Ross H. Spencer - Writing Career

Writing Career

Spencer did not begin writing until after he had a heart attack in his fifties, after which he read a couple of mystery novels which he found amusing. He taught himself to write his special brand of funny mystery novels, beginning with The Dada Caper (1978). David Merrick optioned five of his novels for Broadway, though they never saw the stage. The Chance Purdue series spoofed the private eye genre, and was written with one sentence paragraphs and minimal punctuation, with chapters prefaced by quotes from the fictional pundit Monroe D. Underwood.

Spencer was the author of fourteen novels starring hard-drinking Chicago private eye protagonists, including Lacey Lockington, Chance Purdue, Buzz Deckard, Luke Lassiter and Birch Kirby. One New York Times review described his writing as "including rat-tat-tat writing in which paragraphs are seldom more than one sentence... the hero is a private eye who is always tailing the wrong people and hitting the wrong guys. Wild, shrewd mad and unexpectedly funny." and "Ross H. Spencer has, up until now, been published only in paperback books that demonstrated a wacky humor and an equally wacky writing style. In The Dada Caper (1978) and The Reggis Arms Caper (1979), Mr. Spencer got his style down mostly to one-sentence paragraphs. The prose hurtled along. Neither book was serious, but Mr. Spencer had fun spoofing the crime genre, and he did so with unusual expertise."

Read more about this topic:  Ross H. Spencer

Famous quotes containing the words writing and/or career:

    “A man who publishes his letters becomes a nudist—nothing shields him from the world’s gaze except his bare skin. A writer, writing away, can always fix himself up to make himself more presentable, but a man who has written a letter is stuck with it for all time.”
    —E.B. (Elwyn Brooks)

    “What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partner’s job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.”
    —Arlie Hochschild (20th century)