A British Library Weekend

In my online writing course Crafting Crime, I make the point that confidence counts for a good deal in writing. But confidence is fragile (there are plenty of lived examples in The Life of Crime, some of them rather poignant) and writers often find their morale needs boosting. Well, having just returned from London after an exhilarating weekend, I can say that I'm in very good heart, for a host of reasons. One of these, I must say, is that it was fantastic to see so many copies of my books (not to mention my Golden Age map, This Deadly Isle) for sale in the British Library shop. In fact, I don't think I've ever seen so many of my own books in a shop, anywhere....

At first, though, it seemed that things might go seriously awry. An event was planned for Friday, which would involve me, the Rev. Richard Coles and Laura Wilson in conversation at the British Library. Many tickets were sold, and I was really looking forward to it. But then disaster struck. As a result of a couple of electrical fires, it became impossible for the show to go on as planned. It was to be livestreamed, but during the course of a convivial lunch with John and Jonny of the Library's publications team, I learned that this was not going to be possible. So it became a recorded event, and part of it would involve me giving an impromptu presentation. It was all very unexpected, but I drew fresh energy from a convivial afternoon get-together with Moira Redmond, Jim Noy, Chrissie Poulson and others, and as things turned out, all went well. Richard, whom I'd never had a chance to talk to previously, but whose new detective novel I read over the weekend, was not only charming but generous in his comments about my writing, and Laura did a great job. I gather that everyone who paid for tickets will be refunded and the event will be made available on an open access basis. 

The following day, Bodies from the Library was due to take place after a three-year absence (though as with Alibis from the Archive, there was an online-only version last year). The volunteer team and the British Library staff worked tirelessly to make sure that it could go ahead, even though it was no longer possible for the Knowledge Centre to be used. The whole event was held in a rapidly reconfigured Terrace Restaurant. And it went really well. Jake Kerridge, Moira, Chrissie, Tony Medawar, Caroline Crampton, John Curran, and David Brawn were all very good and I enjoyed my session, talking to Chrissie about The Life of Crime. 

It was also wonderful to see so many old friends and to meet some nice people for the first time, including fellow Head of Zeus author Tom Mead. Online events are invaluable and, I'm sure, here to stay, but you can't beat the personal contact that comes with a live event. Twenty-five or so of us got together on Saturday evening for drinks and a meal, a nice way to round off a day that almost didn't happen, but - thanks to the hard work and dedication of those who turned potential disaster into a triumph - proved to be a great success. 

  

The Hooded Gunman by John Curran - review

John Curran is renowned as an expert on Agatha Christie, and his research into her private notebooks broke fresh ground in terms of the analysis of how detective novelists devise their stories. I've referred to his books many times, and I've no doubt that I'll be referring frequently to his latest book, The Hooded Gunman, just published by HarperCollins. It's a detailed assessment of that splendid, and much-missed imprint, the Collins Crime Club. I should disclose that I'm one of those thanked in the acknowledgements at the front of the book, but regardless of that, I can recommend this book unreservedly to all serious students of the genre.

The Hooded Gunman is a beautifully presented book, crammed with full colour illustrations of dust jackets as well as many photographs of great interest to the crime fan. It's the most gorgeous book about the crime genre I've seen since It's All One Case, a superb book about Ross Macdonald's work published three years ago which deserves to be much better known. Terence Caven's design work is admirable.

In one sense The Hooded Gunman is a coffee table book, because of the heavy focus on quality illustrations. But it's much more than that. I'm not quite sure if John has read every single book published under the Crime Club imprint, but I wouldn't be surprised. He's certainly done a huge amount of research, and as a result, the text is more interesting and valuable than is usually the case with coffee table books (something else it has in common with It's All One Case). A large section of the book is devoted to reprinting jacket blurbs which will be a very useful tool for readers who want to consider seeking out particular titles. 

