Book Review

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The Stone Circle, by Elly Griffiths

This is the eleventh book in the Ruth Galloway series; a series which was originally intended to encompass ten books so, taking a charitable approach, one has to assume that the series has been so successful that an extension was appropriate; I have no reason to decry this decision because, although I haven’t read the whole series [depending entirely upon those which are available from my local library], I have thoroughly enjoyed the ones I have read hitherto, and have come to look forward to reading more exploits of the regular characters who are mainly (although not always entirely) likeable. Elly Griffiths is interesting to me as an author, because she reverses the normal authorial convention: this is actually a nom de plume, presumably chosen [although see below] to appear to be quite British [or Welsh, to be specific] and consequently instantly acceptable to the majority of British readers, whereas her birth name is Domenica de Rosa [Italian for Sunday of the rose] which, although born in this country, she acquired from her Italian father. After writing four novels featuring Italy [write about what you know!] a holiday in Norfolk with her archaeologist husband inspired her to write the first of the Ruth Galloway series; her agent, who saw the potential in it but recognised that it was a crime novel, in contrast to the earlier ones, recommended that she needed a crime name appropriate to the genre, and hence she became Elly Griffiths!

This story does have certain overlaps with previous stories, but that isn’t to imply that it is merely a cynical rehash: quite the opposite, it demonstrates continuity and in some ways, there are advantages, because it can be seen how characters respond to new situations with the benefit of their experience from these earlier situations; and Ruth’s work does have a certain repetitive quality about it. Archaeology expert Ruth Galloway is investigating a burial pit in a henge on the Norfolk coast, close to another one she worked on previously, during which she came into contact with two of the series’s main characters: an endearing (but occasionally also irritating, in equal measure) man who goes by the name of Cathbad, although his birth name is Michael Malone, and he regards himself as a druid, but latterly he seems to have embraced a somewhat more conventional lifestyle with his current partner, a police Detective Sergeant called Judy Johnson; and the father of Ruth’s daughter, Kate, Harry Nelson, a Detective Chief Inspector and Judy’s boss. He is married with two adult daughters, and feels somewhat trapped in this marriage, notwithstanding that he also loves his wife, who is pregnant again at the beginning of the story, & daughters, and his work (somewhat conveniently, it has to be said) regularly brings him into contact with Ruth; he does willingly, and with no complaint from Ruth, visit Kate (whom he insists on calling Katie, much to Ruth’s annoyance), so this doesn’t greatly help Ruth romantically, although she does also enjoy her own space, and there is currently another male suitor in the equation, a visiting Historical Consultant from America, who has been brought in to work as a presenter on a television documentary which also features Ruth.

In the course of Ruth’s digging, the skeleton of a child is found nearby, and there is sufficient evidence that this skeleton is relatively recent, compared to the first remains found by Ruth, so Nelson’s team becomes involved. There is a real concern that the skeleton could be that of a 12-year old young girl, Margaret Lacey, who went missing thirty years ago, so it is important for the family that this can be confirmed, which it is, to give them closure, but also, ideally, to identify the perpetrator. There was a suspect at the time, a young man of obviously limited intellectual capabilities who lived with his mother, but whose alibi, from his mother, was unassailable, so he remained at liberty, albeit grudgingly by the contemporary investigating officers. All of the victim’s family are reinvestigated, and in the course of the story, the baby daughter (Ava) of one of the dead girl’s relatives, Star (Stella by birth) is abducted, almost immediately after another baby is abducted locally, but returned safely within a matter of days; the mother & missing baby are known to Nelson’s wife, Michelle, who is attending the same mother & baby classes, and she dismisses the notion that Star might have engineered this as a way of seeking attention. This is also a very emotive situation for Judy Johnson, whose own son, Michael, was abducted in a previous story (hence the aforementioned overlap), and that was the catalyst for Judy to acknowledge that she preferred Cathbad, Michael’s father, to her erstwhile husband, Darren.

