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Dear Reader,
This week's guest author, Laurie R. King, covers the world in her NYT bestselling novels, requiring the hard research of travel to spots like Lisbon, Morocco, Papua New Guinea, and Venice. Her background is similarly mixed, as required for a writer of crime, from coffee store manager to theological student. After all, a person never knows what will be needed for the next book.
Laurie's crime novels are both serial and stand-alone. First in the hearts of most readers comes Mary Russell, who met the retired Sherlock Holmes in 1915 and became his apprentice, then his partner. Beginning with The Beekeeper's Apprentice, Russell and Holmes move through the Teens and Twenties in amiable discord, challenging each other to ever greater feats of detection. The latest book in this series is Island of the Mad: A novel of suspense featuring Mary Russell and Sherlock Holmes, where Sherlock and Mary meet a struggling Cole Porter.
Laurie would love to hear from you. You can reach her at: http://laurierking.com/contact/
Cole Porter & Sherlock Holmes, Misbehaving
Whenever I set out to write one of my 1920s novels, I first choose the location, then rummage around to see who was there at the time. I've come across some fascinating characters that way--characters in both senses of the word: Sabine Baring-Gould in Dartmoor; Dashiell Hammett in San Francisco; Marshal Lyautey in Morocco--real life, all of them. People I probably 'couldn't' have made up.
Not that I don't create characters from scratch. These are novels, not thinly fictionalized histories--but stirring in well-known places and faces can ground a story, giving (as Gilbert & Sullivan admitted) artistic verisimilitude to an otherwise bald and unconvincing narrative.
Then sometimes, one of those actual people elbows aside my own created ones to seize center stage.
Such as Cole Porter. When I started writing Island of the Mad, I knew Porter would have at least a cameo. Who could envision Venice in the Twenties without him? It's even summer in the series time-line, when the city bursts into bloom with foreigners.
But in 1925, Cole Porter was not yet Cole Porter. He was a playboy-about-town, a dilettante who'd been badly stung by Broadway's lack of enthusiasm for his songs. He and his wife had more money than two people could possibly spend, so why fret about music? Music was a fine hobby to indulge with friends, gathering around the grand piano after dinner.
Music might have remained a hobby, if not for...
If not for some older musician coming into his life and treading frivolity underfoot? Some older musician--a violinist, say, who happens to be in Venice for other reasons?
"Very well," Sherlock Holmes says to Porter, indulgently. "Let us misbehave." He then turns the conversation firmly away from indulgence, since for Holmes, misbehavior is but a means to an end. However, dismissal does not mean dismissed. Porter's quicksilver mind seizes on those casually dropped words, and when they meet again:
'Clearly the phrase had stuck in the man's ear and, over the past twenty-two hours, been harvested, cleaned, combed, and was now in the process of being spun into thread.'
Porter's song Let's Misbehave did not appear for a year or two...but now the world knows that the idea was planted by none other than Sherlock Holmes. And the wider possibilities opened up by that 1925 meeting? How it shaped Porter's deft use of music as a weapon and a tool for liberation?
Well, for that one has to read Island of the Mad.
-- Laurie R. King
Laurie would love to hear from you. You can reach her at: http://laurierking.com/contact/
Thanks for reading with me. It's so good to read with friends.
Suzanne Beecher
[email protected]
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