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From Page to Stage

Once in a while fortune shines down on us writers. In an act of support for a friend I travelled across the country (in truth only about 90 miles but across the country sounds way more dramatic) to see the stage adaptation of her novel.

After enjoying a fantastic performance, I was lucky to be introduced to the director – Derek Lawson – with the additional tag of “he writes as well you know” added after my name. I hit it off with the director and by the time we’d parted company, he’d passed me a card with his email address and a request to read my novel. At this time, Snatched from Home was on the submission trail as I tried to secure a publishing deal.

I duly sent Derek a copy of Snatched from Home and expected to never hear from him again. Lo and behold, I heard from him a few months later. He liked my novel. He liked it enough that he wanted to adapt it for the stage. Needless to say I was overjoyed to read his emails and work with him.

A publishing contract arrived for me from Caffeine Nights in early 2014 and I kept working on scripts with Derek until we were both satisfied with the adaptation. We found a venue in the Salford Arts Theatre and the play of Snatched from Home was added to the bill of the Greater Manchester Fringe.

Early 2015 saw us begin the audition process and have cast read-throughs. The script was tweaked and I added a monologue to give a certain character greater depth. Next up was rehearsals. At the first full cast rehearsal the actor playing DI Harry Evans was delayed so I was handed a script and asked to fill in. If there are any writers reading this, they’ll understand what an honour and privilege it is to get this opportunity. I got to read the main character’s lines to a bunch of actors who were playing the characters I’d created. To say my mind was blown would be an understatement akin with calling Mount Everest “a fairly big hill”.

Work and life kept me away from the other rehearsals until I travelled down to Manchester on Monday for the first full dress rehearsal. Typically I arrived early full of nervous excitement. Another to arrive early was Emlyn Jones who plays DI Harry Evans. With nobody else yet present to help him read lines, I offered. He accepted and I had the surreal experience of reading lines with a fine actor who was playing the part of the character I’ve come to hold dearest of all my creations.

Wednesday saw the opening show and it went brilliantly from start to finish. Thursday was the same and I’m looking forward to tonight’s final show with a mixture of excitement and a feeling of sorrow that this wonderful experience is about to come to an end. Every time I’ve watched the performance the hairs on the back of my neck have stood on end and I expect nothing different tonight.

Whatever else does or doesn’t happen in my writing career, I will always have three performances and a dress rehearsal to look back on with fondness, admiration and nostalgia.

At this point all there is left to say, is a most sincere and heartfelt thanks to everyone involved in the production.

For the record they are

Derek Lawson – Director
Emlyn Jones – DI Harry Evans
Andrew Marsden – DI John Campbell
Lee Petcher – DS Neil Chisholm
Anna Dawson – DC Lauren Phillips
Kerry Kawai – Victoria Foulkes
Bill Blackwood – Nicholas Foulkes
Hannah Mary Jenkins – Samantha Foulkes
Robbie Hopkins – Kyle Foulkes
David Swift – Elvis
Phil Chadwick – Blair / Brown
Graeme Slater – Obama
Andy Pilkington – Lector / Pentwortham
Kris Hitchen – Graham Armstrong
Anna Parr – Helen Salter
Cameron Lowe – Stage management
Peter George – Technical
Scott & Roni – Venue management

Again my deepest gratitude to all who have performed in, worked on or attended the play, I’m aware that as a debut author I have been afforded an opportunity that hasn't been offered to authors who have sold a million more books than I.

Tonight’s the last night and these guys are gonna knock it out of the park one last time. If you’re able to come, be at Salford Arts Theatre for 8.00pm tonight, Friday 10^th of July 2015

Graham

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Barry Forshaw on Euro Noir

I'm delighted to welcome a fellow reviewer to my humble blog.

Barry Forshaw is a well known aficionado of all things crime, be they on the large or small screen or in print. His reviews and opinions have been aired on many platforms including TV, radio and his own  review site  Crime Time. His friends and contacts include everyone who's anyone in crime fiction circles

His opinion is sought by many and granted only onto the finest writers around. I've been lucky enough to read his latest release "Euro Noir" which looks at the cream of European crime writing both past and present. It's a wonderful guide which can be guaranteed to point you towards some fantastic entertainment.

