Be and say, "I think I can help you there ..."
C'mon man, think on your feet.
David
No one, no one can criticise Westlake's work ethic and energy. The man was a lean mean writing machine. They talk about Christopher Hitchens writing to the very end. How about Westlake still killing the page right the very last.
David
I should have brought a box and set up a stall. Or better yet I should have brought my notepad and just wrote some of the free dialogue from the tattooed, one armed, carnival barkers at that highly dangerous fun fair they run down there.
Seana
I've told you might favourite line from my years at Barnes and Noble haven't I?
Creepy Customer: Where are the books on serial killers?
McKinty: Is that a "How To" book, sir?
My man Bill James both proves and disproves your argument. He wrote a number of original, highly entertaining titles in the Harpur & Iles series, but the series really picks up right after you say most series die off: around the seventh book.
That was around the time I think he got he got the Anthony Powell idea of chronicling an era through the lives of individuals. That got him through about the eleven more books, extraordinary high points in crime fiction, before the series began to flounder. Subsequent books have been hit or miss, or odd experiments and variants. (The most recent, twenty-eighth in the series, which it makes it one of the longer series in crimedom, is one of the stronger entries.)
One solution is to do what Donald Westlake did with the Parker novels: Take twenty-two years off mid-series. Westlake made special efforts to keep things fresh by try experiments of all kinds. But even in his case, the pre-layoff Parker novels are generally stronger than the post-comeback books.
========================
Detectives Beyond Borders
"Because Murder Is More Fun Away From Home"
http://www.detectivesbeyondborders.blogspot.com/
Cary, I read your comment after I'd posted mine. I like all the "new" Parker novels, but I'm not sure any are as good as The Hunter, The Score, or Butcher's Moon.
Peter
28 books about two characters is too many. Even if those characters are Jeeves and Wooster or Aubrey and Maturin, which Harpur and Iles are not.
Matt, I liked your observation that Block's recent Scudder books blurred with some of his other series. Westlake/Stark's post-comeback Parker novels do the very same thing, blurring lines with the Dortmunder series and Westlake's standalones such as The Ax. I put up a post on that very subject a few years ago.
Adrian, that may be why one of the recent books in the series was called In the Absence of Iles -- and the character who does not appear in it was Harpur.
I should write a blog about working in a bookstore. But if I included the best, ie, the worst bits, I would first lose my job and then lose my blog, so it's not really a brillant move.
" Even if those characters are Jeeves and Wooster ..."
Wodehouse was a bit like Westlake. He had a long career, he was prolific, and he wrote multiple series: Bertie and Jeeves, Mr. Mulliner, Psmith, the golf stories, the Drones Club stories, the Blandings books, the Uxbridge series, and that's not even counting his standalones and his work in theater.
The Uxbridge stories are the only ones I don't like, but that;s because IO find the title character obnoxious. I also think some of his American stories are weaker than the best of his English ones.
T
Peter
It took me a while to get into Psmith but eventually I did. Psmith Journalist is a classic.
I think my favourite non Jeeves is probably Summer Lightning.
Seana
An anonymous blog then where you can vent.
Good idea, but I know it would somehow be traced back to me.
Peter, John
You might like this piece from today's Guardian about one of Montreal's finest sons:
http://www.guardian.co.uk/music/2012/jan/19/leonard-cohen
Ross MacDonald. I think the Lew Archer books are the best series ever written. Not every one is perfect, but as a series I think they get better as they go. The Blue Hammer and The Underground Man are amazing and they're at the end of the series.
My personal favorite is The Chill though. That book blew my mind (not much of a mind, sure, but blown nonetheless).
Fingers
I will bow to your superior knowledge. I've only read a couple of Ross McD but they were both pretty solid.
As a very keen crime reader and reviewer I do agree that there is a lot of crap published that is top of best-seller lists, including franchises like JP and torture porn that to my enduring puzzlement, even many women like (as they are usually depicted as victims). It is sad when books in these formulaic or "revelling in explicit violence" books do well commercially. But as Bernadette says, if readers read them, publishers will publish them.
