The Intel: Chris Lloyd

I’m guessing you didn’t just turn up here by mistake. Nobody comes this way, along that rickety bridge, down into the gaping ravine and then through those caves. Nobody in their right mind would make that journey, not with all the stories about what lives in the woods, not unless they’re really interested in new crime authors and new crime books. Or unless they’re deluded.

But, look, now you’re here, don’t feel bad about it. We’ve got a real treat for you. Chris Lloyd is the author of the new thriller City Of Good Death. It’s the first of a new series about Catalonian detective Elisenda Domènech. who must battle sceptical colleagues and bureaucratic stonewalling to catch a killer who is prowling the myth-soaked streets of Girona.

Author Chris Lloyd lived in Catalonia for over twenty years. Now back in South Wales, he works as a Catalan and Spanish translator. A generous and fascinating interviewee, Chris gives us the intel on Elisenda, Catalonia’s turbulent past, and how, as a writer, you have to make friends with the delete button.

Tell us about Elisenda Domènech…

That’s a tough question as I’m still learning about her. Initially, she’s very straightforward and down-to-earth, but the things that have happened to her have made her tremendously complex. At first glance, she’s a middle-class, well-educated Catalan woman who loves her family, is loyal to the people she cares for, has a huge respect for her culture and traditions and longed to return to her native Girona after years in Barcelona. But when I dig deeper, I see that even with all of that, she’s rebelled in her own way against other people’s expectations of her. She was expected to have a glittering career as a lawyer, but chose instead to go against everyone’s wishes for her by joining the newly-formed Catalan police, one of the first women to enlist, at a time when most middle-class, well-educated Catalan women still had to be convinced it was the career for them. She’s irreverent and sharp-witted, a hater of hierarchy and ceremony, but so much of her nature, her innate sense of fun and enjoyment of life, is hidden under layers of grief and guilt at the death of her daughter.

How did you get the idea for City Of Good Death?

Really, it was a series of moments that found their way to each other. I was researching in the municipal archives in Girona when I came across the history of the Virgin of Good Death, a statue over one of the old gateways into the city. In medieval times, she was there to bless convicted criminals as they were led out of the city to be executed. The statue was not far from the archive, so I went straight outside to look at her and I was immediately enchanted. I couldn’t help wondering what she had witnessed over the years. The same week, in the same archive, I also discovered dozens of legends about the city I’d never heard before. One was about a face carved into a wall, which I found, and showed to a friend, someone from Girona, who’d never seen it. Those two finds pretty much sowed the seed of the idea of how easy it is to forget the stories of our own culture, and of how someone might act in an extreme way in the face of that.

All of this happened at the same time that policing was being devolved to Catalonia. Essentially, a new police force was being put in place. They knew how they wanted the police to be and were working hard at breaking with the past, but they were still finding it difficult to change history and the perceptions of their role. And they were having to learn as they went along, handling change the best they could. It just seemed the perfect counterpoint to the whole idea of change versus tradition and the rights and wrongs of them both.

You lived in Catalonia for twenty years – why is it such a good place to set a crime series?

There should be an easy answer to that, but it’s so hard to pin down. And that’s probably why it is so perfect as a setting. I think it boils down to contradictions. Once in Girona, I saw two cars parked side-by-side being loaded, one with skis and the other with an inflatable boat. The first was two hours from the Pyrenees, the second was half an hour from the beach. For me, it sums up a variety – or a contradiction – that I think you’d be hard pushed to find in many places in the world. Catalonia’s had a turbulent past, it’s known wealth and poverty, supremacy and oppression, and that breadth of experience and history distils into a character and a mood that’s so abundant in stories and that can switch from one extreme to another. On a purely practical level, it also means I can base one story in a beautiful and bustling medieval/modern city, with all the contradictions inherent in that, and the next on an isolated winter headland overlooking the Mediterranean.

What kind of crime fiction and authors are really popular in Spain?

It’s changed greatly over the years. Spain never really had a tradition of police procedural novels, or heroes, and that’s largely because of the way policing was seen for so long. Throughout the Franco era and for some time after, the police weren’t perceived to be there to solve crime or protect the public, but as a force for control and punishment. And I think that was reflected in what readers chose for their crime fiction. People wanted escapism. So, when I first went to live in Spain, there was a taste for cosy crime stories, a real escape from reality. Agatha Christie was hugely popular, as were the more traditional or established British crime writers, such as GK Chesterton and Conan Doyle. Probably more so than the American writers, although the greats like Chandler and Hammett were popular. Home-grown writers were few and far between, and for years Manuel Vázquez Montalbán, with his very politicised private detective Pepe Carvalho, writing against a backdrop of post-Franco changes in Barcelona and beyond, was very much a lone voice. And a sign of what was to come, I think.

But as the country’s changed, so have tastes. Spanish society and the roles in it have shifted. As the country prospered and became more confident, so readers were more open to trying new writers and new sub-genres within crime fiction. Things shifted from the cosy to the socially critical. From the tea-and-deduction type of fiction to the more hard-boiled and realistic, with modern British and American writers, along with the Nordic authors and new generations of Spanish writers. And this has deepened since the financial crisis. Now, instead of books that escape reality, we’re seeing a taste for fiction that uses it as the setting. Interestingly, we’re at the point where we’re seeing a lot of home-grown police procedural crime fiction. On the one hand, cops are steadily becoming more acceptable as heroes, and on the other, readers in Spain want stories that reflect the reality of their own country, more so at a time when there are so many problems. Crime fiction is a way of trying to understand what’s going on in tough times.

What’s the hardest lesson you ever had to learn about writing?