To reveal any more of the plot would be to spoil it, but the original, somewhat unexpected, perpetrator is identified, although not before one of the characters is murdered, and this dénouement is not revealed until right at the end of the story. Otherwise, there is ample scope for continuance of the main characters’ lives, so as I have already said, I am very willing to read a further instalment, plus any previous, necessarily out-of-sequence unread ones I can obtain, and I can thoroughly recommend this series of stories. There are biographies for the main characters at the end of the book, which is a nice little addition, and some of the books [although not this version] also include a potted autobiography, hence the synopsised version above, which I found at the back of another story I still had in my possession. The hardback I read was published in in 2019, by Quercus Editions Ltd., London, ISBN 978 1 78648 729 2; there is also a paperback, an eBook, and an audio book version.

Book Review

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Find Them Dead, by Peter James

This is a recent publication by this author, but he is very prolific, so it is actually only, to date, the fourth most recent, according to his official website, the most recent is scheduled to be published this month—September 2022; he certainly keeps Roy Grace busy, although evidently not as busy as the author! Interestingly, but incidentally [and actually insignificantly, with regard to this review], from his personal bio on the website, it transpires that he attended Charterhouse School, of which originally four [then later three, and finally two] members of one of my all-time favourite music groups, Genesis, were also alumni: they appear to have been contemporaries, but whether they knew each other, I can’t say. It is mere speculation that the school had a large influence upon his writing style: he won a poetry prize in 1967; but I think it’s also very likely that his subsequent, pre-author career [read his aforementioned bio for details] also played a significant part. Either way, he has been extremely successful, in terms of sales, since then.

This story is essentially about jury-fixing, but as usual with good crime stories, it is not one-dimensional; also, it is as much a courtroom drama, as it is a police procedural. In addition to a high-profile court case, which Grace’s erstwhile colleague, Glenn Branson, is dealing with, there is a brutal murder, which initially appears to be unconnected to the trial, but Grace’s input supplies the connection. He has just finished a placement with the Metropolitan Police, at a higher rank than previously and, although he felt that his work, identifying the causes of the knife crime epidemic in the capital and attempting to mitigate it, rather than expecting to eliminate it, was useful, he wanted to return to his home ‘turf’, even if that meant again being subordinate to his hated superior officer, Cassian Pewe: the tip-off Grace receives before his return, about an illegal drugs mastermind operating out of Brighton, confirms his decision.

The murder victim is a young lad with Down’s syndrome, and he is the younger brother of a low-level drugs trafficker who has been arrested when importing a replica Ferrari which is found to contain a large amount of cocaine. He pleads guilty to all charges but, although he works for a company owned by the apparently respectable local solicitor who is suspected of being the mastermind of the local County Lines operation, he claims not to either know, or have ever met the solicitor. One of the jurors for the solicitor’s trial is a woman, Meg Magellan, who is currently between executive-level marketing positions; five years ago, she lost her husband and son in a car accident, and her only remaining child, a daughter, Laura, is away in Ecuador, travelling on a gap year. Unfortunately, she is an easy target for the criminals who seem to know her mother’s every move, to ensure that she can influence the jury sufficiently to deliver the ‘not guilty’ verdict which will clear the solicitor.

Naturally, despite her revulsion at what she is being coerced into doing, she will do whatever she can to give the criminals what they want, to keep her daughter safe, even though she only knows of one possible ally on the jury, making her life a misery while the trial proceeds, because she has been warned that revealing her complicity to the authorities will be fatal for her daughter. Grace’s private life isn’t ignored in this story, at the expense of the crime aspects: his wife, Cleo suffers a miscarriage—they already have one infant, Noah, and they wanted to try for another baby—but Grace’s son, Bruno, from his previous marriage, is also with them, although he is not the easiest of boys to accommodate; but all this notwithstanding, he is happy to be home again. This is another eminently readable and—for me—enjoyable entry in the Roy Grace canon, and I am always happy to find new, unread ones. The hardback I read was published in 2020, by Macmillan, ISBN 978-1-5290-0430-4.

Book Review

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Have You Eaten Grandma?, by Gyles Brandreth

This is a departure from my normal reviewing format, in that I mostly review fiction publications, but occasionally, a non-fiction one will catch my eye and, whilst I might not always deem it worthy of a review, this one definitely is. I am known to be a stickler for correctness in written English, and I constantly bemoan the slipping of standards, so this book is an opportunity for me to use someone else’s commitment to underline my own; that someone happens to be a ‘celebrity’, of course, which is of no particular significance to me, but it does mean that my readers—the British ones, at least—should already be aware of him, and his penchant in this area. Whilst I am in broad agreement with him on most of his items, I do take issue with some, which I will detail here, in sequence; which will obviously have more significance if any of my readers is able to obtain the book to follow my points in comparison with GB’s opinion—yes: not law!

