How Mystery Writers Can Color in Emotion

Passing through a bookstore, I noted the now-common section devoted to adult coloring books, and I began to think about the role of color in fiction writing, including mysteries.  Color has a proven ability to evoke emotion; there's a reason fast-food logos and ads lean toward appetite-stimulating red and yellow, business materials opt for a trust-inspiring blue, and European prisons paint their walls a calming pink. But the power of color is not limited to the visual arts, online and offline advertising, or interior decor. When we read, we create pictures in our minds, and mystery authors' descriptions of settings, characters and clues are rarely black-and-white snapshots. The color of a suspect's dress, the colors of a winter forest or tropical jungle, or the color of a murder-scene carpet can offer both symbolic meaning that enriches the plot and clues to solving the mystery. A character's color choices can be used to reveal personality traits or emotional states, for example; note that psychiatrist Carl Jung found that introverts and extroverts prefer different colors--blue and red respectively. So if the writer introduces a woman wearing red, she probably does not want to be a wallflower. Sometimes the contrast between color choices and character hint at deception or conflict. Is the big guy in a pink shirt just supremely confident, disguising his aggression or hinting at a less masculine side? Doubt that color has a place in even the most "noir" of mysteries? Consider color's frequent evocative use in mystery titles. As an example, Walter Mosley's Devil in a Blue Dress sets up tension before the first page by pairing the evil and power of "devil" with the trustworthy and inviting aspects associated with "blue." Meanwhile, P.D. James' The Black Tower purposely paints the tower black--the color of power, death, and evil--to create a looming gloom.  (For the literary, it also evokes W.B Yeats' poem of the same name where "in the tomb the dark grows blacker.") Some mystery writers even make color a title theme, such as Ann Cleeves' Shetland series, which includes Blue Lightning, Red Bones, White Nights, and Raven Black. John D. MacDonald's Travis McGee series uses color in all 21 titles, starting with The Deep Blue Good-by through National Book Award-winner The Green Ripper to the final The Lonely Silver Rain. One caveat on coloring fiction prose: Be aware that color psychology differs by culture. For example, white is the color of purity and innocence in Western cultures and the color of death and mourning in Eastern cultures. For a quick overview of color psychology, see http://changingminds.org/disciplines/communication/color_effect.htm

Mysteries Close to Home: Los Angeles Noir

It's a rainy winter day in Los Angeles, courtesy of El Nino, and a great time to stay at home with a good mystery. Since Los Angeles is the recognized home of "noir" police procedurals and "hard-boiled" private eyes, I'm gathering together my favorite "L.A. noir" authors. Start with Raymond Chandler's The Long Goodbye; in post-war L.A., iconic private investigator Philip Marlowe is dragged into a cesspool of dangerous lies after befriending a drunken, scarred vet with a rich nymphomanic wife who turns up dead. Then go neo-noir with James Ellroy's The Black Dahlia, the first in his quartet of novels about corrupt police and depraved post-war society, inspired by the gruesome, unsolved 1947 Elizabeth Short murder. Moving forward in L.A. history, there is T. Jefferson Parker's Edgar Award-winning The California Girl, set in Orange County's suburbs at the time of Vietnam, hippies and LSD, when three brothers (a cop, a reporter and a minister) collide over the decapitation murder of a teenage beauty queen. I also love Michael Connelly's maverick homicide detective Harry Bosch, and I'd recommend starting with the Edgar Award-winning The Black Echo. It's the first entry in the Bosch series and introduces Bosch as he fights enemies within the police department and his conflicting urges for justice and vengeance. For another tough PI, get to know Ross Macdonald's Lew Archer; The Underground Man has it all--a fire in the hills, a missing child, and Southern California's special brand of moral ambiguity. I'm also a fan of Jonathan Kellerman's child psychologist sleuth Alex Delaware, who helps the police root out the evil hiding under So Cal's sunny glam. A good starting point is the Edgar Award-winning When the Bough Breaks, in which Delaware tries to unlock the memory of a 7-year-old girl, the only witness to the murder of a fraudulent, sexually manipulative psychiatrist. Finally, for a very different angle on L.A, get to know Easy Rawlins, Walter Mosley's African-American sleuth. In the series debut, Devil in a Blue Dress, watch Rawlins transform from Watts day laborer to private detective. For more L.A. noir gems, see Jonathan Kellerman's recommendations at http://www.theguardian.com/books/2010/mar/31/jonathan-kellerman-top-10-la-noir-novels