Patience. With yourself and with the process. First of all, you have to be patient with yourself: it was a shock to realise that I was never going to write a 90,000 word novel in one sitting! I’ve had to learn how to break the story down and concentrate on the bit I’m working on, then move on to the next bit and then the next bit, and keep going until I have a first draft. And you have to be patient with yourself when you have those moments where you write 2,000 words one day and delete the lot the next. You also have to learn patience with the whole process, over which you have no control. Once you send out your work, you simply have to get on with a new story. Don’t sit around waiting because everything takes a lot longer than you think it will, and you can drive yourself up the wall trying to second-guess what’s happening to your manuscript.

Who are the authors you admire, and why?

For crime, I’m a great fan of the Nordic writers, especially Mons Kallentoft and Arnaldur Indridason. I love their sense of place and how that forms the character. The same holds true for my other favourites, Stuart MacBride, Val McDermid, Ian Rankin, Philip Kerr, David Downing. They all have an extraordinary ability to create a powerful protagonist and a world that’s unique to them. I also admire writers who can break down the conventions of crime, like Malcolm Pryce with his amazing stories set in an alternative Aberystwyth, and Christopher Brookmyre, who is constantly surprising.

For non-crime, I love the exquisitely layered stories of Jonathan Coe and Robertson Davies, the intense atmosphere of Milan Kundera and Michel Faber, and the off-the-wall world of Hunter S Thompson and Tom Robbins.

Give me some advice about writing…

You have to learn to kill your babies. And to save them. That beautifully-crafted piece of prose simply might not work in your story or a character you love writing might just be getting in the way, so you have to make friends with the delete button. But before that, learn to use the paste button. I save everything I cut in files in an offcuts folder and check back from time to time in case something there gives me an idea for later on. One of the characters in City of Good Death was a development of one I cut from an earlier draft but saved in the offcuts folder. A snippet of dialogue helped form the basis of another completely different scene.

What’s next for Elisenda and her team?

They’re still reeling after the events of City of Good Death and still fighting for the survival of the unit, so Elisenda is doubly annoyed at being given a cold case, which she sees as a forerunner to their being closed down. But the case, a thirty-year-old murder that echoes an ancient Iberian form of ritual execution, proves to have repercussions today. It throws up a trade in illicit antiquities, while also revealing a past practice under Franco of destroying archaeological sites if they didn’t fit in with the official history, or simply because of economic expediency in the hotel building boom of the early tourist industry. The people who benefited from that want to protect the secrets of the past.

***

City Of Good Death, published by Canelo, is available as an ebook from places like this.

The Intel: Philip Kerr Reloaded

It’s Christmas. You may have noticed that. Nobody’s publishing any books and there’s little in the way of crime telly this year, it’s slim pickings. So we’re kind of struggling here right now at CTF Towers. We’ve lots of terrific stuff coming up but, you know what, actually generating content with Crimble just, like, days away, seems too much like hard work.

Instead, reacquaint yourself with this fantastic Q&A with the esteemed Philip Kerr, Esq. I’ll meet you back here sooner than you think, so don’t become a stranger — clock in every hour, on the hour, just to make sure. Thanks for visiting this year, it’s been fun. And remember, you writer-types, listen to Mr. Kerr’s wise words. Keep buggering on.

Merry Christmas one and all, etcetera!

Photo: Joanna Betts

We liked Philip Kerr’s new thriller Research – we liked it a lot. You can reacquaint yourself with that particular review right here. A standalone thriller, Research was an enjoyably louche and sly journey into the dark psyche of a writer.

Kerr is, of course, one of the biggest names in the publishing business. His Bernie Gunther novels and standalones are endlessly popular. And no wonder, the man is a natural-born novelist. He cannot – will not – stop writing.

So it gives Crime Thriller Fella enormous pleasure to say that Philip Kerr has agreed to give us The Intel on Research, the changing state of the writing business, his new book series… and how he wants to die.

In Research, are your protagonists John Houston and Don Irvine based on any writers in particular?

No-one except me. They’re extreme versions of myself. I like to imagine grotesque versions of myself in certain situations. These are Jekyll and Hyde characters, of course. With the difference being that, like most people, each man is both Jekyll and Hyde, and the mystery is working out which one is the real Mr Hyde, if such a thing can be said to exist at all.

Like John and Don, you started out in advertising – how much of you is in those characters?

I worked in advertising for eight years, and at several large agencies including Masius, and Saatchi. I was not a diligent copywriter. I spent much of my time writing novels. Masius was very convenient for the London Library; and Saatchi was equally convenient for the British Library, which, in those days, was in the British Museum – a ten minute stroll from Charlotte Street.

There’s plenty of gossip about writing and writers over glasses of fine wine in Research – what made you want to write a thriller about your own business?

Because the business is changing so fast; I have wanted to do an in statu quo novel about the book business for a while. I have been a full time writer for 25 years and felt I could comment on the publishing business in a way that was both amusing and critical. Much of what the two men say reflects my own opinions about the state of the novel. That was fun to do.

How has the writing business changed since you started out?

It has changed enormously. When I was first published in 1989, it was all about the writer, not the book. Publishers felt they were in it for the long term, to build an author. There’s less time for that now. It’s all about the book. Paradoxically however I think we’re moving to a place where the author becomes paramount again, but for all the wrong reasons. Increasingly we require authors to be celebrities; and if not celebrities, personalities who can masquerade as celebrities.

It’s no longer enough to write a book, you have to be prepared to support it in person with appearances and talks and stand-up routines. I do an annual American book tour that lasts about three weeks. During that time I become a one-man show. Not every author can or wants to do that. But if you’re not prepared to do that kind of thing, the business will leave you behind.

You said recently that if you’re not writing you feel like the ghost of someone else – can you imagine a day when you will stop writing?

I write every day. Even Christmas. It’s how I define myself. I’m not sure I feel like a ghost when I’m not writing; just that the me that exists is an etiolated version of me. I think the great thing about being a writer is that you never really have to stop. By which I mean retire. I was impressed that Elizabeth Jane Howard – who sadly died recently – was still writing a novel at the time of her death at the age of 90. That’s how I want to go. At my desk. Mid-sentence.

