Writing What You Have To

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People are always asking Lawrence Block when he's going to write another Bernie Rhodenbarr book. He doesn't know. Besides, he's not interested in writing what you want him to write… because that's not what drives him, or most writers, to put words on the page. He says: 

It’s counterproductive to tell me what you want me to write. I sincerely hope that my writing pleases you, but if you think I’m here to give you what you want, there’s a lot you don’t understand about writing, and no end of things you don’t understand about me. The greatest disservice I could do my readers is to try to give them what they want. That’s just not part of my job description. All I can do is write my books my way, and try to make them so irresistible that you enjoy reading what I want to write.

[…]as much as I might want to write a book about Bernie, or any other character, the desire’s not all that’s required. There are writers who can write anything they’re asked to write, and I thank whatever gods may be that I am not of their number. I probably was, early on, but I got spoiled, and for years now I’ve been unable to go on writing a book unless it engages me.

I love my readers. I need my readers. But some readers have the ridiculous notion that the novelists they read work for them and have an obligation to keep churning out the same book over and over. Some authors are quite content to do that. But even among those authors, I know many of them keep writing book after book about the same characters because they love it, because that's what they are driven creatively to do, and not only because its what their readers and publishers want from them. I'm on my 14th MONK book, and I can tell you I'm not writing them for the money. If I was, I would have quit long ago, because the money is far from spectacular.

Others, like Lawrence Block, would rather go where-ever their muse takes them, regardless of whether it makes the most commercial sense or disappoints some of their fans (I am sure there are scores of readers who wish he'd do nothing but write Scudder and Burglar books for the rest of his life). He writes the story that he has to tell…not the story that you, or me, or the publishers want him to tell.

I admire that about him.  Maybe it's that dedication to his muse, and not his readers, that's one of the keys to his prolific output and great success. 

Mr. Monk and Happiness

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MR MONK on the Road (1) I'm enormously flattered by the glowing review Mugshots gave Mr. Monk on the Road today. Here's an excerpt:

Here's why this book is probably the best of the Monk novels to date. It has heart. Actually Heart with a capital H. And Hope. And Happiness.

Now, it's never easy to throw words like heart, hope and happiness around in a Monk book. The books are, in many ways, about his eternal suffering. Schadenfreude allows us to enjoy him solving problems, giving us some laughs, and generally making us happy that we are neither him, nor the suffering Natalie. There but for the grace of God … and all that.

But this book has Heart. The newest Monk is one who can see past his own problems to want to do something good for his brother, no matter how discomfited he knows he's going to be. He engages in the kidnapping, not wholeheartedly, but with enough enthusiasm that you can see him straining to think of others before himself.

And the result is Hope. Not thr kind that had him longing, and then succeeding, to get back onto the police force as a full-blown detective. No, that was fool's gold all along. And he realized that not long after getting his wish. No, the hope here is of a re-kindled relationship between the brothers. Of a life that might get Ambrose out of his house more often. Of a Monk who can allow himself the thought of being normal, if even for the briefest of times.

Lastly, we get to Happiness. On the face of Ambrose. More than once. Monk might generate more than his share of chuckles. But smiles? Smiles of actual happiness beyond solving the crime and the chance to wrap up a crime. Ahh, not so much. There were the happy times cleaning up the streets of Paris. But that was another time and another book. But you know,  a little sunny disposition is refreshing in a Monk book. 

I should note that some potential recurring characters make their debuts in this book. I don't expect to see Dub Clemens again, but this latter day Mark Twainish detective type would be welcome back, healthy or otherwise. That said, Yuki looks to be a keeper. At least Ambrose thinks so. And Randy's replacement, Lt. Devlin, shows some promise. I hope Goldberg keeps her waffling between being a friend and being a foe for Natalie and Adrian.

In a lot of ways, Mr. Monk on the Road is like the other road trip books in the series. Entertaining, informative about the locales and funny. This one adds just a little Heart and becomes endearing.

 Thank you so much, Gary!

