Crimefest 2019

It was not quite déjà vu at this year’s Bristol Crimefest as the venue had moved to the Marriot Grand. The hotel was closer to the historic heart of the City, so was a welcome change, allowing a little exploration in each break and a different selection of local restaurants to sample, where I tasted my first Indian Shiraz. Gala dinners can be indifferent, but the Grand earns a gold star by providing a particularly yummy gluten free chocolate mousse cake for afters; a step up from the fruit salad often offered as my gf alternative.

Panels and talks took place in a set of rooms which required a little detection skill to locate and navigate between. We had our own Crimefest bar, but most serious drinking (I mean, earnest literary conversation) took place in the main bar. If you’ve never been to Crimefest, it operates as two and sometimes three parallel sessions from Thursday to Sunday, each lasting 50 mins with 20 minutes in between to locate the next session. The programme is online, and I won’t bore you by listing the 60+ crime writers who spoke.

One novelty was that we got to see a preview of the first 90-minute episode of the new series of Agatha Raisin, which was a jolly way to spend a Friday evening replete with wine and pizza. I sat on the table with some of the production crew at the Gala dinner and there was also a panel including ‘Agatha’ actress Ashley Jensen.

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Not 007: Claire Kendall, HB Lyle, JD Fennell, Sarah Armstrong, Mick Herron

Take-aways included a comment from Mick Herron, when asked how much research he had to do for the Slough House series of spy novels. He replied that he simply made it up; which worries him when real Security Service staff comment on how accurate his books are. We heard about the challenge of fiction in the Post-Truth world, full of anger and misinformation. Several speakers came out with fact-is-weirder than fiction. Danielle  Ramsey related the unnerving experience of ‘creating’ a British seaside gangster then being confronted by unsavory people who found her story too close to the truth. Jeffrey Seger also found his Mikonos-set gangster was uncomfortably close to a real one. Paul Hardy had to include an author’s note to explain that a horrible act he featured in his story was based on a real case.

Several panels tackled historical fiction, and the need to create period feel. William Sutton made the point that whereas a contemporary writer such as Dickens had no need to explain social or technical subtleties of his era, the historical writer needs to provide this for the modern reader. Familiar periods of history make things easy on both reader and author, although are more likely to attract the detail fanatic that is the bane of all successful writers. Some working in obscure periods such as Indrek Hargla’s medieval Estonia have the challenge, but also the freedom, to make much up. Guy Bolton whose characters work in highly familiar 1940s Hollywood with real moguls and actors, in contrast has to carry out very detailed research.

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Kate Ellis, Leigh Russell, Danielle Ramsey, Douglas Lindsey, William Shaw

The 1930s are seen as the change-over period where policing became more scientifically based but many things which are now illegal were permitted, if not approved of, in the past. Long-running series characters are challenged by changing times, which some authors build into the story arc and some simply ignore, allowing history to wash past unnoticed. Longer in the tooth authors rued the fact that their childhoods in the 50s and 60s were now ‘historical’ periods, but Peter Murphy commented that he still needed to research his 60s novels as relying simply on memory did not suffice. I asked the question as to how writers avoided falling into period clichés. Using the right language, avoiding familiar plot drivers and choosing characters that don’t immediately evoke period stereotypes was the best advice. David Penny suggested that as you can’t visit the historical period at least the location can be researched.

Charlie Gallagher, a serving policeman, opined that modern procedure is so boring that even a ‘police procedural’ aiming for realism needs to take liberties to remain interesting. The writer can get away with this if the set-up is plausible, and strict formalities are less important than plot and character. We considered whether a lead detective is allowed to be happy, how writers avoid creating one who is a cliché and whether series novels should include a cliffhanger to lead into the next book.

In my final panel, Caroline England explained how she likes to introduce love in her stories, then be rotten to her characters. Gunnar Staaleson said that the crime writer’s job was at first to build up believable characters. “Then kill them,” added Kate Rhodes.