In contradistinction to what I wrote above, I will start with a few general points, some of which I consider quite important. GB is in favour of starting sentences with the conjunctions ‘And’ and ‘But’, but I was taught at my grammar school to avoid this, from a style consideration, and I have always followed it, because I think it looks clumsy; and there are better ways to structure a sentence. GB frequently uses a convention which is, in my view, all too common: the use of ‘either’, when what he should use is ‘each’, or ‘both’—‘either’ means ‘one or the other’, so my reaction when someone writes, say: ‘There was a pillar on either side of the door’ is: “So: which side was it?” Curiously, he makes no mention of syntax, the incorrect use of which is a crime committed by far too many people, most of whom should know better; GB is all for clarity & correctness in written English, and poor syntax always gives rise to doubt, which should be avoided. Here now follows my points of contention, preceded by page numbers.

p29 Comma inside quotation marks for direct speech, before attribution; e.g.: “Easy-peasy,” said Gyles. I know it’s the convention, but it’s wrong! A comma implies a continuation, so either a full stop [period] should be used, or nothing. He is correct with continuation: “Yes,” Gyles admitted, “commas can be challenging.”, but sometimes continuation is possible, but ignored, as in: ‘That’s right,’ Gyles admitted, ‘Commas can be challenging.’

p67 Adjunct to the above: “In British English, the associated punctuation is placed outside the closing quotation mark: Money talks. All mine ever seems to say is ‘Goodbye’.” I prefer the American English convention [just for a change!]: “Money talks. All mine ever seems to say is ‘Goodbye.’”, because the quotation is treated as complete, be it a single word or more.

I also loathe & detest the convention which appears to be universal, where if the quotation has more than 1 paragraph, you put a quotation mark at the start of the opening paragraph and at the beginning of each subsequent paragraph, but no quotation marks at the end of each paragraph until the end of the complete quotation is reached: I know general prose & coding are completely different, but to my eyes this convention just looks unnecessary & wrong; and it would cause many problems in coding. Happy to be out of step here! Clarity could easily be maintained by either italicising quotations or extra indentation, or both.

p74 Possessive of personal names ending in -s: a singular name should always have an s following the apostrophe, no matter how odd it might sound, so it’s not Mellors’ as GB asserts, but Mellors’s; another prime example is Brahms, whose possessive many people mispronounce as Brahms’, but that means of Brahm [singular—and should be written Brahm’s], not of Brahms [singular]; the correct form is Brahms’s.

p98 “—stay focussed, please—”: I prefer focused, as in buses, not busses.

p114 “May be — maybe”: GB doesn’t make a distinction between might & may, but for me, the difference is clear—might implies possibility, whilst may specifies permission.

p133> Imported words; especially from Latin [the most common]: I hate Anglicisation! If we import a word, why can we not use its correct plural: my most loathed is referendums for referenda, but there are many others, such as graffiti, which is plural, so it’s ‘a graffito’, not ‘a piece of graffiti’. I also resent foreign place names being Anglicised: what’s so difficult about saying ‘Munchen’ or ‘Nurnberg’? [umlauts deliberately excluded] Or ‘Torino’, or ‘Sevilla’? It’s time we stopped being so insular, when it comes to pronouncing foreign languages.

p249 A very obvious tautology is excluded: ‘repeat again’: very common!

p251 GB is not in favour of euphemisms for dying, but I wonder what he will use for his beloved monarch?

p274 My own view is that it’s unfair to use foreign words in Scrabble, unless they are so common as to be known to all participants.

p283 I disagree with Martin Amis on his definition of whilst: “Anyone who uses ‘whilst’ is subliterate.” Poppycock! They have distinct & separate meanings: while implies the passage of time, whilst whilst implies conditionality. Think about it: you know it makes sense!

p290 Relative pronouns introduce relative clauses: that should never refer to people [as is almost universal in the USA, thanks to the 16th century settlers, and increasingly prevalent over here, as a result of imported US ‘culture’]; always use who. This was lamented in my review of The Man That Got Away, by Lynn Truss.