It can be bought from Amazon UK and US

I've asked him a few questions on compiling  Euro Noir and posted his answers below. Feel free to comment at the bottom of the page.

1. 1.      The knowledge and familiarity you show with the novels and authors discussed, suggests this guide has been years in the making. Can you tell me how you went about putting together such a comprehensive guide? BF: Like everything I've ever done as a writer, it was actually an organic process. I've been writing about these novelists for years (for a variety of newspapers and magazines, doing broadcast interviews with them and chairing panels). So without really trying, I suppose I built up a level of expertise in the subject. And by ‘organic process’, I mean that I've always – practically all my life -- been taking notes on and writing about books and films. I even have battered ringbound notebooks full of such things from the age of 12 onwards! Not that I can recycle any of that material-- too many spelling mistakes!
2. 2.      Euro Noir is a fantastic introduction to many different authors which includes those still writing and some who are sadly no longer with us. How did you go about selecting which authors to include? BF: I appreciate your kind comments. Actually, I tried to be as inclusive as I could of both living and dead authors -- but as soon as the book was published, I gritted my teeth and waited for people to point out who was missing. Fortunately, I haven’t had too many such comments! But it was always supposed to be a concise guide in any case.
3. 3.      While discussing the various novels listed you provide a fair and balanced opinion, being unafraid to highlight clichés or failings in characters. How important to you was it to provide this fairness? BF: I don't think anybody would read a book like Euro Noir if I hadn’t tried to be objective. Having said that, I always try to err on the side of the positive as it is a guide, and there are inevitably writers with whom I'm not in sympathy – who others may adore!
4. 4.     I got the impression that a lot of the novelists included in Euro Noir are more vocal on social issues in their writing than their British or US counterparts. Which UK or US authors do you rate as being the most socially aware in their novels? BF: That's actually a sore point; I get a certain amount of stick from British and American writers who say ‘We’re just as socially committed as the Europeans you write about!’ But there is undoubtedly a public perception – not entirely incorrect-- that European writers freight more social commentary into their novels. But if you want political anger, look at Val McDermid in this country and James Lee Burke in the US!
5. 5.      You cover eleven different countries in Euro Noir as well as revisiting “Scandicrime”. Where do you plan to focus your magnifying glass next? BF: I mentioned above, I was getting a hard time from British crime writers for not giving them enough attention, although I actually write more about British writers than anyone else. Maybe I'll stop being beaten about the head when the next-book-but-one appears, Brit Noir, which will be published in 2016. But before that, I’ve got The Detectives and Sex and Film: The Erotic in British, American and World Cinema! There will be plenty of crime movies in the latter, of course…
6. 6.       As well as covering crime fiction you also look at cinema and television programmes for each country or area. Which medium do you prefer? BF: Boy, that's a difficult one; I love all three mediums with a passion! So the fence-sitting answer has to be: whichever medium I’m engaged with at any given moment!

Cruel Losses

First of all I would like to extend my sincerest condolences to the family of Aj Hayes who died this weekend. He was a regular commenter here and I’ll miss his friendship as much as his support and advice. He was a true gent whose comments gave me the confidence to share my work. It feels decidely odd posting a piece knowing that one of his supportive and insightful comments won't be forthcoming. 

This is a little piece I wrote as an exercise during Crime and Publishment. During his session “Dicing with Dialogue” Michael Malone gave us some scenarios and I chose the following one. 

-          a mother who has just miscarried and her four year-old who wants a baby sister. 

The scenario is deeply personal for me and as I was writing it, I twice had to leave the room. However I don’t believe in shying away from tough writing. Anyway, after a little tightening up here is the piece I wrote.

 

‘What’s wrong Mummy?’
‘It’s…It’s…’
‘It’s what?’ Jordan’s foot stamped down ‘I want to meet my sister.’

Karen’s lip quivered as her head bowed down.

