Inspired by Stanley Fish’s recent op-ed column for the Times, Tingle Alley is hard at work on a new mystery (you are strongly urged to read here for context). Right now I’m concentrating on the first sentence because a good one, as Fish notes, is a “sure-fire” test of a mystery’s worth. Per Fish, this first sentence should avoid any funny stuff, anything that smacks of pretension, and metaphor (he doesn’t explicitly say “no metaphor” but you do get a sense that figurative language is a turnoff). What you should aim for instead, says Fish, is “compression, information and what I call the ‘angle of lean.’” Also: No international settings, please; we like our thrills & killings stateside.
Got it? Here’s what I’ve got so far with a few notes:
• “Knock knock.”
A nice lean piece of dialogue, so lean the reader might even be moved to read the novel’s second sentence, which goes: “Who’s there?” And then not to give away the entire plot, but the third sentence is: “Murder.”
• Ensconced in his favorite booth at the Waffle House, Poirot twirled his mustache and said, “Ever since becoming a naturalized American citizen this has been my favorite place to catch breakfast — and contemplate murder most foul.”
See, he’s American now, and he only solves American murders! Concern: Is “ensconced” too poncy a verb for a first sentence?
• At the exact moment Joel Shifty realized he wanted to commit murder cymbals crashed together, a funny coincidence that happened because Shifty was only 13 years old and seated in band practice.
Too much?