I could have said a lot more, but this is quite enough for one review! Good on him for spreading the secular gospel of good English, but I reserve the right to vary from the majority observance of the accepted rules. The hardback I read was published in 2018 by Michael Joseph, part of the Penguin Random House group, ISBN 978-0-2413-5263-2; a paperback is also available, ISBN 978-0-2413-5264-9.

Top 5 Fiction Books Dedicated to Cars

Could a car be the subject of your next story? It’s worth thinking about!

Nicholas C. Rossis

Car owners are well aware of the fact that a car is more than just a means of transport: it can have its own character, story, and destiny. This is why so many writers took inspiration from the image of the automobile and embodied it in their works.

How about cars that are the protagonist, though?

Here are 5 fiction books where cars appear in the role of main characters and influence the fate of their owners rather than the other way around.

Top 5 Fiction Books Dedicated to Cars

Cars in fiction | From the blog of Nicholas C. Rossis, author of science fiction, the Pearseus epic fantasy series and children's books

Robert Young, Romance in a twenty-first century used car lot

This American sci-fi writer of the sixties offers a picture of the automobile as it may exist in the near future. Robert Young immerses the reader in a twenty-first-century society where people wear their cars as if they were dresses. It is considered the height of indecency to be walking…

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Book Review

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Oranges and Lemons, by Christopher Fowler

To borrow an analogy from Forrest Gump, dipping into a new [as in either previously unread, or the latest] Christopher Fowler book; most of which feature his characters detectives Arthur Bryant & John May, who work for London’s Peculiar Crimes Unit; is similar to opening an exotic box of chocolates: there will, very possibly, be plenty of oddities, most of which will be enjoyable, but there is also the reassurance of at least two familiar elements, which will perform as expected. I have remarked before about the humour to be found in these books [The Lonely Hour & Hall of Mirrors]—I think the description ‘quirky’ is somewhat overused now [at least it’s not zany]—but police procedurals can be somewhat dour [cf. the Shetland series, by Ann Cleeves; the Vera series maybe not so much] if not leavened by some humour, provided it isn’t inappropriate to the gravity of the situation.

This story, as in Hall of Mirrors, starts with a meeting in an eatery, but it is also bookended by another one, during both of which Bryant’s harassed editor, Simon Sartorius, is trying to make some sense of the former’s rambling efforts at encapsulating his life experience for a memoir; in the first, Bryant is about to hand his notes [sic] to his ghostwriter, Cynthia: “… an extremely skilled forger … a numismatist and IMHO a fine prose stylist … and … a terrible kleptomaniac.”; and in the last, he delivers the finished manuscript. Once again [or, more accurately, probably a virtually perennial Sword of Damocles], the PCU is under threat of closure, but this time, it is more than that: the sentence is in the process of being carried out, by “the barbarians … storming the gates of Rome” [specifically, “the Home Office agents in the employ of their police liaison CEO, Leslie Faraday”] thanks to a combination of authentic budget restrictions and the offence & outrage felt by the administrators of the aforementioned budget, as a result of the Unit’s actions—the previous story, The Lonely Hour, is referenced in this context. Arthur Bryant has gone missing, and there is also the not insignificant matter of his erstwhile partner John May’s recuperation, after being shot in the line of duty, so the latter’s movements are necessarily restricted, initially.

The Unit is permitted a reprieve of sorts, albeit an avowedly temporary one, after the Speaker of the House of Commons is almost murdered in a bizarre way—grist to the Unit’s mill, of course—when he is crushed under a large quantity of fresh oranges & lemons: ostensibly a delivery, rather than an obvious weapon, but one which was made in a life-threatening way; luckily for Michael Claremont, he survives being impaled by a shard of wood from one of the packing crates, but the attack frightens the government enough to allow London’s most unconventional police unit to investigate, hence the stay of execution. A short time prior to this, a bookshop in Bury Place, Bloomsbury, suffers an arson attack, and its owner, an expatriate Romanian, is arrested on suspicion of committing the crime, but subsequently, he apparently kills himself in his police cell; these two incidents are not initially linked, but Arthur Bryant is intrigued enough about the latter, especially given his love of esoteric bookshops, to try to discover the truth—indeed, promising the man’s widow that he will do just that. With regard to the former crime, he immediately latches onto the nursery rhyme significance, expecting a pattern of further attempts at murder to be carried out.