There are also several short but informative sections, for instance about Crime Club card games and the dons' detective novel competition judged by Agatha Christie among others. John makes the point that E.C.R. Lorac was particularly well-served by the artists who produced dust jackets for her books, and there's evidence here to substantiate this claim. I've enjoyed reading John's text and I've also had a lot of pleasure simply leafing through this handsome volume, admiring the illustrations. A joy for book lovers, and a very good Christmas present for the detective fan in your life.

The Publishing Revolution

Technology drives me to distraction when it doesn't work, but in calmer moments, I often reflect on the benefits it has brought, not least to readers and writers. I don't think it's an exaggeration to say that publishing has been revolutionised in recent years by technological advance. Now that it is possible to publish books cheaply, either in print form, or as ebooks, many titles are available that would have been impossible to find in the past.

I'm not just talking about reprints of classic crime novels. Authors of non-fiction are benefiting hugely. Of course, technology has (in a sense) impacted harshly on non-fiction books. So much information is available online at the click of a mouse that traditional publishers may well be wary about taking on new titles unless it's very clear that there's an eager readership for them. But two books landed on my doorstep yesterday that reminded me of those benefits I've mentioned.

The first is a book I've mentioned here previously, the updated version of the late Bob Adey's Locked Room Murders. John Pugmire and Brian Skupin have rendered crime fans a great service by revising this splendid book, which in its original editions is almost impossible to find at a reasonable price. The book appears under John's Locked Room International imprint, and LRI is one of those small presses which have made admirable use of technology to make available books which are fascinating yet which might have a relatively limited readership. Strongly recommended - and I can't wait for the promised further update of Bob's splendid work...

The second is John Goddard's Agatha Christie's Golden Age, a chunky and in-depth study of the Poirot stories, with an intro by John Curran. This book is published by Stylish Eye Press, an imprint set up by John Goddard himself. Again, this is a volume which might not sell in the tens of thousands yet which seems to be a very worthwhile venture. I'm looking forward to reading it, but without that technological progress I've mentioned, I'd never have had the chance. Something to remind myself of the next time my PC breaks down!

Tom Adams Uncovered

When my first novel came out in a paperback edition, the sales rep from Transworld took me out for lunch during the course of a memorable and hugely enjoyable day, travelling round the bookshops and signing copies of the book. He was a pleasant chap and very experienced in the bookselling business, so I asked what he thought really mattered in making a novel saleable. "It's the cover, Martin," he said. "Always the cover."

This was not the answer I was expecting, or indeed hoping for. I pressed him, but he was insistent. Booksellers he visited would flick through his catalogue for a minute of so, picking out which covers they liked and would buy. The books themselves didn't really matter. Well, this may or may not have been a slightly jaundiced view, but the fact is that covers do matter. I can, for instance, vividly recall the cover of the first adult novel I ever read. It was the Fontana paperback of The Murder at the Vicarage.

That same cover features in a new book, Tom Adams Uncovered, which is sub-titled "The Art of Agatha Christie and Beyond." Tom Adams was the gifted artist responsible for many of the Christie paperback covers that I devoured at the age of nine and ten - other examples in the book include The Moving Finger, One Two, Buckle My Shoe and The Mirror Crack'd from Side to Side. John Curran, the leading expert on Christie, provides useful commentaries which supplement the artist's own thoughts about the covers.

Those Christie covers really are very striking, and it's no wonder that they are now regarded as iconic. There is, of course, much more to Tom Adams as an artist than Christie. I was interested to learn that he was responsible for the cover of Manwatching, a book hugely successful in its day, as well as covers for authors as varied as John Fowles, Peter Straub and Raymond Chandler. Cover artwork is a fascinating subject, and I hope to return to it in the future. In the meantime, I found Tom Adams Uncovered appealing and very attractive..

Crimefest 2015

I'm just back from Crimefest, which was - as always - brilliantly organised by Adrian, Myles, Donna and their friendly and hard-working team. Twenty-five years have passed since I attended my first crime convention, the London Bouchercon of 1990, and during that time conventions have become an important part of the literary landscape - unquestionably a Good Thing.