However, the provocative post is not true either. Plenty of authors are producing good series that don't reduce in quality. Some even sell very well, eg Michael Connelly, Ian Rankin, Ruth Rendell, Sue Grafton and so on. (and of course, historically, Sjowall/Wahloo, the best crime series of all).
At the "not best selling but continuing to be published" level, there are very many excellent series, where the author does well by his/her readers. Arnaldur Indridason, Jo Nesbo, Gene Kerrigan, Asa Larsson...etc, I could go on for ages.
And - good series start up all the time, eg Peter May's recent The Blackhouse and (not read yet by me but apparently even better) The Lewis Man.
We all start going rapidly downhill from the age of 50 so in crime fiction series terms that would be from about book 7, the rare exceptions being the Martin Beck series and the late Reginald Hill's Dalziel and Pascoe series. The detectives naturally become older, and we find their former brilliant insights have to be dragged out of them after pages and pages of padding. They deteriorate mentally, like Kurt Wallander, or start talking to themselves Salvo Montalbano, or retire to run antiquarian bookshops Van Veeteren. All rather sad for us elderly readers, and I would impose a five book limit on any series with the detective left by the author at the top of their form.
On the other hand Gerlof is pretty sharp and he's in his 80s ;-) (Johan Theorin). Mind you, he's only been in 3 books so far! Give him up to 5 as Norman says and he, too, may have deteriorated.
I really worry about the state of U.S. publishing of crime or other fiction. What I see on the NY Times' best-sellers' lists or on my library's front shelves astounds me. (And lots of books have been removed from the shelves, so readers are faced with few choices, just the "best sellers" and big publishers' books.
Is it what publishers see as sellable that only determines what they publish? That seems to be the motive more and more as publishing and promotion costs rise, as the big companies eat up the little publishing houses.
Most of the good books I read come from other countries. And there are good series which continue, and I am not talking Lee Child here. NO!
Are people just too tired after work to read quality books, so they want instant gratification and escape?
The quality of TV shows here has gone downhill.
It's too bad that your books can't get U.S. publishers. However, I think they're all looking at the bottom line here, what will sell big, and usually they're looking at proven best-selling authors. (That's what I see on the "best-seller" lists all around.)
It's all about money, more and more.
What makes the Aubrey-Maturin series compelling for me is that each novel has a different ship and sails to different waters with new allies or enemies according to the shifting politics. Each book presents a whole new world. In that way it is similar to some SF series like Enders where new worlds can be invented in each book.
I haven't read any in a while but I seem to remember the Sherlock Holmes stories holding up pretty well.
Someone mentioned Reginald Hill above, and I think he's a good counter-example. Even though I think the Dalziel books peaked at about 11, there's no denying that Hill has definitely kept experimenting with his style.
Another author who I think is very strong all the way through was Michael Dibdin. Part of what makes the Aurelio Zen series so good is that Dibdin wrote each of them in a somewhat different style from the others -- "Cosi Fan Tutti" is a farce, "Ratking" and "Dead Lagoon" are very dark, and so on.
I read a book about the Jeeves stories, and the author talked about how Wodehouse alters lines like "quills on the porpentine" over time. It's not so much that he's trying to pull a fast one as that he assumes you've already read the some of the other stories, and by the later stories the lines are pretty elliptical. You could easily have no idea what Bertie is referring to in some of the later ones. I've also noticed that it's more of a feature of the Jeeves stories than the others -- the Emsworth stories, for example, don't re-use the same lines nearly as often.
I think people who are devoted series readers are seeking the familiarity of an old lover. Sure the story is pretty much the same with little variations, but at one point it all really meant something and they want to reexperience the ghost of that first feeling.
These are the same people who feel betrayed by any real character change. So not to defend "hacks" but...
Anyway, I'm fickle and have never really felt the love past a trilogy. However, you can delight me with internal allusions between stand alone books all day.