What’s the hardest lesson you ever had to learn about writing?

That most people don’t give a damn in the UK about writers. It’s different in Europe and in the USA. But here people really don’t care very much about books at all, any more. It’s a bit like Italy in that respect. France and Germany and Spain treat writers differently I think. But it’s a lesson well learnt. I don’t look for anything here and I’m not disappointed.

How do you deal with feedback?

Honestly, I don’t get very much. Mostly people are kind if they say anything in person at a bookshop signing. So there’s no problem dealing with that. But I honestly think that what I say about something outside of what’s in a book really doesn’t matter a lot.

Give me some advice about writing…

Keep buggering on.

What’s next for you?

I have a new series of novels coming out about crime and football. The first one January Window will be published in October; and the next one Hand of God will be published in the summer of 2015. Both novels are finished and feature football manager turned sleuth Scott Manson. Think Dick Francis and football and you will have an idea of what is involved.

The Intel: Luke McCallin

Luke McCallin’s debut novel The Man From Berlin offers a unique take on the World War II conflict – moving away from the Holocaust, D-Day landings and British Home Front and turning to murderous events in Sarajevo, Bosnia.  It follows military Intelligence officer, Captain Gregor Reinhardt, as he investigates the brutal murders of a beautiful socialite and a German officer, threading a careful route through a minefield of political, military and personal agendas.

Published by No Exit, The Man From Berlin has drawn comparison with Philip Kerr, Dan Fesperman, CJ Sansom and Martin Cruz Smith. The first of a planned series about Reinhardt, it’s out now as a paperback, or ready to download to your Device from here.

Luke’s work is imbued with his experience working for the UN as a humanitarian. He’s been incredibly generous with his answers for The Intel. He talks about how Reinhardt walked into his dreams, about the evolution of The Man From Berlin, his writing process and his best-ever moment between the posts…

Tell us about Gregor Reinhardt…

Gregor Reinhardt is a German intelligence officer, a former Berlin detective chased out of the police by the Nazis. When you first find him in The Man From Berlin, he is haunted by what he has seen, tortured by recurring nightmares, wearing the uniform of an army he despises, and has ever fewer reasons to live.

He is a son, a soldier, a husband, a father, a friend, a policeman, a patriot… He is all of those things, and not defined by one of them more than another. He is a man formed by his times. He is a man much like any other. Sometimes strong, sometimes weak. Sometimes able to do the right thing, and sometimes too scared to. Sometimes shaped by events, sometimes able to shape them to him. Sometimes introspective to the point of paralysis, but with the intelligence to see past the veil of illusion and propaganda that has been pulled across his time, and thus perfectly aware of how his inactivity and fear make him complicit in the spiral of chaos around him.

Someone once said they would cross the road to talk to Henry V, or King Lear, but they wouldn’t cross the room to talk to Hamlet. I like to think Reinhardt’s a bit like that. He’s Hamlet. He feels his times very keenly. He feels his own inadequacies more keenly still. What I wanted to do in creating and writing Reinhardt was to find a way to look at a tempestuous and tendentious period of history, to create a character and make people think that he could be you. An ordinary man in extraordinary times, still trying to behave and believe in what makes sense, but so painfully aware of his own fears and limitations, and still knowing what is right and what is wrong. If you give someone like that an opportunity to do something, be someone, what would he do? What would you do…?

So, if you crossed that proverbial room — maybe at a reception or a cocktail party — if you got him to loosen up and talk to you, if he trusted you enough, he’d have quite a bit to say about himself, and his times. I think you would find him interesting. Somewhat taciturn, with a dry sense of humour and very self-deprecating, and I think you would find yourself opening up to him in turn.

Why do we find compromised heroes so compelling?

I suppose at its simplest, a compromised hero is someone who is not where they would otherwise want to be. As readers, we want someone to root for: someone who has something to lose. As an author, I want my character to move, and grow, but if we take ourselves as examples, our growth and development as people — as human beings — is not linear. But what works, or even doesn’t work, in life does not always work on the page. You have to come up with a character and a journey that lets you start at one point, and finish at another, and that allows you to show how the character has grown and changed.

In Reinhardt’s case, he is an officer in an army he detests, and he is a man who has allowed his fear to overcome his sense of wrong and right. He is compromised by his inaction, and by his participation — however unwilling — in the war, but however low he feels or thinks he is, there is always lower to go. He knows that, so the watchwords to Reinhardt’s character and story are probably ‘change’ and ‘consequence.’ Reinhardt’s story is a thread woven into a tapestry of a continent in upheaval. He goes through those times initially just trying to keep his head above water and survive, but he changes. It’s impossible not to. I think you have to make people interested in those changes, interested in the consequences of those changes, and you have to make people believe Reinhardt has something to bring to the table, so to say. You need to make people care about him, and to survive is not enough.

Where did the inspiration for The Man From Berlin come from?

It may sound clichéd, but Gregor Reinhardt walked into my dreams one night, and then sat quietly to one side for months and years, not saying much, not doing much, just waiting for me to find the time and the courage to start writing his story.

I was a political advisor to the United Nations mission in Bosnia when Reinhardt appeared. I worked with people from all walks of Bosnian life. With policemen and judges and lawyers, with mayors and town councilors, with priests and imams, with refugees and people still living in ruins, with war criminals and those who survived them, with those who had lived the war and those who fled from it, with women holding families together, and men who had fallen adrift of life. I began to build up a collage in my mind. I kept wondering, asking myself, what would I have done in their place, and I began weaving that human and historical tapestry, which is one of the most complex and fascinating you can imagine, into a story, and then into a book, albeit into another time, that of the Second World War, and the book had at its heart a man on the edge of despair at what his life had become, and his name was Gregor Reinhardt.

You’ve described the city of Sarajevo as an iconic character in the book – what is it about the city that made you want to write about it?

