Showing posts with label novels. Show all posts
Showing posts with label novels. Show all posts

Sunday, June 28, 2026

MY READING LIST

Normally, I watch videos or movies, but, lately, I've been enjoying novels.

I just read I Am Half-Sick of Shadows, a murder mystery by Alan Bradley. The protagonist of the series, Flavia de Luce, is 11 years old and a budding chemist.

I just finished Dog Eat Dog, a npvel by Laurien Berenson. She's written gobs of doggie mysteries. There were tons of names in the kennel club, and I struggled.

I read Unnatural Habits, a Phryne Fisher novel by Kerry Greenwood. It's similar to the TV show.

I read Simon Brett's mystery novel A Nice Class of Corpse. I had to read the penultimate chapter twice to identify the murderer. I thought one had killed the other; instead the murderer committed suicide. Nicely done.

I read War of the Worlds by Herbert George (H.G.) Wells. It's chilling. Unlike the movie, there's not a ton of dialogue.

I also read Tarzan of the Apes on Project Gutenberg, and I'm reading Edgar Rice Burroughs' second Tarzan novel, The Return of Tarzan. I wasn't thrilled with the latter at first, but I'm enjoying it now.

I just read The Missing Heiress by Robert Goldsborough. It's a Nero Wolfe book that I started months ago; this time, I finished it. I was surprised at the identity of the murderer, but it made sense.

I just finished a mystery novel, The Red House Mystery, by A.A. Milne, the author of the Winnie the Pooh books. It was Milne's only mystery novel, and it reminds me of Agatha Christie's style (more Sherlock than Hercule, though). The killer was the one I thought it was, but the victim wasn't who I thought it was. So it was a satisfactory ending.

I'm reading Podkayne of Mars, another novel by sci-fi writer Robert A. Heinlein. I know I at least tried to read it many years ago; I plan to finish it. (The youthful narration reminds me of J.D. Salinger's Catcher in the Rye.)

I read The Liar in the Library, another novel by Simon Brett. I've seen this scenario a few times, but I was curious where Brett was taking it.

I read Mrs Pargeter's Patio, a mystery novel by Simon Brett. It was hard to keep up with all the names, but I enjoyed it.

Brett is the first new author I've added since (possibly) Robert Goldsborough or Larry McMurtry in maybe the 1990s. I read the same authors over and over; fortunately, they wrote a lot of books.

(Psst. Mrs Pargeter's first name is Melita.)

I just listened to the audiobook of The Cat Who Wasn't There by Lilian Jackson Braun. It's one of my favorite Cat Who books.

I recently finished a Robert A. Heinlein sci-fi novel, Time for the Stars; I'd never heard of it before. I don't think it's as good as Stranger in a Strange Land or Time Enough for Love, but it's serviceable. (Actually, I loved the ending.)

I re-read yet another novel by Lilian Jackson Braun, The Cat Who Dropped a Bombshell. I've read all of the Cat Who novels, but I like to revisit them. Braun is one of the many mystery writers I like to read.

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EMAIL: tgilli52@gmail.com  BLUESKY: PROFILE



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Thursday, October 18, 2012

An editor's views on powerful writing


I hate wishy-washy words. Throw out the "to be" verbs and give me something active, something powerful.

And take "made his way." Please. I once was reading a chapter in a novel and noticed "made his way" eight times on one page and 40 times in the chapter. The protagonist didn't walk, strut or stroll. He didn't move, slide, wend or walk. He didn't even matriculate or hurry. Or stumble and fall.

He just made his way, over and over and over. Gag.

It works the same way when writers use tons of modifiers. Saturn is massive; it can't be very massive or hugely massive (yes, I'm exaggerating to make a point). A locomotive is powerful. Very, extremely and all of the modifiers in the world won't change or add to that.

If a woman is beautiful or stunning or enchanting, will a modifier make her more so?

He is certainly a wise man; or, he is a wise man. What’s the difference?

Shakespeare wasn't famous or revered because of his wordiness. He cut his writing to the core and made every word count. (And, of course, he was one heck of a writer.)

I really hate it when writers use whom all of the time. If this keeps up, Pete Townshend's band will be The Whom.

I also have problems with attribution in a novel. I can
stand exclaimed as a verb to replace said, and whispered is perfect. He whispered, and she exclaimed. Great.

But then a novelist will write, "I haven't felt right in years," Julia sniffed. Julia may have sniffed before or after she said it, but she didn't sniff it. She said it. A better way: "I haven't felt right in years," Julia said. She looked away and sniffed into a handkerchief.

I hate it when a novelist uses no attribution at all -- it's tough to tell who's saying what. And I really hate it when the novelist expects me to remember Sally, Joan, Martha and Lula Belle without a scorecard. I probably can remember Lula Belle for obvious reasons. It might help to occasionally remind us that Sally and Joan are cousins, and Martha is Sally's next-door neighbor.

A woman is pregnant, not very pregnant (I'd be tempted to say that she's hugely pregnant, though). And a one-of-a-kind diamond is unique. Very won't boost it a bit.

In fact, you can pretty much kick the word "very" out of your vocabulary and use powerful words. Mark Twain suggested that we change every “very” in our writing to “damn.” The editor will take out the damns, and the writing will be as it should be.

Smart man, that Twain. Very smart.

Oops!

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EMAIL: tgilli52@gmail.com  BLUESKY: PROFILE



BLOG ENTRIES FROM THE AUTO RACING JOURNAL
(a book of great stories about the Intimidator)
(the book of great NASCAR stories)

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