‘Mummy? Don’t cry Mummy.’

‘Jordan…I’m afraid…’

‘Don’t be afraid Mummy. Baby will be here soon and then I’ll have my sister.’

Karen said nothing. Preferring instead to draw solace and strength from Jordan’s sticky fingers as they grasped her thumb.

‘Can we call the baby Alice? I think Alice would be a good name for baby.’

‘I’m sorry darling. So sorry.’ A gulp was followed by a tearful swallow. ‘Baby won’t be coming.’

‘Why?’

‘Baby has… baby has decided to go to heaven instead. Baby wanted to meet the angels.’

‘Like Daddy?’

‘Yes…Just like Daddy.’

LA Noir

This week I've handed my blog over to Stephen Jay Schwartz, a guy whose novels have been steadily climbing Mount to be Read.

            Our distinguished host, Graham Smith, asked me to discuss the challenges of setting a detective novel in Los Angeles, where such established greats as Connelly, Crais, Parker and Kellerman already set their dramas.  I must admit, in retrospect it seems like a daunting endeavor.  How can I think I have anything new to add to a world that has been so well-described in both fiction and film?  I wonder if our current Noir masters had this same hesitation, wondering if their perspective of the L.A. landscape rose to the expectations of such authors as Chandler, Cain, Dorothy B. Hughes, Westlake, Jim Thompson, and even Nathanael West. 

            Fortunately, I had ignorance and naivete on my side.  I was a first-time author when I penned Boulevard, my novel about an LAPD Robbery-Homicide detective chasing bad guys and personal demons while struggling with his own sex-addiction.  I wasn't a big L.A. Noir reader at the time - in fact, the only real mystery/crime/thriller novels I read were the works of Jim Thompson.  I read mostly 20th Century American fiction, particularly Steinbeck, Hemmingway, Fitzgerald and the like.  I'm also a huge fan of the Beat Generation writers - Kerouac, Burroughs and Ginsberg.  Throw a little Charles Bukowski in the mix and you've got my palate. 

            So, the truth is that I didn't know enough about Los Angeles Noir to be intimidated.  I didn't even know I was writing L.A. Noir.  I was just writing a little character piece about a man who was getting squeezed from all sides.  A homicide detective who discovers that a rash of recent murders are in someway connected to him, and that the killer has been stalking him in his twelve step meetings for Sex Addicts Anonymous.  My protagonist faces a difficult question:  Does he reveal his connection to the killer and risk losing the case and possibly his job, or does he keep his secret hidden while he pursues the killer, at the risk of others getting hurt along the way?  We discover that his addiction is stronger than his will to do good, and he keeps it under wraps.

            Los Angeles is the setting for this story because Los Angeles is where his addiction is born.  He became a sex-addict by cruising the boulevards - Sunset Boulevard, Hollywood Boulevard, Sepulveda Boulevard - where he picks up prostitutes to satisfy his desires.  Los Angeles became a character in the book, and places such as the fictitious Coral Reef Motel become the detective's associate and confidante, described in passages such as this: 

            The two-story hotel sat like a dirty old heroin addict nodding slowly, as if recognizing Hayden from a hazy night they'd shared long ago.  The second-story windows had yellowing shades pulled half-mast like drugged-out eyes squinting at the streetlamps.

            I believe the stories that can be told of L.A. are endless.  The truth is that there are a thousand different L.A's.  Everyone who lives here experiences a different, unique perspective.  My L.A. takes place in the dark shadows of Hollywood and it focuses on a very specific experience.  Connelly's Harry Bosch, while canvassing the same landscape and even working from the same office, the Robbery-Homicide Division in downtown L.A., experiences a different L.A. from my own Hayden Glass.  Stories are driven by their characters, and a well-drawn character experiences a different, unique environment from anyone else.  I believe Los Angeles can sustain as many stories as their are storytellers, providing that the storytellers present a character whose vision of their world is original and believable.  I continue to read new, innovative authors who prove this to be true; authors like Christa Faust, Tom Epperson, Tim Hallinan, Eric Beetner, Robert Ellis and many more.  There's enough going on in the City of Angels to keep us all afloat for the next two millennium. 

