Novels and Short Stories
Shayne debuted in the novel Dividend on Death first published in 1939, written by Halliday, a pseudonym of Davis Dresser. Dresser wrote fifty Shayne novels, with the help of Ryerson Johnson. Twenty seven more were written by Robert Terrall for a total of 77; 300 short stories, a dozen films, radio and television shows, and a few comic book appearances have included the character.
The books were typically very well plotted, with Shayne always gathering the suspects at the end and explaining the crime and naming the murderer. Shayne was initially married in the novels, his wife being Phyllis Shayne, who was a somewhat limited character, and was often out of town. Dresser "killed her off" when he sold the movie rights to the series. In the book Blood on the Black Market, the comedy aspect of the earlier novels disappears, and Shayne is forced to deal with his wife's death.
Halliday stopped writing the Shayne novels after Murder and the Wanton Bride in 1958. The character continued in novels written by Ryserson Johnson, Robert Terrell and Dennis Lynds.
Some of these Halliday ghost writers have suggested that Dresser still kept his hand in, even after other writers largely took over the writing of the novels, by doing at least a light edit of the Shayne manuscripts contributed by others, and thus making the later books in the series "ghost-collaborated" rather than actually "ghost-written".
Read more about this topic: Michael Shayne
Famous quotes containing the words novels, short and/or stories:
“Primarily I am a passionately religious man, and my novels must be written from the depth of my religious experience.”
—D.H. (David Herbert)
“Hemingway is terribly limited. His technique is good for short stories, for people who meet once in a bar very late at night, but do not enter into relations. But not for the novel.”
—W.H. (Wystan Hugh)
“Fairy tales are loved by the child not because the imagery he finds in them conforms to what goes on within him, but because—despite all the angry, anxious thoughts in his mind to which the fairy tale gives body and specific content—these stories always result in a happy outcome, which the child cannot imagine on his own.”
—Bruno Bettelheim (20th century)