History of the Planet of the Apes

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The New York Times examines the Planet of the Apes franchise  on the eve of the new movie, "Rise of the Planet of the Apes." They say, in part:

Taken together the [original series of] movies constitute a cleverly worked out and (mostly) consistent mythology: an alternative, hairier, book of Genesis. The new “Rise of the Planet of the Apes,” although it too features an überchimp named Caesar, consigns that bomb-based mythology to the dustbin of made-up history and instead attributes the origin of the super-species to genetic engineering: different anxieties for different times.

This reinvention of pop scripture is, of course, a risk: “Planet of the Apes” fundamentalists may reject it as heresy. But it’s probably inevitable. Show business, like evolution, is an inexorable and unforgiving process: those who fail to adapt are doomed to extinction. The real danger lies less in rethinking the story than in violating the basic nature of the original series’s kind of science fiction.

It's an interesting article and if it whets your appetite for more, check out Brian Pendreigh's excellent book Legend of the Planet of the Apes for a detailed history into the making of the original movies and the subsequent knock-offs.

Man Undercover

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Watch Me Die Final Jeroen Ten Berge is a terrific cover artist. He' s done the covers for my books WATCH ME DIE and THE JURY SERIES…as well as the books coming out of Top Suspense, to name a few. Author Joseph D'Agnese interviewed Jeroen on his blog. Here's an excerpt:

How do you describe the work you do? Are you a designer, an illustrator, or what? (It might help if you tell us what your training/background is.)

I consider myself a designer first. However, illustration is a skill I almost always use to assist me in creating the design I have in mind. In some cases an illustration becomes the key element of a design. The Scientist & The Sociopath is an example, but the Serial-series covers I created for Blake Crouch and Joe Konrath are also illustrations, as is Suzanne Tyrpak’s Vestal Virgin cover. I also use stock photography, sometimes my own. Several of the covers I designed for Marcus Sakey feature my photos, as do several of Blake’s covers. 

I guess I was fortunate to have studied graphic and typographic design at the Royal Academy of Arts in The Hague in the early- to mid-1980s. There was a strong focus on teaching the principles of design and typography, taught by people such as Gerrit Noordzij, one of the greatest type designers of his generation. There was, however, equal attention paid to illustration and photography. The philosophy was very much, "Why ask someone else to make an illustration or photograph for your design if you can do it yourself?"  In retrospect I can see that graduating the year before Apple MacIntosh was introduced to the Netherlands helped as well. Knowing how lead type works, and why there are certain rules of design helps me on a daily basis. That said—I have worked on an Apple for more than 20 years now, and would consider a career change if I had to go back designing old school.

 

Writing the MONK Books

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Doug Lyle, my brother Tod, and I had very nice signing at Mysteries to Die For today, where we chatted a bit about our books, writing tie-ins, and the publishing industry. You can get a taste of what I had to say in this Q&A interview with me over at Kings River Life Magazine about the writing of the MONK books and MR. MONK ON THE COUCH in particular. Here's an excerpt:

Lorie: This one was a bit different, focusing more on Natalie—why did you decide to do this and what do you feel are the benefits?

 

Lee: My feeling is that characters become stale if they don’t grow and that readers will become as bored with them as the author is. Natalie is a smart woman and I didn’t think she could stick with Monk, and keep investigating murders, if she didn’t find it fascinating herself. And I doubted she could do it for so long without picking up some skills along the way. It’s an arc I have been developing with her since Mr. Monk and The Dirty Cop and that pays off in a big way in Mr. Monk On Patrol, which comes out in January. She’s not the only character who is changing…I’ve also been developing an arc with Ambrose since Mr. Monk In Outer Space that takes a big step forward (so to speak) in Mr. Monk On The Couch.

 

Lorie: Anything else you want to share specifically about this book?

 

Lee: I’ve been liberated, in a sense, by the finale of the Monk TV series, which really shook things up for the characters. I have built on that over the last few books, paying off some of the arcs that began early the novel series. Like the book Mr. Monk On The Road, the book that preceded this one, Couch is a story about change. The characters and their relationships are evolving in substantial ways that continue in the books to come.