James Lincoln Warren is a Black Orchid Novella Award winner and prolific author of series as well as standalone short stories. Here, he talks about his story “The Chinese Dog Mystery” from the current issue of AHMM.
In the cover comments I submitted with “The Chinese Dog Mystery” to Alfred Hitchcock’s Mystery Magazine, I described the story as a love letter to P.G. Wodehouse, the inimitable creator of that dimwitted but kind-hearted scion of the British gentry, Bertie Wooster, and his towering genius of a valet, the formidable Jeeves, for both of whom time all but stopped in the 1920s, even if it was the 30s or the 40s or the 50s.
Wodehouse is one of those rare authors who makes me laugh out loud when I read silently along. He’s one of my literary heroes.
I have always wanted to follow in his footsteps, as we all want to do with our heroes, and so to do my own take on the Wooster/Jeeves paradigm. But there was, I thought, an insurmountable barrier to doing so: If a writer is truly inimitable, then by definition he is utterly impossible to imitate, let alone duplicate. Especially regarding style, that most defining characteristic of a great writer, and as almost all of the Jeeves catalogue is written in the first person from Bertie’s point of view, that style is inextricably Bertie’s, which is to say Wodehouse’s, very own.
But faint heart never won fair whatever.
The challenge was to find a suitable replacement voice to put in the mouth of my Bertie analog, E. Cowes Crambury, a.k.a. “Bennie”—to find a voice that would convey Bennie’s amusing idiocy without merely parroting Bertie’s, with his signature What-ho!s and I-mean-to-say-what?s and the like, which add so much to Wodehouse’s gentle humor.
How to proceed? And then, as through a glass darkly, I recognized that I had a slight, albeit very slight, advantage.
You see, Bertie, like Wodehouse, was an Englishman—but Bennie, like me, is thoroughly American.
Q: What do American twits sound like?
A: A lot like English twits, I suppose, twittishness being no respecter of national origins—but not in English English, as in, “Hail, Good Fellow; Well Met!” Rather, it ought to be in American English, as in, “Howdy, Pardner; Happy to Meetcha!”
A character’s voice comes from two sources: the character’s personality and his formative environment. In Bertie’s case, he’s a young English gentleman of independent means who’s at one with a Roaring 20s background. Where might I find something analogous on this side of the pond? I suppose it was an inspiration, because it came to me immediately without me even thinking about it.
I decided to make Bennie a young American trust fund baby of not-entirely savory antecedents, and with a Golden Age of Hollywood background—movie stars being the closest thing the U.S. has to an aristocracy.
Instead of using Bertie’s most whimsical jazz age expressions and English slang, I had Bennie talk mostly in an American vernacular, and threw in a bunch of 1940s American pop culture references that would be wholly out of place in London, but perfect for L.A.
And remaining true to my quest, I made sure that Bertie and Bennie are enough alike so that the Wodehouse touch is clearly detectible, especially as I included the required Wodehousean ingredients, including a Jeeves-type servant savant (a chauffeur, though, not a valet—this is Hollywood, remember) and a sensible, talented, pretty girl to keep Bennie completely confused.
And when it all came together, I knew I had it. It ain’t as fine as Wodehouse, of course it isn’t, it never could be. But my love for him is there, and that’s why I wrote it.