Ah, the deerstalker I hear you say, or perhaps more properly, 'the ear-flapped travelling cap'. A familiar image to us all. Later uninformed depictions of Holmes that depict him wearing this hat in the city fail to take into account that the fashion-conscious Holmes would never commit such a sartorial faux-pas; the deerstalker is traditionally a rural outdoorsman's cap, not the appropriate headgear for the properly dressed urban gentleman. Indeed, Paget and the other contemporaneous illustrators who portrayed Holmes as wearing a deerstalker always placed him in the proper setting for such attire, travelling cross-country or operating in a rural outdoor setting. Getting the characters right themselves is tricky, believe me I know. On the face of it, you would think it would be easy to replicate the speech patterns, the cadences, the rhythms that ACD came up with, but of course it's not. I have been trying for some time and I will never master it. There are, perhaps, certain things to avoid here; having Watson say "By Jove, Holmes," far too many times will weary the reader as will the good Doctor say, "I say, Holmes," or the archetypal, "Eh, what?" I pitched headlong into the "My dear fellow" man-trap when writing 'The Lyme Regis Horror' and got rightly panned for it. In general I have no objection to seeing stories in American English, I can smile whimsically when I see 'color' but.....but.....but.....'gotten'!! Never!! Don't do it!!!
Does having an all-encompassing knowledge of the canon make for a better pastiche writer? The immediate answer is yes! I always have a copy handy when writing and a Sherlock Holmes encyclopedia or two. But having said that, I am very much the junior collaborator in 'Sherlock Holmes and the Scarborough Affair' that everlasting novel which has been in the making for 18 months. My partner is actually the main writer, the plots is hers, the storyline, the characters etc. Now, as some of you may know, she has a profound dislike of Holmes, has only read two stories from the canon which she did not enjoy. She should be the last person to even attempt a pastiche, but I have to say, it is superb and without a word of a lie, much better than anything I have done. So, perhaps that canon knowledge is not so necessary after all!
So, tricky things pastiches. I have never got it right, have fallen into several of these pitfalls myself, but there was always a handy rope ladder. But I keep trying....
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4 comments:
It's good to know some others don't especially like Holmes - in fact, there's not a lot to like (in terms of feeling affection) about him. For the pastiche writer or the Conan Doyle reader, it's for his forensic skill we admire him, but like...? No. I reserve that for dear old Watson.
Tim
I wrote my first book last year (Requiem for Sherlock Holmes, available in all good shops as long as they're called Lulu or Amazon) and came across all the pitfalls above. However, the biggest stumbling block of all that you have to avoid is not to place your story during 'The Great Hiatus', the period between 'The Final Problem' and 'The Empty House' when Holmes was presumed dead. A good few people have fallen into this trap and set their stories in 1892 or 1893 (Conan Doyle included) when it would have been impossible to have occurred.
Yes you are right Paul, have encountered this before too.
One other thing that I have found about writing pastiches is that it is useful to have the ebook version of the Canon beside you. Instant searchability (where did Holmes talk about Horace as compared to Persian poets?) and comparisons are very useful indeed.
I agree 100% on getting the details right. Make sure that the stations and lines that you put in there actually existed at the time that you set your story.
And, while on the subject of the timing - as long as you are roughly correct, since the chronology is so mixed, anyway, I tend not to be obsessive about it.
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