 

Stephen's author pages are listed below along with his website and bio.

US
UK

Los Angeles Times Bestselling Author Stephen Jay Schwartz spent a number
of years as the Director of Development for filmmaker Wolfgang Petersen
where he worked with writers, producers and studio executives to develop
screenplays for production. Among the film projects he helped developed
are Air Force One, Outbreak and Bicentennial Man.

His two novels, BOULEVARD and BEAT, follow the dysfunctional journey of LAPD Robbery-Homicide detective Hayden Glass as he fights crime while struggling with his own sex-addiction. The series has been optioned by Ben Silverman (producer of The Office, Ugly Betty, and The Tudors) for development as a television series.

Stephen recently finished writing GRINDER, a 3D action-thriller for HyperEmotive Films and Venture3D at Sony Studios.

Stephen is currently writing a third book in the Hayden Glass series. He can be reached via his website - www.stephenjayschwartz.com

Ostland, the Nazis … and Me

Today on my blog I’m delighted to welcome one of my favourite authors. His name is David Thomas although he has used the pseudonym Tom Cain for his series of books about the assassin Samuel Carver. 

Before anyone thinks of getting into the whole JK Rowling nonsense about the use of pseudonyms, I should point out that when David released his first novel – the utterly excellent Accident Man – he was working as a journalist. Hence the pseudonym. 

The day this post goes live is the same day his latest Tom Cain book goes into paperback and his novel Ostland is released (under David Thomas)  have read both books and cannot recommend them highly enough. 

Anyway, here’s David talking about Ostland and the factors which drove him to write the story. 

Every novel I have ever written has begun in a single, distinct moment. Sometimes it’s a visual image, or a line of dialogue that arrives, as fleeting as a ghost in the early hours of the morning. Once it was an unplanned, hungover visit to an exhibition of Japanese art. In the case of Ostland, it was a line in a Sunday newspaper book review.

The book was ‘Berlin at War’ by the historian Roger Moorhouse. The reviewer described a story told in the book about a serial killer who preyed on solitary female travellers on the city’s ‘S-Bahn’ railway network. That was interesting enough, but then, at the end of the paragraph was a throw-away line saying that one of the detectives who had investigated the crime had subsequently become a major war-criminal.

I was immediately gripped by the idea of a man who was somehow transformed from the heroic figure of a detective tracking down an evil killer-rapist into the ultimate villain, a genocidal Nazi mass-murderer. I bought and greatly enjoyed Berlin at War and discovered the detective’s name: Georg Heuser. Then began months of research as I tried to piece together the story of a young man – we first meet him a few days before his 28^th birthday – whose war was spent in an extraordinary and in many ways tragic journey from dazzling, golden promise to the absolute heart of darkness.

Heuser was a brilliant detective. He graduated top of his class at the police ‘Leaders School’ for men on the fast-track to the top. His reward was a posting as personal assistant to Wilhelm Lüdtke, the chief of the Berlin murder squad, who was engaged in the hunt for the S-Bahn murderer. Heuser distinguished himself in the investigation and was the arresting officer when the killer was finally tracked down. He was then invited to co-write the official report on the investigation in the German Journal of Criminology.

What’s more, unlike most ambitious German policemen in the Third Reich, Heuser was never a member of the Nazi Party. He was not anti-Semitic. He had no psychotic or violent tendencies. Yet, in late 1941 he was sent to the Russian city of Minsk, then part of the new German colony of Ostland. And there Georg Heuser participated in a series of horrifying mass-murders. He helped plan the transportation and execution of tens of thousands of Jews. He stood in line with his SS comrades and shot men, women and children cold-bloodedly in the back of the head. And he personally executed Russian women accused of being spies, dumping their corpses in the dead of night, just as the S-Bahn murderer had done.

The obvious question is: why? What could make an otherwise decent man behave in such an appalling, unforgivable way? What went on in his head as he descended into the depths?