With that said, I have read all of Jordan/Sanderson's Wheel of Time series. Some of it is determination to finish the damn thing, some of it is wanting to see the end.
Maxine
I'd go along with Rankin and Rendell and I really must read those Wahloo books if I can get over my anti Nordic prejudices.
Uriah
But wait Patrick O'Brian didnt start the Aubrey Maturin books until he was 50 and wrote them into his eighties. The one he was working on when he died was really good.
Kathy
It is definitely all about the dollars. You cannot possibly explain to your boss, an accountant from a multinational, that you published a book for artistic reasons.
Haila
The Patrick OBrian books are a genuine roman fleuve taking us through many continents, countries and historical events. New ships, new places, changes of government helped keep it fresh.
Gav
Yeah I like Michael Dibdin's approach. He doesnt just run the numbers but gives himself a real challenge with every book. He keeps his brain active and that keeps the stories alive.
Shulla
The purveyors of crack probably tell themselves that they are only giving the public what they want too.
I felt the same with the Frank Herbert Dune books when I was a kid. By God Emperor of Dune I hated the series but I was determined to finish the bastard and I did.
Adrian:
Permit me to add my voice to those recommending the Martin Beck books. I get that you've got a self-confessed anti-Nordic bias, but that's a series you should take a look at. If you've read S. Larsson, then you should read Wahloo/Sjowal.
Raymond Chandler sometimes made his heavies marijuana smokers or pornography collectors. Not much of a threat these days. Which is one reason why it is always best to aim for the timeless and universal.
I used to await each Stephen Greenleaf novel just to bask in the style, the deep humanity of the protagonist. I had this experience with Block's Scudder novels too, especially after he recognized his alcohol problem. The later Scudder novels are high Art.
To leave violence out is like leaving comic relief out--as if you were leaving Shakespeare's comic porter out of a performance of MacBeth.
Block's latest Scudder, A DROP OF THE HARD STUFF, was unconventional in that it left out violence almost entirely, but always there was a tension and the threat of violence. Artfully done.
I love reading Ross MacDonald too, though I was a nonbeliever in anything Freudian the first time I read his novels. Now they soar much higher in my estimation. I reviewed THE THREE ROADS a while back.
Meanwhile, such books as the Sherlock Holmes novels have always seemed juvenile to me. I simply can't get into them. And reading the review of the new Holmes movie here likewise made me pass.
The best mystery/thriller novelists know how to appeal to the trinity of the reader (as Dorothy Sayers put it). The surface beauty in the sentence, the reflective thoughtful nuance, and the more deeply experienced symbolic. The stuff are dreams are made of.
See Peter Abraham's novel, LIGHTS OUT, that I reviewed over a year ago. Great stuff. The light puzzle mysteries have their place but not on this reader's bookself.
That's a good article about Leonard Cohen. Kind of fits in here as he never just pumped them out, so to speak.
Several years ago, in an interview, Dennis Lehane told an interviewer that he thought five books seemed to be the appropriate length for a series. Moreover, that five seasons (or series) is about right for a tv drama.
I love James Lee Burke and I think he works diligently to improve his craft and write better books. Having said that, after reading a dozen Dave Robisheaux novels--which are some of my fave crime fiction books--my enthusiasm for reading more of them has waned considerably. Thus it's been a few years since I last read one of them.
I think Crais peaked with LA Requiem. Unfortunately, instead of ending the series on a brilliant note, he took the narrative structure of that book and used it as a template for subsequent books and it seems like he's been rewriting the same book ever since.
(having not read all of them I'm not certain that's the case--it's merely my impression)
Series books can be fun, though once a series reaches maturity it's often reduced to, "Here's the latest chapter of 'The Incredibly Grueling Saga: and this time it's personal...or whatever...but I mostly don't care...'"