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Things We Writers Learn

I’m writing a book set in the 1930s and passed the 30,000-word mark today with a loud hurrah and a celebratory glass of Diet Coke. My last novel was Glint of Light on Broken Glass which all in all took three years to research and write, with one of those years being absorbed by getting the detail of 1913-1919 correct. I was helped by it being set right outside my front door and by its sedate fable-like tone which allowed liberties with language, but I had to carefully avoid modern expressions and Americanisms.

So to the 1930s, and I’m reading as much as I can and catching films made in or about the period. One challenge of my new thriller is that my cast of characters are witty, fast-talking and at times violent. Without delving into cliché I need to get those snappy conversations right. I’m taking a leaf out of Lee Child’s book, in that I heard him at a conference saying that as soon as he hits a point where he needs a piece of research, he does it there and then. Usually I retrofit my research, glossing over the detail until I’m sure the plot demands it. I wasted enough gloriously evocative scenes in my early writing to learn this lesson.

My early drafts are largely conversations, to allow my characters to drive the story forward which I will then back-fill with time and place as the plot becomes clear. However for the 1930s this means stopping and checking when I stumble across a word or phrase that could be anachronistic. A thesaurus, various books of phrase and fable and online versions are hastily consulted. This week I learned that jolly hockey sticks did not come in until the 1950s, but not my cup of tea or right up your street might just be acceptable after 1930. To my surprise Beating up and snitch were much older than I thought, so fine to use.

I also learned how to pick a lock and open a locked suitcase this week. There are Youtube tutorials which will dissuade you of the value of locking anything ever again. I’ve done some work on Swiss banknotes,  obsolescent German firearms and London ‘roadhouse’ clubs. One of the drawbacks of using the web for research is that more and more the search terms come up with adverts. This was particularly the case when looking for hotels to base my skulduggery in. I was surprised to learn, for example, that you can still buy British Union of Fascists flags over the internet. I expected to be able to find a selection of fascist marching songs, but was intrigued to find many carried by Russian websites with explicit warnings that it was illegal to download them in Germany. Having also looked up pederast, Irish street slang and the history of the mafia I must have a very dodgy-looking search history!

Farewell Black Desk

So it’s farewell to my faithful black desk, too old and rickety and too darned heavy to be moved again. I bought it from a pre-IKEA furniture store on the outskirts of York in 1989 and since then it has taken up station in at least half a dozen different studies of mine. Flat-pack, self-assembly chipboard, its veneer is peeling and its structural integrity relies largely on screw blocks and willpower.

As for the drawer unit, the drawers have been reluctant for a decade; piled too high with more pens and paper than they can cope with, stained by ink and tippex and blobs of blu-tac. Together with the desk it is bound for Bulk Refuse Heaven.

This was the desk where I wrote Shadow in the Corn, half of Byron’s Shadow (long story!), Shadesmoor, Lady in the Lake, Blood & Sandals, Islands that Never Were and Glint of Light on Broken Glass. Four dormant novels were also tapped out on is face, together with A Gallo-Roman Shipwreck from Guernsey,  Roman Pottery From York, A Shypp Cast Away About Alderney and a couple of dozen academic papers and the same number of short stories.

A pine desk that did service as one of my children’s homework desks has been commandeered as the place where the next two books will be completed. Smaller, it should be more maneuverable up the steps of the next garret and maybe the one after that.

The Black Desk is dead – long live the Pine Desk!

An Eye for Nature

PLV 1Whilst working on a new thriller, and editing the one I ‘finished’ earlier, I have a new project to keep me out of mischief. I’m teaming up with artist Peter Le Vasseur to produce a book on his life and work. In particular the book will feature Peter’s later works with ecological and conservation themes.

PLV3Although Peter was born in Guernsey and returned here to live in the 70s, his formative years as an artist saw him enter the ‘sixties London art scene with clients including film stars, musicians and the aristocracy. The Beatles bought one of his earliest works, whilst he was experimenting with fantasy in what he calls his ‘Alice in Wonderland’ period. His early fantasies are still cropping up in London auctions, with his 1964 work Tattooed Sailor recently selling at Sotheby’s for many times its estimate.

