The Mysterious Mind

I've been searching for a helpful theoretical/methodological perspective to use in one of my research projects on mysteries.  I think I found a perspective.  In an unrelated political communication research project, a co-author and I are using frame analysis.  As part of the political comm research, I've been reading George Lakoff's book, The Political Mind: A Cognitive Scientist's Guide to Your Brain and Its Politics. The following quote from Lakoff's book lead me to the obvious thought of applying frame analysis to mysteries.

"Frames are among the cognitive structures we think with.  For example, when you read a murder mystery, there is a typical frame with various kinds of characters: the murderer, victim or victims, possible accomplices, suspects, a motive, a murder weapon, a detective, clues.  And there is a scenario in which the murder murders the victim and is later caught by the detective" (p. 22).

I particularly like how Lakoff and others root their discussion of frames and metaphors in biology (brain physiology).  As to whether this will be a fruitful approach, we'll see.  It should be helpful given my specific interest in studying the structure of mysteries.

NYT: "James Patterson, Inc."

The recent NYT Magazine article about prolific author James Patterson has a few key facts relevant to my current Women's Murder Club research project (see previous posts).  Johnathan Mahler interviewed Patterson and wrote the article.

According to the article:

• In 2009 Patterson sold an estimated 14 million copies of his books.  The novels appeared in 38 different languages.
• "Since 2006, one out of every 17 novels bought in the United States was written by James Patterson" (Mahler, 2010). 
• "According to Nielsen BookScan, Grisham’s, King’s and Brown’s combined U.S. sales in recent years still don’t match Patterson’s" (Mahler, 2010).
• The most recent edition of the Guinness World Records has Patterson listed as the author with the most NYT best sellers.
• 35 of his books went to No. 1 on the NYT best sellers list.  Patterson has had a total of 51 books on the list.

These stats along with other similar statistics help justify my current WMC study. Patterson's work has reached a large number of people.

In addition to these author stats, the article also talks about the strong role that Patterson takes in writing, publishing and marketing of his work.  Michael Pietsch (editor and the publisher of Little, Brown):  “Jim is at the very least co-publisher of his own books” (Mahler, 2010).

Besides working very closely with the publishers, he works closely with his group of co-authors. "He is part executive producer, part head writer, setting out the vision for each book or series and then ensuring that his writers stay the course. This kind of collaboration is second nature to Patterson from his advertising days, and it’s certainly common in other creative industries, including television" (Mahler, 2010).

According to the NYT article, the writing process for Patterson and his co-authors follows this pattern.

1. Patterson writes a detailed outline.
2. Co-author writes the chapters
3. Patterson reads, revises or sometimes rewrites
4. Co-author writes next draft.

Michael Pietsch, Patterson's publisher, compares Patterson to past mystery writers like Raymond Chandler and Dashiell Hammett in terms of plotting and pacing.

The NYT article also mentioned that a prof at Harvard Business School (John Deighton) wrote a case study about Patterson and the marketing of his books. I'd like to read that case study.  However, all I could find (online) was a listing for the case in the author's CV.

The article put most of the attention on Patterson's books and very little on his film and TV projects.  The article did mention that Patterson is currently working on a movie project with Avi Arad (producer Spider-Man, X-Men) based on "Maximum Ride," Patterson's young adult novel series.  The article also mentioned that Patterson and his partners had already "raised the financing for a new Alex Cross movie that Patterson is helping to write" (Mahler, 2010).

The Women's Murder Club is Born

In the beginning of 1st to Die (Patterson, 2001), the main character, Detective Lindsay Boxer asks her friends to help her to solve a serial murder case. The two friends, Claire, a medical examiner and Cindy, a reporter agree and the "Women's Murder Club" is born.

Boxer thinks to herself: "...I knew it could work. We could reassemble whatever clues came out of the official investigation, share what we had, cut through the political cover-your-ass and the bureaucracy. Three women, who would get a kick out of showing up the male orthodoxy. More important, we shared a heartfelt empathy for the victims" (p. 140).

Note the mention of sharing information,  "male orthodoxy" and "empathy for the victims." 

Later in 1st to Die (p. 174), while sipping beers at Susie's, a regular meeting place for the club (at least in the novels), Lindsay thinks to herself: "The Women's Murder Club. This was good. No men allowed."

In Chapter 73 a new member joins the club, Jill Bernhardt, assistant district attorney. Before Jill officially joins the group, Lindsay notes:

Claire had met her [Jill] a few times when she testified at trials. They had developed a mutual respect for each other rise through their male-dominated departments. (p. 278)

Note: The novel is told in first person from Lindsay's perspective.


After Jill officially joins the group she asks what is the group named.  At this point in the novel Lindsay has not voiced out loud what she has thinking -- "Women's Murder Club."

Lindsay says: "We're sort of a murder club."

Jill suggests: "The Margarita Posse."  Margaritas seem to be their favorite drink at Susie's.

Clarie suggests: "Bad-ass Bitches."

Cindy says: "One day, we're all gonna be running things... Homicide Chicks... That's who we are.  That's what we do."

Lindsay echoed this in thought: "we were bright, attractive, take-no-shit women.  We were going to run things -- some day" (p. 280).

When comparing the novels to the TV series, we don't see this talk of the "male orthodoxy" in the TV series.  I wonder why?  :)  This seems to be safe for a novel, but not TV.  What is it about TV that would not allow this sort of talk to air?