There's an episode of "Aqua Teen Hunger Force" that illustrates this phenomenon rather well. A robot claiming to be the ghost of Christmas past shows up, refuses to leave, and drones on for so long that his horror-story becomes a parody of itself--not unlike a slasher movie franchise with way too many sequels. Eventually the landlord sells his house to rocker Glenn Danzig because the swimming pool is filled with blood and the walls inexplicably have blood running down them. It's basically a cautionary tale about what happens when a story goes on long after the writer runs out of inspiration ideas. (sorry for the unintentionally ironic marathon post, by the way)
hey adrian, i´m from germany so maybe my english ist not quite correct (but i try to improve it by reading books in english).
i´d like to mention the jack taylor series from ken bruen. in my opinion all the books are really great.
tomorrow i´ll finish your new novel, TCCL, until now i like it very much. but the best books i´ve read till now (and i read a lot of books) are the ones about michael forsythe (including falling glass). they are so fantastic that i´d like to thank you form them.
How could this thread have gone on so long without mentioning Andrea Camilleri? The thirteenth of his Salvo Montalbano novels has recently appeared in English, and if anything, the books have got stronger as the series has gone on.
Camilleri is an exceptional case, able to keep the series strong by giving the character a deepening sense sense of his own mortality and sympathy with his fellow humans, while keeping him as crotchety as ever. He's also exceptional because he has finished the series, with, he has said, the final books to be published in the event of his death or incapactiation.
He's exception, too, because he's still writing awar at age 86.
====================================
Detectives Beyond Borders
"Because Murder Is More Fun Away From Home"
http://www.detectivesbeyondborders.blogspot.com/
I'd have to agree that Burke has probably gone on too long but it was him that got me into crime fiction. maybe it was just dave & Clete getting old that started to turn me away. I have them all including Swan peak, but i've yet to touch it or his newer ones. Somethings put me off somewhere.
reading Moonlight Mile now, & have to agree as well that its not in the same class as the earlier Kenzie/gennaro novels. He's trying too hard for them to rail against youth culture for me. Never finished shutter island either, but enjoyed the Given Day.
Kent anderson1 I knew there was something I'd been meaning to read. night Dogs imo is one of the best of its type, but he isnt exactly prolific is he lol
Readers are a lot more forgiving than writers are when it comes to series. If you penned five more Michael Forsyte books, sending him on a ridiculous amount of crazy adventures, I wouldn't care. I'd still devour the books. While that might not be realistic, the rules of fiction are different than the rules of reality. In fiction, we writers hate to rely on/use coincidence in our stories for example, but in reality coincidences happen all the time.
Either way, keep the books coming. The wife and I will read 'em.
-Brian O
I am a fan of Andrea Camillieri but I like the first four Montalbano books a lot more than the ones that followed, which I felt became more dialogue heavy and less inventive.
I second Richard Pangburn in that my favorite series are the Tanner series by Stephen Greenleaf. I also like the Paul Christopher spy novels by Charles McCarry.
Lehane's "Moonlight Mile" was a big disappointment to me; it was like a transcript of a video game. I used to miss Kenzie and Gennaro; not any more, alas.
Romance readers seem to be more open to trying new romance authors and seeing how hard it is to get an audience for new crime writers, I'm a bit jealous of that genre.
Speedskater
I'll give him a go, esp if I can get as an audio.
Richard
I assume thats not the Pete Abraham who runs the Boston Red Sox blog?
Ross MCD scores pretty high on the list of books I've randomly dipped into.
Anon
Thats interesting that Lehane though that five was the maximum. I too think thats a good number. Thats probably enough incidents for any fictional character, esp in a crime novel.
John
Lennie Cohen can do no wrong in my book, although maybe he could have been more discreet about Janis Joplin.
Martin
yes I'm pretty surprised about how well the books seem to be doing in Germany. In fact it looks like they're doing better in Germany than anywhere else including Ireland or America.
thats probably down to the translator. Maybe he or she improved them somehow.
Peter
I think Sicily and Southern Italy are two places where a lot of shit could happen and it not strain credibility in the least. Certain if my experience of a hairy few days in Naples is anything to go by.
