The British mystery writer weighs in:
Like most series writers, you see, I never set out to go down this path. I wrote the first Costa book as a standalone and was then asked to turn it into a series by my publisher. After which I made it up as I went along, mistakenly sometimes though I’m pleased to report the errors I committed were by no means rare.
Here, when I set out to write the Amsterdam series, are some of the pitfalls I told myself to avoid.
One of the mistakes he cites: Failing to plan for how the series will deal with the passage of time, as the years go by between books in the real world.
Different series writers handle the passage of time in different ways. Spenser and the other characters in the Robert B. Parker series aged at a rate of 1:2 for the real world for a decade or so, then it appeared they just stopped aging. In the early books, written in the 70s, Spenser referenced being a Korean war vet and an ex-boxer who once fought Jersey Joe Walcott. In the last books by Parker, written in the 2000s, those references are left out.
In the Nero Wolfe books, the characters stay exactly the same age throughout 30 years, while the outside world progresses. In the first book, Nero is in his early 40s and Archie is about 30 and they’re toasting the end of Prohibition. As the series hit its prime, Archie is enlisted in the Army during World War II — fortunately assigned to stay home in Manhattan. In the last book, Nero is in his early 40s and obsessed with Watergate, and Archie is about 30.
By the way, both the Spenser and Nero Wolfe series were continued by other writers after the original author’s death. I read one of the Spenser novels by Ace Atkins; it was pretty good. Surprisingly, it was better and more true to the characters than the later Parker novels were.
I also read one of the Robert Goldsborough Nero Wolfe novels, and found it disappointing. He had the details right, but the voice was off. For example: The book was written and set in the 80s, and the mystery revolved around some detail of personal computing technology. Archie had become a PC expert by then, and provided a clue to solve the crime. Nero Wolfe was portrayed as an antiquarian who disdained PCs.
But I thought that was precisely the opposite of the spirit of the books. Archie, as a man of action, would have disdained PCs in the early years. He’d have learned to use one, because he did Wolfe’s office work, but he would have no particular affinity for them. However, the sedentary genius Wolfe might have taken to PCs, because they are logical like he is, and he can use one while moving nothing other than his fingers and eyes.
The 80s influences of “Stranger Things” are obvious — Stephen King, Steven Spielberg, the “Goonies” and other 80s movies that appealed to preadolescents of that decade. But Joshua Rothman at The New Yorker finds an older, darker influence: H.P. Lovecraft
The scientific worldview says that the universe is neutral. It doesn’t care if you live or die. But Lovecraft had a different view: The universe is evil. It hates us. And it’s supremely powerful, inhabited by entities who are to us as we are to insects, and are eager to torment us just for giggles. In Lovecraft’s view, the Earth is a tiny little island of relative safety that could open to that wider, hostile universe with a single pinprick of reality. In Lovecraft’s view, the pinprick came from miscegenation — racial contamination — Lovecraft was a full-throated bigot who hated and feared brown-skinned people and Eastern and Southern Europeans.
But Lovecraft has many heirs and imitators today, and they substitute other forces for racial impurity. In the case of “Stranger Things,” the horror is unleashed by US government scientific bureaucracy, as it often is in King’s novels.
Rothman identifies two target audiences for “Stranger Things:” Adults who were children in the 80s and view the series as a big ol’ nostalgia wallow, and children who look back on that era as a golden age before they were born, sort of like the 50s were viewed when I was a teen-ager in the 70s.
I’m from an older generation; I turned 20 in 1981. I enjoyed the nostalgia of “Stranger Things” because the period portrayed on the show was not all that different from the early 70s, when I was the same age as the show’s child heroes. As kids in the early 70s, we roamed freely around the neighborhoods on our bikes and engaged in nerdy pursuits without parental supervision. We didn’t have Dungeons & Dragons; that hadn’t been invented yet. But we played marathon games of Risk.
This idea of the universe being actively hateful and evil is a new one for me. I’m a rationalist, I don’t believe that the real universe is evil. An indifferent universe can be hostile enough at times.
But the idea of an actively hostile and evil universe certainly opens possibilities for fantastic fiction.
Joe Haldeman said that in science fiction, the universe is neutral and knowable through reason and science; in fantasy, the universe is unknowable; and in horror the universe is hostile. (I think he said that — he said something along those lines but I may be misremembering the specifics.) While science fiction and fantasy are usually paired together as “fantastic fiction,” science fiction’s actual closest sibling is the police procedural, Haldeman notes.
The Rob Thomas series will run seven seasons and span seven decades, starting with the Summer of Love, 1967.
We love Veronica Mars and iZombie, and I loved “The Lost Boys” — though I haven’t seen it in 30 years so maybe it doesn’t hold up. I’m looking forward to this series.
I counted on my fingers: Seven years from now is 2023 by which time it will have been seven decades since the Summer of Love. Oh my.
The Lost Boys TV Series Will Span 70 Years, From ‘Veronica Mars’ Creator – Peter Sciretta, iFilm
The wonder computer of the 1980s for under $300.
This video could not be any more 80s.
At least it wasn’t “My Heart Will Go On.” 15 years later, still overplayed.