May wearies of home-bound recuperation so, as soon as he is physically able, he returns to work, and now that Bryant has returned from his sojourn of self-awareness—trying out various different forms of spiritual exploration—they work together again. More successful  [for the unfortunate, but apparently unconnected victims] murders occur, and they appear to support Bryant’s theory about the nursery rhyme connection, and each time, the police come frustratingly close to preventing it, and apprehending the unknown perpetrator, but failing. In the meantime, Bryant deduces that the murderer, or the person ordering them, must be a very rich, and therefore powerful, businessman: but the problem is proving it. Following his movements doesn’t give the team any leads. The team has been supplemented by two new members: one is a young intern, who seems to have inveigled her way onto the team; and the other one is a young man, Timothy Floris, who is a liaison/observer from the Independent Police Complaints Division of the Home Office. The former is given to making mostly inexplicable, gnomic statements which demonstrate some sort of intelligence, whilst the latter appears determined to remain neutral.

The culprit is finally unmasked without any of the mayhem caused by Bryant in previous stories, but as usual, he seems to be the only member of the team with sufficient insight, albeit arrived at by a circuitous route, to perceive the truth. There are none of the repartee word games from previous stories in this one, but perhaps B&M have grown out of them? Or perhaps it is because of the circumstances under which they are having to work; probably a bit of both. Another very enjoyable edition in the series, and the next one, London Bridge is Falling Down, is eagerly awaited. The paperback I read was published in 2021 [2020, Doubleday, an imprint of Transworld Publishers, London] by Penguin/Bantam, ISBN 978-0-8575-0410-4.

Book Review

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Deadlock, by Quintin Jardine

In common with the other one of Jardine’s books which I have reviewed, The Roots of Evil, which immediately precedes this one in the timeline, there is a plethora of characters, and their relationships & individual characteristics might become more comfortably familiar after reading a couple more [and there are plenty to go at!], but I still struggle, occasionally, to always remember who does what [if job designations aren’t given], and how they are related; but I feel I am, at least, starting to get to know them. As this is set in Scotland, and the structure of policing there is somewhat different from that of England, there is a division of labour between the two primary police bases in Glasgow and Edinburgh, although it is not unknown for officers from both cities to work on the same cases, as happens here, eventually. I use this qualification advisedly, because I was beginning to wonder, by the time I had nearly reached the half-way point in the book, if I was going to read about anything other than the complex personal & professional relationships between some of the characters, and the machinations arising therefrom.

The crime aspect of the narrative starts slowly, and is not actually recognised as such immediately: Bob Skinner, now happily retired from his Chief Constable position with Police Scotland, is an executive with an international media organisation, although he still maintains contact with officers he has latterly been a mentor for, and is prepared to offer advice on cases, if requested; he is also still a Special Constable. The pandemic is now a regular feature of recently-written stories, and as part of his personal public service remit, he joins a group set up by a friend, author Matthew Reid, for the purpose of helping local elderly people who might be struggling in one way or another as a result of the lockdown [which doesn’t seem to unduly restrict Skinner’s freedom of movement, however]. Unfortunately, two of these ‘clients’ die in quick succession and, whilst the circumstances of their deaths don’t give rise to any cause for concern from all the usual authorities, Bob Skinner’s instincts begin to worry him; the husband of one of the deceased also died not so long ago but, again, in ostensibly unsuspicious circumstances, and this fact is brought to the attention of a mid-rank police officer, by a daughter who persists in thinking something was missed in the original verdict of natural causes. The only common link between these cases that can be found, initially, is the presence of a young lad on a bicycle, but no-one knows who he is, or what his involvement might be.