Swooperman
I havent read Moonlight Mile but I'm hearing a lot of shite about it. Is it really that bad?
Night Dogs is another one on my list.
Brian
If I ever did another M Forsythe book (and I'm definitely not going to) I'd have to kill him. He's been way too lucky to live.
I just wrote a three page young M.F. cameo that might find a place in the next Sean Duffy though.
Cristina
I know Lehane's editor and she's got a very hands off approach which can both be a good and a bad thing for an author.
Of course some authors cough Stephen King cough refuse to be edited.
On a side note, five is about the maximum number of players for a good d&d campaign. Any more and it really slows down...
Having read through all 105 comments, I am now totally discombobulated.
Lehane made a mistake to pick up the series books in the way he did. He always thought of them as potboilers, which may be true, but they were good potboilers. Portraying Kenzie and Genaro as basically suburbanites who are dragged back into the game was not a good move. But if he'd kept writing more of the series after the first four or five, no one would have called him on it. I wanted more myself, but not this one.
What I'm really seeing here is that series are great except when they aren't, or conversely, no one should continue the series beyond a certain debated number, except when for a variety of reasons they should.
As to Michael Forsythe, Conan Doyle wanted to kill off Sherlock too. Luckily the fans didn't let him get away with that nonsense.
One of my young coworkers asked me out of the blue today to recommend a Poirot to her. I told her to try The Murder of Roger Ackroyd. I think the fact that she asked me all these years after Dame Agatha penned it says more about the joy of series--or really, the endurance of great, archetypal characters than all our comments here. Though they have been good.
Peter,
The "old" Parker novels are good, but they seem dated now, particularly in terms of how Parker (and Westlake) treat female characters. The new ones drop the sexism and the cliche tough guy dialogue. This makes new Parker a more believable character, although no less dangerous and ruthless.
I was going to bring up Andrea Camilleri here, since he was mentioned, I'll add my two cents. His books zig and zag, but they are still good.
I laugh at Montalbano's antics and those of his team and just enjoy these books.
In the States, there's also Rex Stout's Nero Wolfe series, which always sells, according to my neighborhood mystery book store.
Sjowall and Wahloo's series is superb. And, Indridason's books are also excellent, including his most recent few.
We all like different things in books. Few women authors have come up here. I still enjoy Donna Leon's series, Sara Paretsky's, Sue Grafton's, and books by Fred Vargas, whose quirky inventiveness I like.
And Denise Mina's books, featuring working-class women protagonists, are among my favorites, especially the Garnethill trilogy. And the main character is tough!
As far as publishing here, have you tried Soho Press? There are also other smaller publishers, which do well in the mystery world.
When I see the NY Times best-seller list every weekend, I grit my teeth. So much hackneyed and boring stuff, much of it totally unappealing. But big name authors are on it.
Hope you can crack the U.S.-market and publishing world.
Matt
Four I think is the max for D&D. If you assume that each person is going to spend at least an hour arguing about the rules with one other person thats 2^3 hours of arguing per day per campaign. Add another person to the mix and you reach critical mass. Except if that fifth person is a girl of course and everything mysteriously runs smoother and faster.
Seana
I wonder if Lehane was best served by William Morrow? Like I say I know his editor and she's the type to have given him a lot of rope to hang himself with.
Cary
I like this. A good old fashioned disagreement on old versus new Parker. You cant be more crime geeky than this. Its good.
Kathy
I tried Soho and they said no. They liked my books but they said (and this is a direct quote) "we already publish a novelist from Northern Ireland."
Shame on Soho. That is idiotic.
I don't know if it was Morrow for Lehane. I think he wanted to escape from a certain status in the crime writing world and try other things. And I've liked the other stuff he wrote. But I think he may have held his series in lower regard than he should have.
It's hard to sustain a series, that much seems clear.
That doesn't mean it isn't worth doing.
I'll have to take another look at the post-comeback Parkers so we can descend even more deeply into geekery.
