One of the enduring mysteries of popular culture is why certain mediocre works become wildly successful, even inescapable. In addition to the occasional masterpiece, book publishing produces hundreds of thousands of middling titles every year, and every so often one of them catches on, becoming the blockbuster that funds all the rest. But why that particular book? Take Paula Hawkins’ The Girl on the Train, a psychological thriller of very modest accomplishment that has sold upward of 11 million copies, putting Hawkins on Forbes’ list of the highest-paid authors in the world, one slot above Game of Thrones’ George R.R. Martin. Most best-sellers aren’t any better than the drably written and predictably twist-ridden The Girl on the Train, of course, and some are much worse. But the typical successful commercial novelist—from James Patterson to Mary Higgins Clark—succeeds not by coming out of nowhere with a remarkable book but because she has hammered out a formula more or less her own, promising her readers a reassuringly familiar experience. Can Hawkins? Her new novel, Into the Water, will tell. Continue reading at 'Slate'
[ Slate | 2017-04-24 00:00:00 UTC ]
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