psychic – Only Mostly Dead

RED book 9: Bet you can’t… Find Me – Linda Prather

Bet you can’t… Find Me is one of the February books on my Goodreads Kindle UK group. I chose it because of that and because I liked the sound of it, which is to say it sounded like a good crime thriller with a supernatural twist.

The story concerns Catherine Mans a professional psychic who helps the police solve murder cases. However she herself becomes the focus of an investigation when a series of murders with a connection to her past occur. She’s the prime suspect but the real killer, a much more powerful and dangerous psychic, starts taunting her and threatening those she loves. So it becomes a race against time to find the killer, face her past and protect her friends.

Bet you can’t… Find Me is my first completed “indie” ebook and it’s fair to say they have a somewhat dubious reputation. It is now easy for anyone to effectively self-publish through Amazon or iTunes or Smashwords and I’ve heard horror stories of novels which are full of typos and bad formatting and worse grammar. However I honestly approached this as just another book that I’d hopefully enjoy. It has a great looking cover, the reviews and ratings are positive and its premise is one I find intriguing so I started reading with no reason to think it wouldn’t be great.

Unfortunately… well it wasn’t great. And I don’t just mean it wasn’t my cup of tea. I really think it just wasn’t very well written. It would be very easy to slip into more of a writing critique than a review but I really don’t want to do that. Too much.

I think the biggest things for me were:

– Some fairly big plausibility problems. The police and federal agents act in a way I found hard to believe. Also, whilst it’s no problem for a novel to be set in a world where psychic powers really exist there was remarkably little scepticism about them so I wondered whether this was supposed to be a world where everyone knows they’re real – like vampires in the Anita Blake books for e.g. – but towards the end of the book characters do start expressing doubts. However by that stage we’d had a whole swathe of plot points essentially around the fact that the authority treat rogue psychics as a very real threat.

– And the plot itself whilst not really that complicated per se felt convoluted because of the way that it’s told. I definitely lost my place in some of the back story and its relevance to what was happening in the present.

– I thought the characterisation was ok at first, a bit stock but in a plot driven book that’s not too big a problem. However whenever love or attraction raised its head it felt like a lurch into a very different and much more sentimental place. Formerly fierce and feisty women and hard-bitten all-about-the-job cops suddenly become a bit gooey. There was a lot of blushing and fighting back of tears (when the object of affection was in danger). In fact even an attempt at a buddy-cop camaraderie fell into this problem.

I could go on listing problems but I don’t have the heart. I did finish the book but more because the spirit of RED is to finish pretty much every book. Plus it was a bit of a slog. I do think there’s potential here, lots of ideas but it needs work on the execution.

3/10 – a decent blurb and a great cover in search of a better book.

Imagine Derrin Brown as a detective.

If, like me, you’re enough of a pedant to sigh whenever someone uses “beg the question” when they really mean “prompt the question”, then you may get a slight measure of satisfaction when a word is used properly. So the first thing I noticed about The Mentalist that it’s not about someone with a learning disability. OK, of course if that were really the subject of this show they’d never call it that, but they could have called it “Cop-Psychic”[1] or simply “Jane”, so I take it as a small indication of the producers sensibility that they got this part right.

The Mentalist is about a John Edward style TV psychic who after a personal tragedy gives it up to become a police officer. As a medium he was a fake, using cold reading techniques to gather enough information to give a convincing performance. He now uses the same techniques to solve crimes. A simple and yet interesting concept.

Being the Smartest Guy in the House

The show reminded me a lot of House, and let’s face it medical shows are just cop shows where the criminal is a disease, the cop is the doctor and the symptoms are the evidence. (In fact I’m pretty sure House used that metaphor explicitly in dialogue early on.) They both feature arrogant central figures who are impossibly brilliant at what they do and know it. At one point Patrick Jane, our psychic-turned-cop, says that he doesn’t like seeing doctors because “they always want to feel like they’re the smartest guy in the room, when obviously that’s me.” They even both share a disdain for belief. When one of his colleagues states she has a cousin who is a real psychic, Jane says “he’s either deluded or dishonest or both.”

I think that where they differ is that Gregory House is a startlingly misanthropic figure where Patrick Jane is merely annoying. Also, it’s really unfair on the evidence of one show but I think Hugh Laurie beats Simon Baker in both acting ability and screen presence generally.

Suspect Device

Anyway, what separates this show from a thousand other cop/medic/lawyer shows is its gimmick, its device, so how well does it use it? Quite well I think. One potential problem is that whilst it’s enough for a TV psychic to get a few details in the right ballpark to let the person feel like they’re having a real contact with the “other side”, the police ultimately have to prove what they think they know. However they tackle this head-on and within the first five minutes one character has shot another on the basis of Jane’s, let’s face it, educated guesses. Later in the episode he uses his techniques to get the murderer to incriminate himself, a pattern I suspect we’ll see again.

It’s also interesting that after the initial scene where we’re shown what little pieces of information he uses to construct his guesses, that after that we only hear his (always correct) insights. And of course they use his talents for comic relief, allowing him to embarrass his colleagues.

I do foresee a trap here, that the writers might just get lazy and have him know things he couldn’t possibly know, simply by establishing a pattern of credibility with the audience. However I hope they don’t do that, or not straight away. The fresh thing this show has to offer is its device and so they should keep it to the fore. Like Derrin Brown, show us the trick and then, at least some of the time, show us how it’s done. The formula works because it includes us the audience in on the “clever” side of the transaction, and so we’re flattered and will love you for it.

A good example is near the end when the criminal says,

“I knew it might be a trick but I had to be sure.”

“Yes. That’s how the trick works.”

And The Trick Worked

I definitely enjoyed The Mentalist and if you enjoy police procedurals then this looks like it will be a good one. I haven’t spoken much about the fact that this is a pilot and therefore needs to set up the concept, establish the characters and introduce an on-going story element. I haven’t done that because it does all that well enough for it not to be distracting.

I have too much TV where I need to keep up week to week so that I’m not sure if I’ll become a regular Mentalist viewer, but it’s enough of a new twist on the genre, with enough intelligence in the writing to be highly enjoyable when I do catch the odd episode. 8/10

[1]Yeah ok, that’s a terrible title but you get my point.