Setting Reinhardt’s story in the Balkans was actually a late decision. The novels were originally to be set in Berlin, a city I’ve never visited and about which I know practically nothing. I spent years trying to research it, until I had something of a road to Damascus moment and Sarajevo offered itself up as a location instead.

Immediately, so many things fell into place. The story made more sense, I could say so much more about the themes I wanted to develop, and describe a city and people I have deep, deep affection for. I could entice readers with the promise of adventure in the Balkans — a part of the world known to most as a by-word for intrigue, or treachery — so it was a chance to show readers another side of that region. It was also to make readers more keenly interested in the characters. They’d have to be tough or resourceful to survive the Balkans, right?!

It was also because I think that with mysteries, time and place are almost characters in and of themselves. I spent six years working in Bosnia, and you can’t live there or in Sarajevo for long without it seeping into you. As much as it’s an overused analogy, Bosnia and Sarajevo really are historical and cultural crossroads, and are so contested. They defy any simple explanation, just like the finest puzzle or book or question. No matter the need to reduce and simplify them, there’s no one way to read or play them, and a place and time like that gives you so many options as an author: for drama, action, reflection; for asking big questions and trying out the answers to them.

What’s next for Reinhardt?

My original conception of Reinhardt’s stories was an initial set of three stories, a trilogy, each novel focusing on a particular theme (and I’m pretty sure my (un)conscious choice of a trilogy was influenced by all the fantasy novels I read!) The Man From Berlin was about redemption. The Pale House was about resistance. The third novel, which I’m writing now, will be about reconciliation. That novel will complete the initial Reinhardt trilogy. The fourth novel will be set in Reinhardt’s past, during the First World War, and will tell the story of an investigation in the trenches. I’ve always wanted to write a WWI novel, and I think Reinhardt will let me say some of the things I’ve always wanted to say about it.

I know there are at least half a dozen stories, including the two I’ve written so far, that contain specific things I want to say about Reinhardt the character, and his times and places. Places are very important to me. Like I said, they’re characters in their own right. That comes from my background, growing up in Africa, and my work with the UN. I’m fascinated by places, what they can do to you… I’ve ideas for novels in pre-WWII Paris, in Marseille, in Berlin, and even an idea for a Reinhardt novel in Panama!

You’ve traveled widely in your life – how do you think that has influenced your writing?

More than the travelling, it’s living and working in many places. I was born in Oxford to parents that had a humanitarian vocation. We moved to Africa when I was five. My father worked for the UN High Commissioner for Refugees, and my mother did work with child soldiers. That upbringing was inspirational, and engendered in me a desire to do something similar. I’ve worked for a range of UN organisations around the world, and now work for the UN based in Geneva. All the places I’ve lived and worked — in Africa, in Russia, in Haiti, in Pakistan, in the Balkans, especially — taught me something, or I saw something, or felt something. About what happens to people — ordinary people — put in extraordinary situations.

I’ve seen a lot of human suffering and violence, but also a lot of human dignity and kindness, and we can too easily forget about the latter when faced with the former. I feel compelled — inspired, if you like — to give voice to those impressions, feelings and observations. That’s not to say my writing’s about those places, although my first two books were set in WWII Sarajevo, but those experiences taught me a lot about how people can act in such situations. There is so much dignity and so much anguish in the human situation when confronted with war or natural disaster. No one really asks to become a war criminal, or to get conscripted, or deny other humans their basic human rights, or to try and raise a family in a refugee camp, but it happens. And at the same time, as we see right now in Ukraine, it does not take much for people to move so far so fast from the paths their lives were taking: for postmen, for bakers, for bank clerks, for miners to become gunmen, to become warlords, for them to turn on their neighbours of decades and believe the worst of them, to expect the worse of them, and so to mete out the worst before it befalls them.

What does it take for a man to turn on his neighbour? What does it take for another man to stand up for someone? Trying to understand the human motivations or conditions in all that, that’s what inspires me to write. I’ve found that no amount of work that we, as humanitarian workers, can ever really do will suffice to overcome those impulses. You are always going to be frustrated in what you achieve, to only get halfway to where you want to be, and often — far too often — the guilty get away with it. I think with my writing I’m trying to find some way of coming to terms with that. I don’t write about white knights on white horses — Gregor Reinhardt is certainly not one of those — but I try to ask those questions that seem to haunt me, and I try to find answers, and a sense of closure.

Take us through a typical writing day for you?

If only I had one! I have a full time job and a family so my writing time often ends up being done in the dogwatches. Curtailed, as Dr Maturin said in one of the O’Brien books! I try to do a bit each day, if only an hour, and it’s mostly in the evenings, but I recently started a new job with a lot more responsibilities. I’m finishing each day a lot more mentally fatigued than I used to, so the energy to write is not quite there even if the time is.

I get quite a bit done at weekends, usually when I’ve set up all the props. That would be black tea, by the litre, and some music! I like quiet, but only relative. I work to music a lot. I have a particular soft spot for West African music, especially music from Mali. I used to work in Mali and it’s a musical goldmine, a gift that keeps on giving!

Who are the authors you admire, and why?

Harper Lee, Erich Maria Remarque, Vasily Grossman, Alexander Solzhenitsyn and Isaac Babel were great influences who found and rendered the human amidst tumultuous backdrops. Cormac McCarthy and Peter Mathiessen are extraordinary modern American writers, with the first volume in the latter’s Shadow Country trilogy a master class in story-telling from multiple viewpoints, replete with ambiguity and with the ‘truth’ held tantalisingly just out of reach, just like real life. Mathiessen is also a writer who exposes the truth of a place, and I admire the way he is able to show many of the realities beneath the American dream, and put in perspective — and to sometimes hold dearer as a result — all that has been built in that country.