That is the question Ostland attempts to answer. It contains two detective stories in which Georg Heuser is the hero of one case and the villain of the other. There are three love stories, each of which I hope casts some light on the emotional and psychological impulses of Heuser, his victims and the post-war German investigators shining a light on past evils that many of their fellow-countrymen would rather have kept well hidden. And, of course, it is one more book about the Nazis.

But do we really need another one of those?

I certainly asked myself that. I’m wary of the concentration we place on the evils of Nazism as if they were in some way unique. The constant harping on the terrible crimes of fascism means that far too little attention is paid to the equal wrongs perpetrated by communist dictators: Stalin, Mao and all their imitators. Anyone with even a suspicion of neo-Nazi loyalties is rightly condemned, yet academics and politicians who never abandoned, still less repented their communist allegiances can go to their graves without a stain on their reputations. My unease at that double-standard was one the reasons why my previous book, Blood Relative had former agents of the East German secret police, the Stasi as its villains.

But the Nazis are far more familiar to us than the Stalinists and Maoists. They’re closer to us geographically, culturally and in our imaginations. And that means that there is another question asked by Ostland: would any of us, facing the same circumstances as Georg Heuser be any better than him?

No one country or ideology has the monopoly on genocide, ethnic cleansing, mass-murder, oppression or brutality. Nor can many nations claim to be completely innocent. Ostland describes in extreme detail a twisted world in which normal, everyday men could carry out atrocities so vile as to be unimaginable by any sane human being: a world in which the women who lived and worked alongside those men could happily wear coats and dresses stolen from the bodies of the dead.

Hitler and his henchmen created a psychotic system that condemned millions to extermination, and condemned those who killed them to damnation. Some say the Germans were ‘willing executioners’. I say, look at the quartermaster’s records. They reveal that the number of vodka bottles drunk by the SS men in Minsk was almost exactly the same as the number of Jews they killed. These pre-war policemen, car mechanics, teachers and farmers could only implement the Final Solution by obliterating their consciences with alcohol: one bottle per victim. They knew they were doing something unfathomably wrong. And yet they kept drinking and kept killing too.

I was talking about all this to a friend of mine who happens to be Jewish. Seeing that the experience of researching and writing Ostland had affected me very deeply he tried to give me words of reassurance: ‘Don’t worry, I know that if you’d been in Heuser’s place, you’d never have shot anyone.’

I replied, ‘That’s just the problem. I fear that I would.’

And that fear, in the end, is what this book is about.

 

Here's some links if you want to follow up and buy David's books

Tom Cain books UK  US

David Thomas books UK US

My Editing Heaven and Hell

 Over the last few weeks I’ve been hard at work tormenting myself to death. Yes folks, it’s that time all writers learn to love and hate; the editing of a novel.

It’s a great feeling to see your words being crafted into something meaningful and entertaining. Once or twice I’ve found little passages or a sentence that made me go “fuck yeah” such was the beauty or power of the words in front of me.

Sadly however, no sweary word has been left un-muttered at the endless repetitions, unnecessary alliteration or stuff that is just plain stupid or unbelievable or just shit.

I mean, what the hell was I thinking of when I wrote some of that nonsense? Where did all the “that’s, then’s, which’s, who’s and and’s” come from? I certainly (Shit! Just used an adverb. That’ll need edited out) don’t remember writing them. And don’t get me started on contractions!

The fact I chose to write without dialogue tags only makes things harder as I have to craft ways of informing the reader who’s speaking.

Yes my novel is getting better and altogether tighter because of this vital and necessary editing. If I’m lucky enough to get any interest from a publisher or agent, I’m sure that I’ll be handed a massive batch of suggestions to tighten it further but until that day (if that day ever comes) then I’m concentrating on getting it as good as I possibly can.

This editing has now crept into my writing on every level. After the first round of edits, I wrote a couple of short stories and I could sense the first draft was technically tighter than (Fuck. Adverb and alliteration.) any previous first draft. Even stuff I write at work or Facebook now gets the same attention to detail when it doesn’t need it.