Hi Adrian, as promised I've written a little piece about you and "The Cold,Cold Ground" over at my blog - http://lostinlanguagecity.blogspot.com/
Loved it.
Seana
Its very good to try new things. Doesnt some guru say that ninety percent of success is failure or something? If not I may have coined a phrase and built a whole new career.
Peter
Throw an oar into the Dungeons and Dragons conversation between me and Matt and you'll really be in a geek nightmare.
Ryan,
Thanks for that mate. I really appreciate the review and your kind words. I'm glad too that you enjoyed the book.
Adrian
i don't think Moonlight Mile is that bad, no, but its nowhere near as good as Lehane's previous stuff, so I guess its seen as a let down. It simply feels too comfy I think. the publishers might not have been too keen on a book the size of 'The Given Day' & the time it took & asked for the return of Kenzie & Genaro perhaps? Never go back, not after that length of time
Someone mentioned Michael Dibdin. What he did in Cosi Fan Tutti is a model for keeping a series fresh: Every few books, base a novel on the libretto of a Mozart opera.
He was the cleverest of crime writers, and his occasional standalone novels probably helped him avoid staleness. Of course, the Great Editor in the Sky was the one who ultimately made sure he did not extend the Aurelio Zen series too long.
=============================
Detectives Beyond Borders
"Because Murder Is More Fun Away From Home"
http://www.detectivesbeyondborders.blogspot.com/
Adrian, thanks for the invitation, but I'll stay away from Dungeons and Dragons. That's for geeks.
I'm reading the fifth of James McClure's Krames and Zondi novels. He wrote eight, of which a couple are less highly thought of than the rest. I have read the eighth in the series, and it's a fine book. Of course, he had a subject and setting at least as good as Troubles-era Northern Ireland: Apartheid-era South Africa. Hmm, he was a South African native who, however, wrote his books after he left, an interesting coincidence with our gracious blog host.
Peter
Its so so geeky that its almost cool.
Swooperman
Thats why its better to write a lot of bad books first and then get better. If you start too high you'll always worry about letting down your audience and never write again: JD Salinger, Harper Lee, Ralph Ellison...or just make people pine for book 1: Joseph Heller, Norman Mailer...
It's ur-geekery, really.
I've just checked back on this and 124 comments! And they're not all from Pete R and Seana! Well done, young man.
My comment, BLT, was going to be : I think most crime novels are good because I usually enjoy them and usually finish them.
Tone is everything. A cozy mystery-style detective like Poirot or Peter Whimsey is a lot easier to stretch out, because it's basically comedy pulp to start off with (and that's the way I likes it, dagnabit.)
I'd say with the heavier characters, anything noir, then yeah, it's tough to maintain that tone. It's just too much; once you strip away the continuing character development because they've already gone to most extremes, you end up with lots of chases and abstract puzzles, usually unsolvable (even if technically doable) by anyone without psychic abilities.
Let's face it, someone like Graham Greene would've run out of steam pretty quickly if everything was like A Gun for Hire, and if there wasn't the odd Our Man in Havana to offset the bleak (but still just as moralistic) Brighton Rock. Ditto with Steinbeck; for Every Grapes of Wrath and Of Mice and Men, there's Cannery Row and Travels with Charlie.
Dude had to mellow, we all do.
How does writing a lot of bad books first and then getting better fit in with your only write one flawed but original book theory?
Yeah, four players is ideal - much faster - but folks need to know what the heck they are doing.
The other benefit of the fifth player being a girl is the host tends to pay a little more attention to keeping his bathroom clean, which is nice.
Paul
No when I was reviewing regularly I discovered that most crime novels are bad. In fact most are very bad.
Seana
I dont know. You do lose something the more "professional" you become dont you? In a way its the crazy naivete and boldness that makes first novels so interesting.
Matt
And the music choices might be slightly less obnoxious.
Crazy naivete and boldness are great as far as they go, but it's not everything.