I admire Sebastian Barry for the lyricism of his writing, such that I’m sure he has to be the reincarnation of an Irish bard! Rosemary Sutcliffe’s books (she always said she wrote for children aged eight to eighty!) about Roman Britain were magical, almost fairy tales, and her descriptions of Britain’s beauty and wildness were and are inspiring. Hilary Mantel, Patrick O’Brien and Alexander Fullerton I love for the sheer depth of their historical research and, particularly for O’Brien, the sheer beauty of his writing and the creation, in Aubrey and Maturin, of one of the best fictional double-acts ever.

Growing up, it was science fiction and fantasy I read most. Tolkien, CS Lewis, and Stephen Donaldson, Larry Niven and Jerry Pournelle, then Neal Stephenson, William Gibson, Scott Lynch and R. Scott Bakker. I love all the world-building that goes into science fiction and fantasy, the intricacy of it. As much as I read a lot of history and current affairs, I don’t have a particular favourite writer of it — I tend to focus on periods or themes, more than authors — but AJP Taylor was, and remains, immensely readable. Joe Sacco’s graphic novels about Palestine, Goražde, and WWI are works of art as well as works of political analysis and conscience. Jared Diamond’s Guns, Germs and Steel changed the way I look at the world, as did Mike Hulme’s Why We Disagree About Climate Change. Hew Strachan’s work on the First World War is magisterial. The Washing of the Spears and Bury My Heart at Wounded Knee are classics that look at different instances of the imperial experience. The Isles is the single best book I know about Britain.

I’m reading a lot of crime, espionage and mystery, partly to familiarise myself as this was never the genre I thought I would write in! There are the giants like Raymond Chandler, James Ellroy, Len Deighton and John Le Carré. Then the contemporary authors I’ve discovered are Philip Kerr (of course!), William Ryan, Alan Furst, and David Downing. Seeing as I’m fascinated by what places and times can do to you, I especially like James McClure’s Kramer and Zondi series about a pair of detectives in apartheid South Africa.

Give me some advice about writing…

There’s a suitably acerbic anecdote from Ernest Hemingway that fits this question. Once asked what the best training for an aspiring writer would be, he replied: “Let’s say that he should go out and hang himself because he finds that writing well is impossibly difficult. Then he should be cut down without mercy and forced by his own self to write as well as he can for the rest of his life. At least he will have the story of the hanging to commence with.”

Write, and don’t be afraid to write badly, or with difficulty because, as someone once told me, there are no good writers, there are only good re-writers. Just write. Don’t wait for the perfect idea, or the most ingenious plot. Don’t be afraid to show what you’ve done, and show it widely. Writing is a lonely business, so it’s important that you as a writer get out and about, and that you show your work to people, as many people as you can. You want criticism, and you want that exposure of yourself and your work. Don’t be afraid to ask for help. There are all kinds of resources out there: workshops, writers’ groups, online courses and coaches, some of them right in your neighbourhood. Make friends with writers so that you have a community. I benefitted enormously from an online coach, who taught a great course on plot development.

What else…? Read outside your genre and comfort zone, and read widely and voraciously because you’ll never know what you might find, and where you’ll find it. Observe what’s going on around you. When you’re out and about, watch people. Watch them having conversations, watch them walking down the street, eating, laughing. Watch the sky, watch the play of light on water or glass, watch the street’s reflection wash over the yellow chassis of a New York taxi. Watch how water flows, what it flows around, how it flows around.

Take time to plan, but remember there’s a fine line between planning, and planning as prevarication. I used to just dive in and write, but what I’d end up with were lots of disconnected scenes and ideas. Sometimes I’d be able to join them up, often not. Planning — research, plotting, a synopsis, knowing the ending before you begin — can really help.

You play in goal for the UN football team – what’s the best save you ever made?

What a great question! There are so many great saves I made (tongue firmly in cheek), how to chose one… Well, there was one I’m particularly proud of because it was, I think, a sort of amalgam of all the goalkeeper’s arts — anticipation, observation, positioning, technique, reflexes and a spot of bravery. We were playing in a semi-final, and we needed a win. About five minutes from the end, we were leading 3-2, and the other teams two forwards made a clean break through into our half. There were no defenders with them, just me. The striker with the ball had already scored twice, so he was on a hat trick. I figured he’d want that third goal for himself more than for the team, so I made it ‘easy’ for him, and gave him plenty of space away from the other striker, who was screaming for the ball. Sure enough, the one with the ball tried to go round me, but I managed to close him down and went down at his feet, got a hand to the ball and knocked it away, and then got up for the rebound and saved that one too!

Crime Thriller Book Log: Horowitz, Kerr, Samson, McNab & Mosse

We haven’t done of these Book Logs for, like, yonks, so — let’s do it! 

*Crime Thriller Fella fist pumps and makes a bit of a fool of himself*

Plenty of writers have taken liberties with the legacy of the World’s Greatest Detective but Holmes fan Anthony Horowitz, whose Sherlock novel The House Of Silk was warmly-received, has perhaps more right than most to do so.

In his new book, Moriarty, he presents his own version of what happened after Conan Doyle got tired of his creation and had him topple over the Reichenbach Falls.

The blurb is wearing glasses and a false moustache:

Sherlock Holmes is dead.

Days after Holmes and his arch-enemy Moriarty fall to their doom at the Reichenbach Falls, Pinkerton agent Frederick Chase arrives in Europe from New York. The death of Moriarty has created a poisonous vacuum which has been swiftly filled by a fiendish new criminal mastermind who has risen to take his place.

Ably assisted by Inspector Athelney Jones of Scotland Yard, a devoted student of Holmes’s methods of investigation and deduction, Frederick Chase must forge a path through the darkest corners of the capital to shine light on this shadowy figure, a man much feared but seldom seen, a man determined to engulf London in a tide of murder and menace.