Adrian and company kindly agreed that the Forgotten Authors' panel this year should be themed around The Golden Age of Murder,and I had a wonderful group of friends to help me in celebrating the book's UK publication (celebration enhanced over the course of the convention by terrific reviews from The Daily Mail, The Spectator, Bookbag, and Crime Fiction Lover). Dolores Gordon-Smith, Aline Templeton, John Curran and this year's CWA Diamond Dagger winner, Catherine Aird all came up with all manner of insights for the audience, and it was sheer pleasure to moderate the panel (the photo was taken by Karen Meek, whose Eurocrime blog is required reading for fans.)

That evening, I had dinner with Catherine and a few friends - a memorable occasion. She is one of those authors I admired long before I met her, and when we did meet, I found, as I have often done with major authors, that she is great company as well as a fine detective novelist. I continue to hope very much that she will publish her long-awaited biography of Josephine Tey, about whom she spoke rather movingly.

My second panel, moderated by John Harvey (whose "Fedora" is one of the best crime short stories of the past decade), tacked the subject of the short story. Andrew Taylor intrigued me by talking about his ghost story, which is a Kindle single,, and I was delighted to meet Robert Olen Butler, a Pulitzer Prize winning author who read out a very short but striking example of his work. The other panellist was Christine Poulson, one of Britain's most under-rated crime writers, and author of several highly distinctive short stories. Other events of note included Sophie Hannah and Matthew Prichard talking about The Monogram Murders, and Lee Child interviewing the legendary Maj Sjowall.

The banquet was smoothly run, and I was very lucky with all my dining companions, who included Catherine Aird, Sheila Mitchell (widow of Harry Keating) and James Runcie, author of the highly successful Grantchester books, who proved to be a witty toastmaster. I'd never met James before, but soon discovered he was a fellow Manchester City fan; after that, it was a struggle not to keep talking football, but somehow we managed it.

I met some other pleasant people for the first time, and as ever it was good to catch up with old friends. The latter include Ali Karim, pictured above with The Golden Age of Murder. Ali is one of the most entertaining companions one could wish to have, and I am really sorry that I shall not be with him at Bouchercon at Raleigh in October, where he will make a fabulous job of his far from easy task as programming chair. I also had the chance to talk to the publishers of the CWA fiction anthology and non-fiction anthology, as well as to catch up with my own publisher, Susie Dunlop of Allison & Busby, who hosted a drinks party during the week-end. It was lovely to see her again, and I'm so glad she's pleased with the next Lake District Mystery, The Dungeon House. All in all, a terrific week-end which I shall long remember.




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Bodies from the Library

Fresh and exciting evidence of the striking growth of interest in Golden Age fiction is supplied by the announcement that Bodies from the Library, a one day conference, will take place at the British Library on Saturday 20 June. The organisers have set up a website as well as a Facebook page, and I am optimistic that this venture will attract a great deal of interest.

John Curran, the pre-eminent expert on Agatha Christie, is a guiding spirit behind the setting up at the conference. It sprang from discussions at Crimefest last year about the fact that, over the years, Golden Age fiction has not been discussed very often at crime conventions (other than the Forgotten Authors panel at Crimefest and some of the papers given at St Hilda's each year). As a result, John, Mike Linane and fellow enthusiasts including Liz Cooper, Norman Home, and Susan Cooper decided it would be a good idea to set up a dedicated conference. Naturally, I think they were absolutely right. But putting on a conference, especially when starting out, is very hard work. 

John, Mike and company have done a great job, gaining enthusiastic and valuable backing from both the British Library and Harper Collins. They are in the process of finalising what will be a packed programme. The speakers include the pre-eminent publishers of Golden Age-related books, David Brawn of Harper Collins,and Rob Davies of the British Library. Other speakers include Jake Kerridge of the Daily Telegraph, and Barry Pike and Tony Medawar, two of the leading authorities on Golden Age fiction. If you like traditional fiction, the chance to hear Barry, John and Tony really should not be missed.