I liked the Jeffrey Eugenides interview in the Paris Review on this. He said that he understood his own limitations (which is rare enough in any human endeavor)and knew he didn't have the skill yet to accomplish everything required so he focused on one thing which was the choral voice of the narrator. That was a good novel, but I don't know if it is really a better novel than Middlesex. Both were very ambitious.
Regarding the interview, though, I am getting a bit tired of writers discussing at length how they arrange their day. Most people in the world have a lot of their day arranged for them and fit the artistic endeavor around it as best they can.
Seana
I think of Jim Thompson doing manual labour and then coming home to write with the typewriter balanced on his lap in the toilet.
Or William Faulkner working nights in a power station and snatching a bit of writing in during the day.
That'll give you perspective.
I remember reading that Nabokov also wrote some early novel in the toilet in their Paris digs when he wasn't the celebrity he became.
Of course, he didn't come from QUITE the same background as Thompson, but don't know if having once had a lot makes writing in reduced circumstances harder or easier.
Hmm. I can see Brian Lindemuth's very interesting post(s) in my email but they don't seem to be showing up here, so this is by way of a test.
Seana
I see them also maybe they were too longer for blogger's stupid system?
I'll try and repost.
FROM BRIAN LINDEMUTH:
Or Johnny Unitas QB'ing the Colts while working at Beth Steel (sorry, it's Sunday and I've got football on my mind).
Back on topic. I read your post and thought to myself that it sounded familiar. Because I like to read and have a long memory I remember reading some interviews about a decade ago that were given by an author that angered many people in the genre. Readers thought that this author was taking a shit all over the crime genre when instead he was really criticising the series as a form. I couldn't help but think of this persons interviews while reading Adrian's post.
Want to take a guess, without Googling, as to who said them? (I redacted the characters names.) Find out after the quotes.
1)I think any series is going to run down, and you don't know where the tipping point is. But any series is going to wear out its welcome.
2) If they knock on the door really hard some day, I will go right to the typewriter because I'd love to go back for one more, but I won't plug them in and have them take a cruise where the chef gets killed and only Patrick and Angie can solve it. That sort of Hart to Hart shit, I don't want to go near it.
3) Also, I think TV series are a great example. I have a five-year rule on dramatic TV series: I will put it to anyone to name one dramatic TV show that didn't drop right off the cliff after the fifth year. Hill Street Blues went to shit. Homicide: Life on the Street, which was just about the greatest TV show ever, went to hell. You run out of storylines. Then what you do is you start putting the characters into personal situations. ER —the doctors are stuck in El Salvador. A very special episode of...
4) I wrote five books, and in the fifth book I noticed one of my characters— probably the most popular character I've ever created, [REDACTED]— in the fifth book, he started getting cute. Just a little bit. And I felt myself doing it. I knew that people loved him and they wanted to know a little more about him. I look back at him and I just go, He's exactly what I said I'd never make him. It's just hinted at in the fifth book; it's not all the way, but it's there.
That has a lot to do with it. Step off the stage. Nobody wanted to see Michael Jordan play with the Wizards. Nobody wanted to see Joe Montana go out with Kansas City. I don't really want to see Emmitt Smith play for whoever the hell he's going to play for next year. I felt that way about these characters. If they want to come back for one more hurrah, and it's the right book, I'm all in favor. But if they just want to stay away, I'm all for it.
[post was too long, more in second comment]
BRIAN's COMMENT PART DEUX:
5) They should have ended the show when it was great, probably two years before they did. I could say that, however, about most great TV shows--Homicide, Hill Street Blues, ER, even Seinfeld--they should have ended *at least* 2 years before they did. And the same goes for book series. And again, that's why I'm so determined not to write a [REDACTED] book unless it comes 100% from the heart, because the law of diminishing returns is very much at work in cases like these.