Horowitz takes Jones, one of Conan Doyle’s minor characters, and puts him centre-stage. He also turns the spotlight on the mysteriously devilish Napoleon Of Crime. Professor James Moriarty has increasingly emerged as something of an important so-and-so in the Holmesiverse, but he only ever appeared in two Holmes stories — and was created specifically so Conan Doyle could get rid of the detective he had grown so weary of.

I recklessly predict Moriarty will sell like hot cakes in both hardback and on The Device.

If a slice of orange at half-time is more your thing, January Window is the first in a new series by Philip Kerr, writer of the acclaimed Bernie Gunther novels.

Now Kerr is aiming to score from the spot, heh, with his new series which features Premiership fixer and coach Scott Manson.

Authors can sometimes get a red card from readers, heh, when they substitute a high-scoring character, heh, but as the author of a series of stand-alone novels, Kerr is nothing if not tactically astute. He’s a writer who always gives 110%, Brian. God, I’m even boring myself with all this football hilarity.

The blurb is stepping up to the spot:

Everyone knows football is a matter of life and death.

But this time, it’s murder.

Scott Manson is team coach for London City football club. He’s also their all-round fixer – he gets the lads in to training, and out of trouble, keeps the wags at bay and the press in his pocket. The players love him, the bosses trust him.

But now London City manager Joao Zarco is dead, killed at his team’s beloved stadium at Silvertown Docks. Even Scott Manson can’t smooth over murder… but can he catch the killer before he strikes again?

Set in the glamorous but corrupt world of Premier League football, this is a gripping thriller from a bestselling crimewriter.

January Window is out in hardback and kindle.

Lamentation is the latest Shardlake novel from CJ Samson. It’s not available on parchment, sadly, but you can get it in all the modern bindings – hardback, paperback and on The Device. Samson’s hunchbacked lawyer Matthew Shardlake is coming to the end of Henry VIII’s reign, but worry not Shardlake fans, the author has said the series will continue into the reign of the Virgin Queen.

The blurb could well be longer than the Magna Carta:

Summer, 1546.

King Henry VIII is slowly, painfully dying. His Protestant and Catholic councillors are engaged in a final and decisive power struggle; whoever wins will control the government of Henry’s successor, eight-year-old Prince Edward. As heretics are hunted across London, and the radical Protestant Anne Askew is burned at the stake, the Catholic party focus their attack on Henry’s sixth wife, Matthew Shardlake’s old mentor, Queen Catherine Parr.

Shardlake, still haunted by events aboard the warship Mary Rose the year before, is working on the Cotterstoke Will case, a savage dispute between rival siblings. Then, unexpectedly, he is summoned to Whitehall Palace and asked for help by his old patron, the now beleaguered and desperate Queen.

For Catherine Parr has a secret. She has written a confessional book, Lamentation of a Sinner, so radically Protestant that if it came to the King’s attention it could bring both her and her sympathizers crashing down. But, although the book was kept secret and hidden inside a locked chest in the Queen’s private chamber, it has – inexplicably – vanished. Only one page has been found, clutched in the hand of a murdered London printer.

Shardlake’s investigations take him on a trail that begins among the backstreet printshops of London but leads him and Jack Barak into the dark and labyrinthine world of the politics of the royal court; a world he had sworn never to enter again. Loyalty to the Queen will drive him into a swirl of intrigue inside Whitehall Palace, where Catholic enemies and Protestant friends can be equally dangerous, and the political opportunists, who will follow the wind wherever it blows, more dangerous than either.

The theft of Queen Catherine’s book proves to be connected to the terrible death of Anne Askew, while his involvement with the Cotterstoke litigants threatens to bring Shardlake himself to the stake.

For Valour. It can only be the title of the latest Andy McNab, and indeed it’s the sixteenth Nick Stone thriller. Nick is a mercenary and a former member of the SAS, and a parent to boot – he is, also, you will not be in the least surprised to know, a maverick. The kind who wanders the world getting into all sorts of scrapes, usually involving weapons of mass destruction.

The blurb is locked and loaded:

When a young trooper is shot in the head at the Regiment’s renowned Killing House, Nick Stone is perfectly qualified to investigate the mysterious circumstances more deeply. He has just returned from Moscow – still trying to come to terms with the fact that his girlfriend and baby son are safer there without him – so combines an unrivalled understanding of the Special Forces landscape with a detachment that should allow him to remain in cover.

But less than forty-eight hours later, a second death catapults him back into the firing line – into the telescopic sights of an unknown assassin bent on protecting a secret that could strike at the heart of the establishment that Stone has, in his maverick fashion, spent most of his life fighting to protect.

And now the clock is ticking, Stone hurtles from the solitude of a remote Welsh confessional to Glencoe – whose shadows still whisper of murder and betrayal – and on to Southern Spain, in an increasingly desperate quest to uncover the truth about a chain of events that began in the darkness of an Afghan hillside, and left a young man haunted by the never-ending screams of a friend the Taliban skinned alive.

And, finally, for you supernatural fiends – The Mistletoe Bride and Other Haunting Tales is a collection of stories by Kate Mosse, which has just come out in every format imaginable.

It’s a series of ghost stories – just in time for Halloween, of course – in which readers of Mosse’s enormous and dense novels, such as Labyrinth, can get a sense of how the author developed her style – many of Mosse’s preoccupations, of timeslips and historical hauntings, are here.

Indeed, some of these stories have been published before. It’s perfect for those autumn evenings, of course. However, a real log fire doesn’t come included, and you may have to buy your own candles and nightdress.

 

The Intel: Philip Kerr

Photo: Joanna Betts

We liked Philip Kerr’s new thriller Research – we liked it a lot. You can reacquaint yourself with that particular review right here. A standalone thriller, Research was an enjoyably louche and sly journey into the dark psyche of a writer.

Kerr is, of course, one of the biggest names in the publishing business. His Bernie Gunther novels and standalones are endlessly popular. And no wonder, the man is a natural-born novelist. He cannot – will not – stop writing.