When this edit is complete I will be handing it over to my wife to proof read. Cue several yards of red ink on each page and more un-muttered swearing.

So peeps. Am I on the write (You see what I did there?) track or am I just driving myself insane? All comments welcome.

Future guest posts include

Tom Cain / David Thomas

Stephen Jay Schwartz

I bumped into good friend Michael Malone the other day. We got talking about his wonderful new release A Taste for Malice, and the conversation was so stimulating I thought I'd share it.

 

So, after the events of Blood Tears, D.I. Ray McBain is back on the mean streets of Glasgow with A Taste for Malice. Tell us what this is all about then?

McBain is back at work - in the professional doghouse - and on filing duty. Desperate for something to do, a pair of old files intrigue him. A woman worms her way into a position of trust with a vulnerable family. The children adore her. At first. Then she has some 'fun', which soon becomes torture and mental cruelty. Then she disappears. Another case tells a similar story. The families are complaining, frustrated that no-one is doing anything and worried that more children will get hurt. But the disgraced detective, McBain is the only one who is listening. Meanwhile, in Ayrshire, another young family is relieved when a stranger comes into their lives to help them through a difficult time. The stories of McBain’s unofficial investigation and the situation this Ayrshire family finds itself in are told in tandem.

That’s an interesting set up. Lots of crime novels start off with the dead body. A Taste for Malice starts with a young woman coming out of a coma. What was going through your head when you came up with that?

Most crime novels concern themselves with the aftermath of a crime. I thought it would be interesting to give the “victim” more of a presence. I wanted this novel to be about the anticipation of a crime and the tension to come from the investigator finding the perp and saving another potential victim before the crime was actually committed.

And after the not too shabby body count in Blood Tears I wanted to try and write a crime novel without killing anyone. But, you won’t know if I’ve been successful in that regard until you read the book.

What a tease. What were the pleasures and challenges of writing the second book in a series? And did you suffer from Second Book Syndrome?

It was a real joy stepping in to a world where I knew the main characters. The team were all ready there in my head waiting to spring into action. And it was great fun being with them all again. So to speak. I have a great time writing with these guys and I hope that comes across in the book. McBain is a hoot to write. I enjoy his extremes – gives me scope to play with his dark and light side - and his willingness to say exactly what is on his mind. I often wish I was more like that. I’m a wuss. Mind you, I could do without his ups and downs.

The challenge is keeping them all fresh. Making sure they are not re-treading old ground. Displaying a little character development – but doing that in a measured way, cos ultimately I’m writing a crime novel. Readers want all that that entails.

As for SBS, that wasn’t an issue. Given that I’d written two books before I wrote Blood Tears. And also given that I wrote the book a few years back when I wasn’t aware of my audience. I think it must be worse for writers who write their first book to huge acclaim – and have all that in their heads when they are writing the next one. Anonymity sheltered me from that nonsense.

Sadly.

Having said that, I might have a new syndrome, TBS. Problems with the third book. I write by the seat of my pants. With no clue where I’m headed. And I’m 25,000 words in and it’s like mentally wading through treacle. I kinda know where I want to go, but as yet, the boys in the boiler room (how Stephen King refers to his sub-conscious) haven’t given me a route.

What can you tell us about McBain 3?

Nuffink. Except that it’s pencilled in for a November ’14 release. We’re going later with this one because I have another book out in February and we need to give that one some air before releasing another MJM novel. You can get too much of a good thing you know.

 

My thanks to Michael for allowing me to share this conversation. If anyone wants to buy a copy of A Taste for Malice or Blood Tears the links to Michael's Amazon Author Pages are below

UK http://www.amazon.co.uk/Michael-J-Malone/e/B009WV9V4Y/ref=sr_ntt_srch_lnk_1?qid=1372354980&sr=1-1

US http://www.amazon.com/Michael-J.-Malone/e/B009WV9V4Y/ref=sr_ntt_srch_lnk_1?qid=1372355032&sr=8-1

 

Coming in July, I have Tom Cain / David Thomas talking about the inspiration for his excellent novel Ostland.