Contemporary novelists with a strong interest in the Golden Age will be speaking; they include Len Tyler, Dolores Gordon Smith, and me. At least one leading present day crime writer is likely to be added to the list shortly.This is a ground-breaking event, and I'm very glad to be part of it. I hope that some of the GA fans who read this blog will be able to attend. 

A few words from Mike Linane: :"Golden Age is a huge topic and to have a day where true experts talk about their favourite authors and suggest books to read as well as hearing from the publishers what they take into account before republishing out of print titles as well as finding out about todays authors who are carrying on in the GA tradition.   There's something for everyone and I am sure the entire audience will leave at the end of the day with a list of books they are desperate to read  Oh,  and there are goody bags and spot prizes as well!"


   

CADS and the CADS dinner

Anyone who enjoys classic crime fiction - and probably anybody who enjoys crime fiction generally - is likely to find CADS, a fanzine edited by Geoff Bradley, a mine of information and entertainment. I missed its first issue, more than 20 years ago,but I contributed an article to issue 6 and have been a devotee of this irregular magazine for crime fans ever since. It really is a terrific read. It doesn't have a website,but I'll be happy to give Geoff's contact details to anyone who gets in touch with me.

The latest issue of CADS, number 67, is as usual full of good things. An example is Curt Evans' article about the novels of Emma Lou Fetta. If you've never heard of Emma Lou, well, neither had I. That's the beauty of CADS - you discover things that you would really never find elsewhere. The list of the contributors is a roll-call of the leading experts, not just in Britain but elsewhere, of crime fiction's most knowledgable people. To take a few names at random from this issue - Bob Adey, the world's greatest expert on the locked room mystery, Arthur Vidro, editor of Give Me That Old-Time Detection, John Cooper and Barry Pike, authors of Collecting Detective Fiction, John Curran, the leading expert on Dame Agatha, Liz Gilbey and Philip L. Scowcroft, plus many more. Fascinating.

A tradition has grown up of crime fans meeting once a year for dinner in London - it's organised by Tony Medawar, and is known as the CADS dinner. I managed to attend this year,and took these photos. As usual the evening was great fun. The only snag was that there wasn't time to have a long conversation with everyone present, but the company was certainly excellent. And among those attending were Geoff, Barry Pike - and Doug Greene, well-known as the man behind that wonderful publisher Crippen and Landru, and biographer of John Dickson Carr.

Doug's contribution to crime fiction scholarship is to be honoured later this year by way of a festschrift compiled by Curt Evans. The list of contributors is very impressive, and the range of crime fiction subjects eclectic. I'm really looking forward to reading what they have to say. In the meantime, there is enough in CADS 67 to keep me happily occupied for quite a while.

Agatha Christie's Poirot - Dead Man's Folly - ITV review

Dead Man's Folly, the second in the current series of Agatha Christie's Poirot, was based on a novel from the 50s, when the Queen of Crime's work was rather more variable than it had been a few years earlier. The book has some delicious elements, although the solution has always struck me as rather contrived. The ITV version with David Suchet made the most of the story's merits, notably the marvellous country house and village fete settng.

And to make things even better, a very good decision was taken to film the story at Greenway. Christie used her own home in Devon, and its marvellous grounds, in fictional form for the book, so this was a very appropriate homage. I was also reminded strongly of a marvellously sunny day last year, when I had the memorable experience of revisiting Greenway in the company of that great Christie expert John Curran.

Zoe Wanamaker was an effervescent Mrs Oliver as usual, with Sinead Cusack very good in the important part of Mrs Folliat. The early scenes, when Poirot arrives at Nasse House and meets the house guests, and when the fete takes place, were very well done. As in the book, things faltered slightly after the discovery that a teenage girl has been murdered, and the suspects were not perhaps as strongly developed as they might have been. Overall, the screenplay was faithful to the original both in its strengths and its shortcomings, with a slight change to the ending. Verdict - not a classic,but good light entertainment.