 

Peter finally established his iconic style of highly detailed paintings of the natural world, generally packaged with a ‘message’, although for himself he claims not to be political. At times his work has a dark humour or carries ironic titles as it reflects the impact of the modern human world on both the environment and traditional societies.

This will be a high quality art book with the paintings as its main focus, so is going to need a significant amount of financial support to be produced. It would be particularly relevant to a large international organisation involved in environmental issues, or to a multinational with corporate social responsibility objectives which might like to sponsor a work it can give to its major clients.

I’m interested in ideas from you folks out there. Share with your contacts and see if we can find that sponsor. I can be contacted through this blog page.

For more of Peter’s work see www.peterlevasseur.com .

For those living in Guernsey, Peter currently has an exhibition of his works at the Coach House Gallery, and his large work The Tree of Life is on permanent display at Guernsey Museum where it was voted ‘The People’s Choice.’

 

From Book to Film

I’m one of those people who gnashes their teeth at historical travesties in movies, or novels for that matter, so I’ve held off seeing The Guernsey Literary & Potato Peel Pie Society until the initial excitement died down. The book raised some heckles in the island as the setting portrayed wasn’t ‘Guernsey’ enough. One handicap was the format of the book as an epistolary novel (told via letters), so struggling to establish a sense of place and missing idioms of local speech patterns as well as the Guernsey French which was still in common use during WW2. Less forgivable was the absence of ‘local’ names, easily researched, and I indeed gained the impression of a Scottish island rather than the one I knew well.

And that is the problem – I’m too close to the subject, as I am if the film features the Roman Empire, the Napoleonic Wars and indeed most other historic epochs I know anything about. I feared something like the Strike! spoof of the Yorkshire miners’ strike, produced by the Comic Strip, in which ‘Al Pacino’ starred as Arthur Scargill, the accents were cheekily American and there was a Hollywood happy ending.

TGL&PPPS looked lovely on film, the acting was spot-on and the script lively (again considering the book has little by way of true dialogue). Period detail in the costumes and the interiors seemed faultless. Empire gave it three stars, which is pretty typical of their reaction to modest period films such as Their Finest, also by Studio Canal.

Juliet arrives in Guernsey (Studio Canal)

The reaction of Guernsey friends to the film has been positive, sometimes surprised that justice has been done. It was a shame that no footage was shot in the island, but the film was produced on a very modest budget and the vast majority of people who watch it will never have been here.

 

Likewise the rest of the world will not know know very much about the German Occupation of 1940-45 as the dozens of books written about it have largely been small-press, self-published or had very limited circulation outside the islands. So the story is ‘new’ to most of the world, and to all intents and purposes Dorset serves well as ‘stunt double’ for the island itself. It was quite fun spotting the parts of Bristol docks where I was just last week doubling for Weymouth harbour. Yes of course the Dorset coast has the wrong geology, the wrong beaches, the wrong kind of cottages and is much more expansive than little Guernsey truly is, but what the Director Mike Newell has created might be termed a ‘Guernsey of the Mind’. There were even a couple of touches of Guernsey French in the background but the local accent was largely forgotten. The poster, incidentally, does feature a shot of Guernsey’s south coast.

I watched The Inn of the Sixth Happiness last week, in which tall blonde Ingrid Bergman with barely disguised Swedish accent played diminutive brunette Londoner Gladys Aylward, and Wales stood in for China. Now I’ve not been to north China so have no idea how much it resembles Wales. Most films take huge liberties with historical truths – Aylward actually founded the ‘Inn of the Eight Happiness’ and claimed never to have been kissed, contra the movie’s love sub-plot.