The story, whose only crime-related interest hitherto has been this low-level investigation, is then given a significant injection of excitement when a particularly gruesome murder is discovered in Glasgow, and there are implications of security service involvement. Bob Skinner still has connections with MI5 which, as far as the public is aware anyway, does not operate in Scotland, so there is an obvious incentive for this status quo to be maintained. Unfortunately, it soon becomes apparent that the recently retired Chief Constable, Andrew Martin, could be the perpetrator but, given his previous status, and his current political ambition—reckoned to be a shoo-in—this is an investigation that will have to be handled extremely sensitively; his fractious relationship with Bob Skinner doesn’t help, of course: Martin had a liaison with Skinner’s daughter, Alex, while he was still married to another police officer, which doesn’t endear Martin to Skinner in any way. Until very near the end of the narrative, it appears that the deaths of the elderly people, if they were, in fact, murders, might have been motiveless crimes, but Skinner discovers that someone of his acquaintance has been deviously clever: identifying the person is one thing, but can the person be found, given that the person has made very strenuous and well planned efforts to disappear?

I am very happy for a narrative to unfold slowly, providing a reason for a crime story is presented before too long; otherwise, it is a story about a potentially confusing network of personal relationships which, on its own, is not really my cup of tea. This story really delivers, however, using the pandemic as a plausible background to the story, and I don’t think it is an exaggeration to say that the plotting, and the planning of the killer are worthy of the Mistress of Murder, Agatha Christie: there is even a major clue in the narrative, but of course, hindsight is very useful in recognising this, and I will certainly not be revealing it! A new Bob Skinner story, The Bad Fire, is already available, so I will eagerly await its arrival in my local library! The paperback I read was published in 2022 [2021] by HEADLINE PUBLISHING GROUP, London, ISBN 978-1-4722-8285-9.

Book Review

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Angel, by LJ Ross

This is one of Louise Ross’s earlier DCI Ryan stories—the fifth, in fact—and the review of one of her later ones, Cragside, which I posted only a few weeks ago; mere serendipity that I came across this one so soon; does contain details of action which occurs after the conclusion of this one, but I don’t think the first review is a plot spoiler for this one, so I would respectfully suggest reading the earlier one, to get the characters’ details, and I won’t repeat them here. Whereas Cragside is a slightly claustrophobic story, in that a lot of the action happens in & around one specific location, this one is a more normal police procedural, which can be comforting in a certain way, and all the principal characters are present here, including a certain criminal character also mentioned in the later story.

In common with many novels [and Cragside], there is a prologue, detailing the unfortunate death at Easter, 1990, of a young girl, resident in what might be a children’s home run by nuns, and the present-day [2016] murder of a woman, by a man who clearly has some sort of religious fixation; there is even a quotation from Vladimir Nabokov, no less, to set the scene. After this, we settle into the narrative of the Northumbria police trying to solve the murders of two young red-headed women, who have been found in quick succession over the Easter weekend in freshly dug graves in local graveyards: both women’s bodies have been arranged in a particular pose, post mortem. Another, older, woman is found murdered in her own house, but this death is not seen as connected to those of the young women, and an elderly nun is also murdered, although because her body is not found immediately, the connection to the murders of the red-headed women is not made quickly. The religious element is obviously the key to solving these crimes, but of course, Ryan knows that, despite his antipathy towards organised religion, he & his team will have to proceed carefully, to avoid antagonising potentially litigious clerics and, at the same time, stay in the ‘good books’ [if that is even possible] of his superior, Chief Constable Sandra Morrison.

I wanted to be able to give this book a good review, after having moderately enjoyed the aforementioned earlier story, and the plot is reasonably well structured, but it is let down slightly by a few small niggles [and one major one] which detracted from my overall enjoyment of it. I have mentioned this before, so I don’t think I need to apologise again for it, but the use of Americanisms in a definitively British narrative always grates with me: hood for a car bonnet; sputter where we have always used splutter; and my favourite [sic] bête noire, stomp—at least Ryan doesn’t drink ‘Scotch’ whiskey! I never set out to emulate King Cnut [notwithstanding my republican sentiments], but I feel like that’s who I might be turning into! The major reservation I can’t describe in any detail [sorry to tantalise], other than to mention a random plot element which is introduced late in the narrative, but I was left feeling slightly let down by the ending: unfortunately, this is not explained in the epilogue, the author’s note, or the acknowledgments; I will, however, keep my eyes open for other books in this series. The [Amazon Fulfillment {sic}, printed in Poland] paperback I read was self-published by LJ Ross, 2016, ISBN 978-1-5190-1093-3.

