An email from National Novel Writing Month (NanoWriMo) was a stark reminder that my first novel manuscript sleeping in my computer like Rip Van Winkle has many of the basics, but the reader wants action and a conclusion. That reminded me of the original The Fugitive TV series from 1963 to 1967.
“That was just a TV show,” some say. To viewers, it was much more. Dr. Richard Kimball (David Janssen), convicted of killing his wife, Helen, escaped when the train carrying him to prison wrecked short of the destination. I watched those weekly episodes—Kimball’s unfruitful search for the one-armed man who knew the truth—while pursued by Lt. Phillip Gerard (Barry Morse) who was determined to put Kimball in prison. After a while, I lost interest. Not because there was no tension. It was there. Not because there was no action or emotion. They were there too. My interest waned when I realized the chase continued without a solution.
After four years, producer Leonard Goldberg realized the same thing. Solving the mystery would terminate the series, but the viewers wanted resolution. In years that followed, this pattern of conflict, tension, and resolution would become the basic for movies and TV shows.
Like Dr. Kimball in The Fugitive, I’m hiding while trying to solve a mystery. The IRS is sending a constable to arrest me. Microsoft “technicians” are warning me that my computer has been hacked. The same voice leaves messages when I don’t answer a dozen unknown calls a day with warnings that I’m paying too much for health insurance.
But unlike the dramatic ending in the last episode of The Fugitive when the one-armed man was apprehended and Dr. Kimball was freed, even my long-time registration with the Do-Not-Call center brings no relief from my adversaries. I’m hiding from the robo-cops while I revise my crime fiction novel that began as a NanNoWriMo contest in a long-ago November while Detective Morgan Madrid of the Maricopa County Sheriff’s Office can bring closure to my story.