So it gives Crime Thriller Fella enormous pleasure to say that Philip Kerr has agreed to give us The Intel on Research, the changing state of the writing business, his new book series… and how he wants to die.

In Research, are your protagonists John Houston and Don Irvine based on any writers in particular?

No-one except me. They’re extreme versions of myself. I like to imagine grotesque versions of myself in certain situations. These are Jekyll and Hyde characters, of course. With the difference being that, like most people, each man is both Jekyll and Hyde, and the mystery is working out which one is the real Mr Hyde, if such a thing can be said to exist at all.

Like John and Don, you started out in advertising – how much of you is in those characters?

I worked in advertising for eight years, and at several large agencies including Masius, and Saatchi. I was not a diligent copywriter. I spent much of my time writing novels. Masius was very convenient for the London Library; and Saatchi was equally convenient for the British Library, which, in those days, was in the British Museum – a ten minute stroll from Charlotte Street.

There’s plenty of gossip about writing and writers over glasses of fine wine in Research – what made you want to write a thriller about your own business?

Because the business is changing so fast; I have wanted to do an in statu quo novel about the book business for a while. I have been a full time writer for 25 years and felt I could comment on the publishing business in a way that was both amusing and critical. Much of what the two men say reflects my own opinions about the state of the novel. That was fun to do.

How has the writing business changed since you started out?

It has changed enormously. When I was first published in 1989, it was all about the writer, not the book. Publishers felt they were in it for the long term, to build an author. There’s less time for that now. It’s all about the book. Paradoxically however I think we’re moving to a place where the author becomes paramount again, but for all the wrong reasons. Increasingly we require authors to be celebrities; and if not celebrities, personalities who can masquerade as celebrities.

It’s no longer enough to write a book, you have to be prepared to support it in person with appearances and talks and stand-up routines. I do an annual American book tour that lasts about three weeks. During that time I become a one-man show. Not every author can or wants to do that. But if you’re not prepared to do that kind of thing, the business will leave you behind.

You said recently that if you’re not writing you feel like the ghost of someone else – can you imagine a day when you will stop writing?

I write every day. Even Christmas. It’s how I define myself. I’m not sure I feel like a ghost when I’m not writing; just that the me that exists is an etiolated version of me. I think the great thing about being a writer is that you never really have to stop. By which I mean retire. I was impressed that Elizabeth Jane Howard – who sadly died recently – was still writing a novel at the time of her death at the age of 90. That’s how I want to go. At my desk. Mid-sentence.

What’s the hardest lesson you ever had to learn about writing?

That most people don’t give a damn in the UK about writers. It’s different in Europe and in the USA. But here people really don’t care very much about books at all, any more. It’s a bit like Italy in that respect. France and Germany and Spain treat writers differently I think. But it’s a lesson well learnt. I don’t look for anything here and I’m not disappointed.

How do you deal with feedback?

Honestly, I don’t get very much. Mostly people are kind if they say anything in person at a bookshop signing. So there’s no problem dealing with that. But I honestly think that what I say about something outside of what’s in a book really doesn’t matter a lot.

Give me some advice about writing…

Keep buggering on.

What’s next for you?

I have a new series of novels coming out about crime and football. The first one January Window will be published in October; and the next one Hand of God will be published in the summer of 2015. Both novels are finished and feature football manager turned sleuth Scott Manson. Think Dick Francis and football and you will have an idea of what is involved.

Research – Philip Kerr

Philip Kerr’s new standalone thriller Research is as cynical and disillusioned as a boozy publishing lunch. The novel takes two authors on the road when one of them – the super-rich, super-successful John Houston – is accused of murder.

The blurb has regrettably decided to fire its agent:

The rolling strip across the bottom of the screen shouts the news:

BESTSELLING NOVELIST JOHN HOUSTON’S WIFE FOUND MURDERED AT THEIR LUXURY APARTMENT IN MONACO.

Houston is the richest writer in the world, a book factory publishing many bestsellers a year – so many that he can’t possibly write them himself. He has a team that feeds off his talent; ghost writers, agents, publishers. So when he decides to take a year out to write something of quality, a novel that will win prizes and critical acclaim, a lot of people stand to lose their livelihoods.

Now Houston, the prime suspect in his wife’s murder, has disappeared. He owns a boat and has a pilot’s licence – he could be anywhere and there are many who’d like to find him.

First there’s the police. If he’s innocent, why did he flee? Then again, maybe he was set up by one of his enemies. The scenario reads like the plot of one of Houston’s million-copy-selling thrillers…

There’s not a huge amount you can say about Research without giving its twisty game away, but we’ll give it a go.

They say write what you know and Kerr, a crime writer with many years experience, has chosen to poke a sharp stick at his own industry. Research is a sly, psychological thriller about writers and writing, and the seething resentments that fester when creative isn’t given its due. It’s virtually a two-hander, in the spirit of Schaffer’s Sleuth or Ira Levin’s Deathtrap.

John Houston is a wildly-successful international hit machine – an amalgam perhaps of James Patterson, Robert Harris and Wilbur Smith. He’s got the beautiful actress wife, a fleet of classic cars, homes all over the shop – including a pad in Monaco – and a mistress in every town.

Houston has recently dismantled what he calls his atelier, a group of long-suffering authors who anonymously pen his never-ending torrent of novels. Houston writes the extraordinary plot outlines – he long ago realized that his readership keep coming back for his stories – and employed a team of bitter underlings to churn out the prose, long before it became a standard industry procedure. Subsequently, a lot of people have become rich on the back of Houston’s success – his publisher and agent among them – and not long after Houston disbands the atelier he goes on the run with one of his authors, Don Irvine, after being accused of shooting his wife.

