By Dr Charlotte Baker

The whole point of a good detective story was that it must be somebody obvious but at the same time, for some reason, you would then find that it was not obvious, that he could not possibly have done it. Though really, of course, he had done it. Agatha’s Autobiography.

Dame Agatha Christie (1890-1976) is the bestselling novelist of all time, creating memorable characters such as Hercule Poirot and Miss Marple. A childhood illness left her bedbound and sparked her interest in writing. By her mid-teens, Christie had had a few pieces published in local papers and The Poetry Review. Her success spiralled and her work became a cornerstone of what we now understand as detective fiction. Though Sir Arthur Conan Doyle (1859-1930) was the author of the four novels and over 50 stories involving lead characters Sherlock Holmes and Dr John Watson, Holmes is arguably the world’s best-known detective and Conan Doyle’s work is the foundation of crime fiction. Perhaps what’s less well-known are his works in fantasy, science-fiction, non-fiction and historical genres.

Plots come to me at such odd moments, when I am walking along the street, or examining a hat shop… suddenly a splendid idea comes into my head. Agatha’s Autobiography.

With a constant supply of notebooks to hand, Christie would jot down, every clue, character and plot in meticulous detail. As the quote above evidences, there’s an impulsive aspect to plot formation, in that they can occur in the most ‘odd’ places. Most of us, nowadays, have the option to stop where we are and to jot that idea into the ‘Notes’ section on our phones, use a dictation app, or even scribble a few words on the back of a letter.

It wasn’t just the mysterious narratives of Christie that intrigued her audiences, though. In 1926, she disappeared for 11 days; an event her autobiography makes no reference to. After an argument with her then-husband, Christie disappeared from her home. The following day, her car was found with her clothes and driving licence inside. The media and public alike worked hard to spread the word of her disappearance, with many volunteers giving their time to help in the search for their beloved mystery writer.

Conan Doyle also gave a spiritual medium one of Christie’s gloves to help find her. Eventually, Christie was located at a hotel in Yorkshire, registered under the name Mrs Tressa Neele (the surname of her husband’s mistress), supposedly from South Africa. She left the following day, going on to stay with her sister at Abney Hall, Cheadle.

Doctors claimed that Christie had suffered “an unquestionable genuine loss of memory.” More recently, there have been further examinations of the incident, with many agreeing the author could have been suffering from a dissociative episode.

When I am asked what my system of work is I have to ask myself what form of work is referred to. I have wandered into many fields. There are few in which I have not nibbled. Sir Arthur Conan Doyle in How I Write My Books, The Strand Magazine, 1924.

What is interesting about Holmes as a character is that his deducing skills are often played out for the reader to view, throughout the novel, rather than left until the end for all the pieces of the puzzle to suddenly come into focus. These skills emerge through forensic-based approaches, a scientific mindset reflective of Conan Doyle’s profession as a doctor. This included fingerprint evidence, handwriting and typewritten analysis, footprint and cipher cracking.

From the time that I no longer had to write for sustenance I have never considered money in my work. When the work is done the money is very welcome, and it is the author who should have it. But I have never accepted a contract because it was well paid, and indeed I have very seldom accepted a contract at all, preferring to wait until I had some idea which stimulated me, and not letting my agent or editor know until I was well advanced with the work. I am sure that this is the best and also the happiest procedure for an author.

While the above evidences his sentiments with regard to writing and finances, Conan Doyle did reprise Sherlock ten years after he killed the character off – for both financial gain and also fan demand. The statement and his behaviour may seem in opposition, but it actually provides useful lessons on a writer’s mentality and practicality. In a contemporary context, this idea of fan demand is more prominent than ever; particularly with pieces of fan fiction being poached online and picked for publication. Of course, it’s important to write what we love and to maintain that happiness within the story’s journey; from the planning phase to publication. Equally, being an author is a career that is often idealised; there’s a necessity to their work, one Conan Doyle’s revival of Sherlock demonstrated, in that you must listen to your readers. Be aware of the trends and what the industry is wanting.

I’ll leave you with my rule about this, an updated version of Conan Doyle’s principle, I suppose. Genre work relies on two key points: originality and familiarity. Make it your business to know the tropes and the red herrings; your readers are wanting to play the same genre game that you are when writing it. This is a vital lesson to learn in the current climate in order to succeed!

Dr Charlotte Baker is an author and associate lecturer, with an interest in crime, horror and dark romance. She has written nearly 80 publications, ranging from micro fiction to novels to academic articles. She enjoys spending time with her little boy, drinking coffee, walking, and conversing with the various monsters that float around her imagination. 

Connect with Dr Baker on Facebook: facebook.com/charlottebakerproofreader, on Instagram: @horrorfanchar and via her website charlottebake1.wixsite.com/author

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