The Witch Who Came in From the Cold is the fantasy-espionage thriller from Serial Box. This serial is collaboratively written and available in text and audio via SerialBox.com, their iOS app, and all major ebook retailers. Lead by foreign-affairs expert Lindsay Smith (Sekret) and Urban Fantasy-pioneer Max Gladstone (Three Parts Dead), this season’s author team is rounded out by Cassandra Rose Clark (Our Lady of the Ice), Ian Tregillis (The Milkweed Triptych), and Nebula-nominated Fran Wilde (Updraft).
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We asked the authors to tell us a little about how they got into crime fiction and what really stuck out for them as their favorite aspect of the genre. Read their answers below, and then make sure to sign in and comment at the bottom for your chance to win the entire 1st season of The Witch Who Came in From the Cold!
Which is how I discovered how much I love—truly adore—the language of the hardboiled keyhole-peeper. The self-imposed homework assignment introduced me to a literature that I didn't merely tolerate or appreciate, but one which I actively devoured. Perhaps as they have for many readers, the noir greats introduced me to a slang so rich, so beautiful, so deadly sharp it could only be poetry. The use of language in the noir classics is, for me, the shining brilliance of the genre. And it makes me ache with envy.
As a reader, I'm usually not particularly forgiving of novels typified by very limited characterizations and what might be called “Lego brick” plotting (even, or perhaps particularly, when I commit those sins myself). But once Philip Marlowe gets on a roll, I could listen to him for hours.
Now, fast forward a few years. I had decided to read Raymond Chandler’s The Big Sleep. I was perhaps halfway through the book—the first Chandler novel I’d ever read—when it hit me like a Chandlerian metaphor: The Big Lebowski is a parody of Raymond Chandler. Well, a parody and a pastiche, really.
Chandler’s Marlowe is thrown into a situation he doesn’t understand; so is the Dude. Marlowe moves episodically through his investigation and slowly learns that things are more complex than he thought; the Dude just wanted his rug back and yet winds up involved with a kidnapping, nihilists, and a feminist femme fatale.
As I read The Big Sleep, it occurred to me that The Big Lebowski wasn’t the random mishmash that I always thought it was. All those random pieces suddenly seemed to fit together, a pattern of absurdity that could only be clarified by Raymond Chandler and his hard-drinking, tough-talking, poetry-reading private eye.
Rocknrolla’s plotlineis completely incomprehensible outside of that halcyon bubble of the mid-2000s, when real estate was climbing up the cliff and Russian oligarchs hadn’t yet found the end of their leash to Putin. And yet, that’s what I love about it. Gerard Butler and Idris Elba are decent-if-not-wholly-competent criminals out to make somewhat honest livings; Tom Wilkinson is a delightfully snaky don; Thandie Newton makes architectural sport of cold-bloodedness; and Mark Strong beautifully subverts the stodgy consigliere role, all in a painfully stylish, heavily filtered, sweet and dark and hilarious snapshot of a time that quickly wasn’t.
Eventually, steganography (the practice of concealing a message within another message) fascinated me in fiction as it had in fact, and I used a game to transmit messages throughout my second novel,Cloudbound. Meantime, invisibility had become a plot element in my first novel,Updraft, as something that was both there and not there. Passing messages and codes using techniques invisible to most had to wait for my guest stint onThe Witch Who Came in From the Cold, however!
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Lindsay Smith is the author of the YA espionage thrillersSekret,Skandal, and Dreamstrider, all from Macmillan Children's. She lives in Washington, DC, with her husband and dog, where she writes on international issues in cyber security. LindsaySmith.net.