Wednesday, August 3, 2011

Philosophical Detective Meets the Police

When writing a classic detective story, I am certain that the proper way to do it is that as you get closer to the climax, the more you focus on the plot and the less you focus on messy intangibles like theme and character. Only, I'm not...really...doing...that. I'm cutting it the other way, as Paddington Bear would say. And while I'm certain that this isn't the expected direction to take, it certainly feels right.

Some details: We are now well into Chapter 11, the penultimate chapter wherein the murderer is revealed and the mystery mostly demystified. A couple of policemen are entering the fray from an oblique angle and I'm very happy with them. Likely I should've introduced them earlier so they'd be, like, Chekhov's policemen or something, but I have not done that because there was no place for them earlier in the story. So they come in, fully-formed as though birthed from the head of a Greek god, on the opening pages of Chapter 11. Their introduction also serves a legitimate structural purpose that can be found in works going back to Shakespeare, so I like my policemen coming in where they do.

Also sandpipers, crows, Wobblies, unrelated unsolved crimes and other cool stuff!

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