A playful morality tale, Research has a lot of fun with its central, toxic relationship between Houston and his resentful friend/minion, Irvine. The pair open bottle after bottle of fine burgundy and smoke cigarettes at exclusive restaurants as they roar across the south of France in a borrowed Bentley in a bid to clear Houston’s name. Houston in particular is a terrific character, arrogant and complacent and oddly sympathetic. Imagine Kingsley Amis and Jeremy Clarkson in a remake of Thelma And Louise and you’re in the ballpark.

It’s hugely readable, at times it’s blackly funny, and the dialogue is a particular treat. Kerr fills his story with gossipy literary references and name-dropping tidbits – and there are a few choice asides about the state of the industry. Research is a bitter fairytale – what writer hasn’t dreamed of the kind of super-rich lifestyle enjoyed by Houston? – and its narrative unravels with the kind of delicate precision that would have made Ira Levin proud.

The bland title Research does the book no favours, I think, and I was expecting one more twist along the way, but Kerr delivers an enjoyably spiteful little tale – decidedly more Roald Dahl than Bernie Gunther.

Kerr’s louche protagonists, two seedy examples of the haves and have-nots in publishing, will not be to everybody’s tastes, and if you’re the kind of person who goes puce with rage at fruity language – or if you’re sensitive about your Cornish heritage – it may be a book you want to avoid. But if you like bitter morality-tales in which high-handed super-rich people are brought down a peg or two, you can do worse than take this to the beach with you.

Research is an easy read, which leaves an enjoyable vinegary aftertaste like the sediment at the bottom of that last glass of fine burgundy.

Many thanks to Quercus for the review copy of Research.

Crime Thriller Book Log: Kill, Murder, Solo, Prayer

Is that money I hear jangling in your pocket, a spare bit of cash burning a hole in the lining? I can tell you’re itching to spend all those pennies on some new crime thriller books. Let’s take a look-see at some of the week’s new releases.

Goodness, Frederick Forsyth that has been writing for a long time. His seminal assassination thriller The Day Of The Jackal came out in 1971, back when I was only, erm — well, never mind. He’s been tapping away ever since, writing his novels on a typewriter. For the curious younger readers among you , this is what a typewriter looks like:

Forsyth writes twelves pages, or 3,000 words, a day, all week round, surrounded by a horseshoe of tables with all his research laid out on them. His research, he says, is meticulous, and he’s even posed as a arms-dealer.

His new book came out this week. It’s called The Kill List, and the blurb goes like this:

The Kill List: a top secret catalogue of names held at the highest level of the US government. On it, those men and women who would threaten the world’s security. And at the top of it, The Preacher, a radical Islamic cleric whose sermons inspire his followers to kill high profile Western targets in the name of God. As the bodies begin to pile up in America, Great Britain and across Europe, the message goes out: discover this man’s identity, locate him and take him out.

Tasked with what seems like an impossible job is an ex-US marine who has risen through the ranks to become one of America’s most effective intelligence chiefs. Now known only as The Tracker, he must gather what scant evidence there is, collate it and unmask The Preacher if he is to prevent the next spate of violent deaths. Aided only by a brilliant teenaged hacker, he must throw out the bait and see whether his deadly target can be drawn from his lair.

The Kill List is out now, in hardcover and on the kindle.

And what else came out?

Well, we’ve spoken about William Boyd’s James Bond novel before, so we’ll keep it brief. In Solo, Bond embarks on an unauthorized mission in Africa. Interestingly, Boyd has mentioned Daniel Day Lewis as the person he saw in his mind’s eye as Bond, and Day Lewis doesn’t look so different from Ian Fleming’s physical template for his hero, the singer Hoagy Carmichael.

Solo also features a recipe for salad dressing should you get peckish while reading it. Don’t roll your eyes. There’s a precedent for that kind of thing in Bond. Fleming was asked to contribute to a book of travelogues calling Thrilling Cities by writing about New York. Fleming hated the city, but contributed anyway, with a short story called 007 In New York. Perhaps to take his mind off the task, he included Bond’s precise recipe for scrambled eggs.

There you go. So, anyway. Solo, in hardback and e-reader formats.

Before he returned with a vengeance to his acclaimed Bernie Gunther novels, Philip Kerr wrote some interesting stand-alones, including A Philosophical Investigation, Gridiron and Dead Meat.

Now, several years later, he’s written another one, called Prayer. Get on your knees for the blurb:

Special Agent Gil Martins investigates domestic terrorism for the Houston FBI. He is a religious man who is close to losing his faith; the very nature of his job has led him to question the existence of a God who could allow the things that Gil sees every day.

But Gil’s wife Ruth doesn’t see things the same way and his crisis of faith provokes a fracture in their marriage. Gil’s world is breaking apart.

At the same time, Gil starts to investigate a series of unexplained deaths that bring this crisis of faith into uncomfortable focus.

When Esther, a disturbed woman, informs Gil that these men have been killed by prayer, Gil questions her sanity. But as the evidence mounts up that there might be something in what she says, his new-found atheism is severely challenged, more so as he finds his own life is next on the line.

Prayer is out on kindle and in hardcover. And put your hands together, Kerr is hard at work on another Gunther novel.

And finally, look to your right and you’ll see Simon Beaufort‘s The Murder House. Simon is the pseudonym of historical novelist Susanna Gregory and her academic husband Beau Riffenburgh. Together they’ve written eight sir Geoffrey Mappestone novels about a Crusader in the Eleventh Century who solves murders and stuff. However, a perusal of the blurb may suggest a teensy change of direction:

When PC Helen Anderson takes the files for a forthcoming court case to study over the weekend, she commits a cardinal error. For those files are not supposed to leave the police station – and the moment they fall into the wrong hands, Helen’s ordinary, uneventful life begins to spiral out of control.

For one small lie will lead to another, then another – culminating in a rendezvous in an ordinary suburban house in an ordinary Bristol street …the scene of a gruesome and extraordinary murder.

Yes, Simon’s gone all contemporary. There’s not a single helmet, citadel or pointy stick to be seen. The Murder House is available in hardcover.