10 Types of Short Stories to Enhance Your Writing Prowess

Think there’s only one type of short story? Well, think again!

Nicholas C. Rossis

Short science fiction stories bundle | From the blog of Nicholas C. Rossis, author of science fiction, the Pearseus epic fantasy series and children's books

As you may know, short stories are how I started writing and I still love them dearly. The short story, however, is not a single literary format but multiple ones grouped under a single banner. This gives short story writers a multitude of structures to use to tell the stories they wish to tell in the most compelling, engaging, and effective manner possible.

Here are 10 of the most common short story forms to take a stab at with your proverbial–or literal–quill. As you will see, some of these are defined by their size, either in word or sentence count; others, by their style or form.

1. The One-Sentence Story

“The last man on Earth heard a knock on the door.”

There are a surprising number of one-sentence novels, so a one-sentence short story shouldn’t be so difficult by comparison. A story has a beginning, middle, and end, and…

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Book Review

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State of Terror, by Hillary Rodham Clinton and Louise Penny

The fact that Mrs Clinton had been assisted by an established thriller writer for this story didn’t surprise me; I already knew of the former from her recently terminated political career, and I thought it might be interesting to discover what sort of a job she could do with a political thriller—politics at a high level being her primary area of expertise—having recently read a ‘what if?’ version of her life, reviewed here, but also without being aware of any of her other fiction writing, such as it might be: she has, according to the book’s flyleaf, written seven other books, including one with her daughter Chelsea, but from the titles, it seems most likely that they are all non-fiction [I could confirm that on t’internet, but, ya know…..], so it is probably a sensible guess that she provided the political ‘dope’, and Penny wrote it up. The latter’s name was vaguely familiar, but I soon realised that I had already read one of her books, albeit eighteen months ago [yay, memory!] and reviewed it here, A Great Reckoning.

It is jumping forward somewhat to reveal this, but I was quite gratified to discover that Penny’s primary protagonist in the aforementioned story also appears here, albeit late in the story and in a minor rôle, but as to what his involvement is, the Book Reviewer’s Code of Ethics absolutely forbids me to reveal it, so I won’t. The real identities of two of the principal characters are, to me anyway, immediately transparent: Secretary of State Ellen Adams is Clinton—having undertaken that function herself, so she should, by all rights, know what she’s talking [sic] about—and former President Eric Dunn [the story being written in 2020] is clearly Donald Trump, whose fictional character features highly in the story, although not as a main ‘player’. Adams’s personality is modelled on a former colleague in Congress, and the former’s best friend & advisor is modelled on her own best friend from school days, so they are well qualified to be realistic; Clinton also, graciously, credits her husband, “a great reader and writer [who knew? Not I] of thrillers, for his constant support and useful suggestions, as always”.

Dunn has been defeated in his reëlection attempt, and “After the past four years of watching the country she loved flail itself almost to death”, a fellow [of Adams] Democrat,  Douglas Williams, has been installed as President; there’s one major problem with that, and her current position in the new administration: “It had come as a huge shock when [Williams] had chosen a political foe, a woman who’d used her vast resources to support his rival for the party nomination … It was an even greater shock when Ellen Adams had turned her media empire over to her grown daughter and accepted the post.” So: she was never going to get an easy ride—self-inflicted? arguably—and her first foray into the literal & metaphorical world of international power-brokering, in South Korea, had been at best a failure, and could easily have been interpreted by those so disposed to do so as a fiasco. Not an auspicious start; so when a bus bomb explodes without any warning during the morning rush-hour in London, Adams suspects that she is going to be tested to the extreme, and that does, indeed, prove to be the case. What follows is a tense whirlwind of globetrotting negotiations, all the while trying to locate a psychopathically murderous arms dealer and prevent him carrying out his heinous threat, when the US government has identified it.