Most movies are not actually filmed where they are set. Spartacus was filmed in California, and the ‘Spaghetti westerns’ in Italy. The Last Samurai was filmed in New Zealand, Full Metal Jacket‘s Vietnam scenes were shot in London, Saving Private Ryan‘s Normandy is mostly  Ireland and Herefordshire and Eastern Europe is now the stand-in of choice for historic England in productions such as The Last Kingdom. Let’s not even talk about The Martian. So in the end, we shouldn’t be too precious. The book has sold 5 million copies, the film touched #2 in the box office charts and Guernsey’s tourism enquiries are spiking. Who’s to complain?

A Festival of Crime

I’m just back from Crimefest, Bristol. It was my third Crimefest and the first time I’ve done the full Thursday to Sunday programme. Okay, maybe not honestly ‘full’ as I did abscond for a few sessions – hunting for gluten free snacks, in the main.

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Crime through the Millennia with Antonia Hodgson, Ruth Downie, Anthony Taylor, David Penney and Sharan Newman

Dozens of writers were speaking, and dozens more were among the 500+ attendees. It was the usual format, mainly panels of 3 or 4 writers plus a moderator, plus a few communal sessions such as the duet of Peter James and Martina Cole brought together by Peter Gutteridge. I avoid playing the fanboy at such events, merely smiling and saying hello when passing Lee Child in the hallway.

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Its All in the Mind …with B.A. Paris, Louise Candlish, Kate Rhodes, Elodie Harper and Dirk Kurbjuweit

Highlights are hard to pick but Kate Rhodes was the stand-out moderator in the session ‘Psychology, Obsession and Paranoia’, deftly pulling together the strands of twisted discussion launched by the (mainly) female panel to the (mainly) female audience. The W for Women panel discussed how well men could ‘write’ women, and women ‘write’ men. The financial crime panel pre-empted my own question on how to deal with financial crimes that are both complex and dull at the same time (skip the detail). Between panels Luke McCallin and I got thoroughly stuck into discussing thrillers set in the world wars, something I’ve toyed with but never delivered.

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with Christine Poulson and Kate Ellis

The social side was never far away. At dinner I was seated with ‘Queen of Gangland Crime’ Kimberley Chambers and some of her Harper Collins team. I also enjoyed a good catch-up with fellow archaeology-mystery writer Kate Ellis. To cap it all was a very silly game of ‘Sorry I haven’t a Cluedo’. Instead of a buzzer, panel members fired cap guns. You had to be there to appreciate it.

#Crimefest

The Twitter Campaign

So I’m trying something different, a Twitter Campaign. Mostly it is to test the water, see how effective it is. After all if the Russians can change the result of elections by mass tweeting, there must be some power in social media.

Although it was my sixth novel Glint of Light on Broken Glass was self-published, albeit at high spec by Matador and professionally edited. However it had little of the marketing push I’d expect from a mainstream publisher. It was planned as a slow-seller to local audiences and tourists, but there have been e-book and internet sales through Amazon so the interest is worth stoking.

Also of course we have the #GuernseyMovie released this month, and for a few weeks the G-word becomes more searchable. Other local writers, hotels, gin-makers and others are riding the publicity wave, contributing to a symbiotic promotion of their own products as well as the movie.

So I’m posting or re-posting a range of idiosyncratic images with snippets of text including lines from the book. I’ve taken the photographs myself, often at the appropriate location in Guernsey, then applied a little manipulation and cropping. Alongside this is a professional PR campaign running for a month, nudging people towards my partner website guernseynovel.com. Perhaps you’ve seen it? This is a true test-the-water exercise, as tweeting can be like whispering in a crowded room where everyone else is yelling.

Anyhow, Mr Putin, I’m sure you’d love Glint so if you could get your army of fembots to re-tweet this 20,000 times I’d be most happy.

Anyone for Pie?

The Guernsey Literary and Potato Peel Pie Society is far and away the most successful novel set in Guernsey. Although there are easily two dozen works of fiction using the German Occupation of the islands as their background, this is the stand-out commercial hit. Curiously it was written by an American who had only made a single unplanned visit to Guernsey.