6) I've probably used the warrior model a bit too much when it comes to [REDACTED], so his longevity prospects aren't real good if he keeps getting ass-whupped at his current pace. And so, again, that speaks to the problems of keeping a series fresh, because sooner or later you run into questions of believability that are even louder than the ones you start out with when you decide to write a book in which your private eye character engages in actions which few real life private investigators have ever had to deal with.
7)I think Spade and Marlowe remain icons because they didn't wear out their welcome. Would Chandler be Chandler if he'd written 18 Marlowe books? I don't know, but I wonder. Maybe Chandler could have sustained the level of quality, but the issue is more whether I can. And I have my doubts about that. The only artsy, metaphysical aspect of my approach to writing is that I can only write about characters when they come knocking on the door and tell me to.
8) I think there's a finite number in any series. You never hear people say: Oh, the 15th is the best. You never hear that. There's a point where a series has to end. I don't think I've reached that point, but I reached a point where it needed a break. And I do think that the number is rapidly approaching: whatever that magic number is, where it's going to be time.
9) I'm at a point now where it might be judicious to take a bit of a break. I've done five books, [and my characters] have been beat up a lot; they've had a lot of big cases. You want to ground these books in as much realism as you can. Because what's inherent in the whole genre is that it's unrealistic: Private eyes don't do that sort of stuff.
***
The person who said these things was Dennis Lehane.
Brian
Very interesting stuff.
My guess is that Lehane just got sucked in?
The five year rule is a very good one for dramatic TV shows.
Even shorter perhaps.
I wish Battlestar Galactica which I loved had ended at the end of season 3 instead of the awful travesty which was season 4.
In re Lehane’s comments,. I’d guess it was easy for him to say he would never carry a series beyond five before a publisher offered him the chance to do so.
He may be right that no one ever says the 15th book in a series may be the best, but Butcher’s Moon Richard Stark’s 16th Parker novel (and the final one before he took 22 years off) may be the best in that series.
It seems totally fair to assume that Lehane started writing the Kinsey/Genaro series because they were very marketable but that he always had aspirations to try other things.
And I can also see how he might have missed writing the characters after a long break. But I'm sorry to say that Moonlight Mile wasn't very good, and it wasn't because it was in a series, it was because he decided to make the couple people who were trying to live the straight life. Interesting to him, perhaps, but not very interesting to us. Well, to me.
Seana, I'm guessing you're right about Lehane's reasons for beginning the Kenzie/Genaro series. I tried one of them and did not like it at all. But I have read the Lehane wanted to be some kind of avant-garde literary novelist and had never imagined himself writing crime. I don't know what got him started on the series, though.
I liked them--they got a bit over the top, but I liked the premise of them. I do think he was one of those working class Boston types who wasn't ever supposed to amount to anything as a writer and I think it's fair to say that, whatever you think of his books, he showed them.
I just caught this post and have not read all the comments, so I don't know if anyone has mentioned these authors. It's been 10 years or more since I read this, but at the time I really enjoyed the November Man series by Bill Granger. Written in the 70's about a operative in a fictional covert faderal agency (called R section) designed to balance out / keep tabs on the CIA. Some good stories and decent writing.
I also enjoyed Andrew Vachss "Burke" series. Not typical and pretty gritty plots.
Adrian, I'm curious if you've read anything by Greg Rucka. His Atticus Kodiak series has developed nicely, I think.
Peter, Seana
Fortunately or unfortunately I havent read the later Lehane.
DJD
I did read a Greg Rucka and enjoyed it. (I think I read it because I was may panelling with him somewhere or perhaps I'm mixing him up with someone else.) But yes I read number 1 and liked.
Adrian,
The Kodiak series worked better than most, partly because the character changes significantly throughout the series, from fairly simple to pretty complex. The final book, Walking Dead, was pretty darn good, if you're familiar with he whole series. Thanks for the fun post.
DJD
And he's a nice guy too (if I'm remembering correctly) which also helps.
Gotta go with Ross MacDonald - every single Lew Archer book is fantastic and Fingers is right, they are as strong at the end as they are at the beginning of the series.
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