In politics, as in the world of espionage, one of the biggest problems is knowing whom to trust, and in Ellen Adams’s world, the dangers associated with making a mistake are gut-wrenchingly great, especially when highly-placed actors [in the life-rôle sense] remain from the previous administration, and this proves to be very testing & difficult for both Adams and Williams, especially given their previous antipathy, which they have no alternative but to work through, if they are going to thwart the jeopardy. The tension racks up very nicely during the narrative; Adams’s son, his girlfriend, and Adams’s daughter, Katherine, the media mogul, are closely involved, and there is even a literal countdown for a final escalation so, notwithstanding one’s attitude toward America’s militarism & arrogant, Christianity-dominated assumption of global moral advocate status, this is an excellent, albeit simultaneously worrying [if one takes the narrative too literally] thriller for our times. Perhaps it should have ended with the classic [British television, paraphrased] Crimewatch advice: “It’s alright: don’t have nightmares!” The paperback I read was published in 2022 [2021, Macmillan] by Pan Books, an imprint of Pan Macmillan, London, ISBN 978-1-5290-7973-9.

Book Review

Photo by Jez Timms on Unsplash

The Body in the Library, by Agatha Christie

It seems almost unnecessary to review one of what must, surely, be a classic series of murder mystery thrillers, but there must be a few people [more? including me] out there who haven’t read all of Christie’s thrillers: there are plenty to go at, after all! These days, one is more likely to be able to watch the most popular stories in the Marple & Poirot canons on television or ‘the big screen’, than to ‘go old school’ and actually take a book out of a library, or buy one to keep and to cherish: it is also eminently possible to do both, of course. I have seen at least one version of this story on television, but thanks to my Swiss-cheese memory, I had forgotten who the murderer/s was/were, and it can be instructive to compare the source material with the transmogrified, scripted version. One obstacle one sometimes has to overcome when reading ‘classic’ fiction is the difference in the language, idioms used, etc., but thankfully, Christie’s usage isn’t overly dated; although, having said that, I did have to scratch my head a few times over something, but I was prepared to accept it in the context of its period—eighty years, in the case of this story!

Of course, Christie’s version of English life was somewhat idealised, even when it was published; especially given that it was published right in the middle of a testing & depressive world war, so in my own humble opinion, she could be forgiven for using rose-tinted glasses in her portrayal, and it is generally recognised that she was subtly lampooning the upper classes who were generally, although not always, on the receiving end of the worst treatment, either as victims, or perpetrators, who would have been subject to the ultimate sanction when convicted. From the few Marple stories I have read hitherto, her involvement has been written as to be somewhat in the background, while the official crime fighters operate with varying degrees of success in the foreground. Here, she is invited by a well-to-do friend to offer solace, and implicitly, her amateur expertise, in the solution of the riddle of why the dead body of a young woman should have been dumped in the library of her friend’s country house, just outside Jane Marple’s home village of St Mary Mead. It is never made completely clear how Marple has acquired her somewhat cynical & world-weary outlook on her fellow human beings, but she seems to be more than ready to assume the worst of a possible perpetrator in any given situation; and in her view, picturesque English villages are all hotbeds of hypocrisy and back-stabbing, both literal & metaphorical.

Her friends categorically deny any involvement in the crime; more vehemently by the husband, Colonel Bantry, given that the victim is a moderately [although not stunningly] attractive young blond woman, but Marple notices some odd points about the body which, of course, the official investigators miss. There are quite a few characters associated with the victim and, therefore, several potential suspects; the motive is guessed at but, as ever, Marple doesn’t jump to conclusions, preferring to take her time to observe, and inwardly digest, the different way the characters respond to the events. Although the twist is one which must, by now, have been used again by other authors subsequently, it is quite possible that Christie was the first author in modern times to use it; suffice to say that the official investigators don’t arrive at it at all, and Marple only reveals it very near the end: ‘keep ‘em guessing until the end’ could very easily have been her motto: or one of them, anyway!

Notwithstanding the culture differences, Christie is always a good read, for those of us who enjoy murder mysteries and, even if her characters are, by now, somewhat fixed in aspic, they are still enjoyable in their historical context, and the plotting is always clever, even by our now oh-so-sophisticated fiction standards. The paperback I read was published in 2016 [1942] by HarperCollinsPublishers, London [Collins, The Crime Club], ISBN 978-0-0081-9653-0.