The book is the only novel by American author Mary Ann Shaffer. She made a brief stop in Guernsey in 1976 and became fog-bound at the airport; a familiar hazard to island residents. Browsing the bookshop, she learned about the German Occupation of 1940 to 1945. It was two decades before she finally began her Guernsey novel, and it was accepted for publication in 2006. Her health deteriorated, so the final editing was carried out by her niece Annie Barrows who was already a published children’s author. Mary Ann Shaffer died in 2008 before the book was published.

It is an ‘epistolary novel’, in that the story is told entirely through letters between the characters. In post-war 1946, English journalist Juliet Ashton strikes up a correspondence with islander Dawsey Adams one and becomes intrigued by the quaintly titled Guernsey Literary and Potato Peel Pie Society. She travels to Guernsey to meet members of the society, and a story of love, tragedy and hope emerges against the background of an island people surviving almost five years of enemy occupation emerges. For the uninitiated, potato peel was used as ersatz pie crust when food began to run short. I have never tried it, but it was apparently rather nasty.

The Guernsey Literary and Potato Peel Pie Society was an immediate hit, especially in the USA. It spent 11 weeks in the New York Times bestseller list and reached the number 1 position on 2nd August 2009.

Reviews were favorable; The Times said “Every now and again, a book comes along that is simple yet effective, readable yet memorable. This is one such delight … It is a uniquely humane vision of inhumanity; one to lift even the most cynical of spirits”

To date it has sold over 5 million copies worldwide in over 30 territories and has proved particularly popular with book clubs. It was planned for me to interview Annie Barrows at the Guernsey Literary Festival, but scheduling clashes mean that it’s not to be.

A film adaption has been on the cards for a few years, with different directors and stars mooted. It finally takes form this spring, directed by Mike Newell, starring Lily James as English author Juliet Ashton and Michiel Huisman as islander Dawsey Adams. The film will be in cinemas from April 20th 2018, with a special Premiere taking place in Guernsey in addition to the World Premiere in London. It remains to be seen whether filmgoers also have the taste for pie.

 

 

The Friendly Festival

It was my pleasure to attend the fourth Alderney Literary Festival this weekend, which incoming Chair Anthony Riches declared to be the ‘Friendly Festival’. It is small but perfectly formed, concentrating on historical fiction, non-fiction and biography. The audience is limited to 50 or so for each talk, so there was barely an empty seat throughout the weekend. People came and went, picking the talks that suited them and there was a programme of fringe events taking place about the island.

The intimacy of the venue at the Island Hall also meant that the dozen authors and the public mixed freely. There was no ‘Green Room’ for writers to be whisked away to by their agents or publicists. Refreshingly the talks were not simply a plugathon for the author’s new book, but plunged deep into discussions of historical fact and fiction, and indeed the point at which these transition into myth.

I wasn’t speaking this weekend, being principally a paying punter. I did however have the fun of introducing Professor Gary Sheffield’s talk on the end of the First World War, and brought away a copy of his book on Douglas Haig, from the Somme to Victory. The outcome of the Great War did much to shape the modern world, as did the outcome of the Second; the way we have built myths around that conflict were presented by Keith Lowe.

With Tony RichesIn what could have been the graveyard slot on Saturday evening, I also introduced Anthony Riches, energetic author of a dozen Roman epics which he writes at a dizzying rate. His talk on the evidence for Post-Traumatic Stress Disorder in the ancient world was thought-provoking and questions could have gone on all evening. Also taking no prisoners was outgoing Chair Simon Scarrow and his look at the so-called ‘End of History’, and where the deluge of data now available on the internet left the modern historian. Our own Liz Walton gave a talk on the Great War in the Channel Islands – I edited her book and was pleased to see it selling well on the bookstall.

Great fun, great conversations, great food washed down with a fair amount of wine. Local volunteers put a lot of work into this festival, which was supported by the Guernsey Arts Commission amongst others. With luck, and with the help of much-needed support from sponsors, Alderney Litfest will be back at the end of March 2019.

Follow the link for more on Alderney Literary Trust

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