Crimefest 2013 - part one

I've just returned from Crimefest 2013 in Bristol, a terrific event as usual. In fact, I feel that Crimefest is getting better each year. I know a number of people who told me they wanted to attend but were too late to book a place, and this is a sign of the convention's increasing popularity. It really does strike a nice balance between providing opportunities to socialise and providing panels, interviews and other events of genuine interest. There was a lot going on, and not for the first time I found myself, on leaving, amazed that I'd been so busy yet had still not managed to have a chat with a number of friends and fellow attendees. Next time!

I was lucky enough to be involved with three separate panels, two of them as participating moderator, and the first of these was Forgotten Authors, an event which is now a regular feature of the first afternoon of Crimefest. My fellow panellists were all very knowledgable and enthusiastic about books of the past. Moderating a group comprising John Curran (who chose two of my favourites, Dorothy Bowers and Patrick Quentin, to talk about) , Ruth Dudley Edwards (who chose two more, Cyril Hare and Edmund Crispin), Zoe Sharp and Adrian Magson was the easiest job in the world. The only snag with Forgotten Authors is that there is so much to talk about, we really need several hours. But the room was packed out, and people left with many suggestions about old books to seek out. There's always a feelgood factor about this panel, a sign of the rise in appreciation of books that vanished from the shelves years ago which remain worth reading to this day. I'm pleased to say the organisers have asked me to moderate the same panel again next year.

After a short break it was time for the annual pub quiz. I joined a team which included John, Zoe, Kate Ellis and my former editor at Hodder, Kate Lyall Grant. But it's also good to meet people for the first time, and these included the highly successful American author, Dorothy Cannell, with whom I was also due to be on another panel (at which she came up with an idea which fascinated me, and which I'll talk about in another Crimefest post.) We lost that knowledgeable crime fan Mike Linane to Ali Karim's team on the next table, but also joining us was Alexandra Benedict. There are two novelists called Alexandra Benedict, and so our colleague is published as A.K. Benedict. It turned out she is not only a Cambridge graduate who has written a highly successful debut, but also a composer of music for film and television, a singer and an expert on the ghost story. One website bio says she "writes words and music in a red-walled room filled with mannequins, teapots and the severed head of a ventriloquist's dummy." So really she ought to be a character in a book as well.

Anyway, it was an extremely convivial group and we called ourselves the Forgetful Authors. (In a surreal twist, this anticipated my forgetting the following day to post a Friday Forgotten Book for the first time in ages - you did notice, didn't you?) The quiz was closely contested and we finished up tying with Ali's team. The first tiebreaker question didn't separate the teams, but the next one enabled us to win the day, and collect some very nice prizes, including box sets of Sherlock, about which more soon.) Great fun, and I'll continue the Crimefest Chronicles tomorrow. If I don't forget, that is....

On the Christie Trail

A week ago today I had the great pleasure of travelling from Bristol, venue for Crimefest, with a touring party on the Agatha Christie trail. It was a special treat for me, partly because Christie introduced me to crime fiction when I was young, and partly because I spent the trip in the company of John Curran, without a doubt the world’s leading expert on the Queen of Crime.

First stop was the Grand Hotel in Torquay – which I last stayed in during the Christie centenary celebrations in 1990, at a time when my wife was pregnant with Jonathan. I remember more than a few drinks in the company of Reginald Hill, and the excitement of the Gala Dinner on the Saturday evening, attended by the cast of Poirot and many others.

After that, there was a quick visit to the Christie exhibition at Torquay Museum, where one of the famous “secret notebooks” is on display. Then, to Churston (featured in The ABC Murders) and the church with the Christie window. Lunch was at a quite beautiful old pub adjacent to the church.

Then it was on to Greenway, Christie’s old home, now in the care of the National Trust. I visited it with a CWA party back in 1990 and met her daughter, but this time John’s informed commentary made the visit even more meaningful. We also had time to go into the grounds and visit the battery and the boathouse. The boathouse was employed as a murder scene in Dead Man’s Folly, while the battery was utilised for the killing of Amyas Crale in Five Little Pigs. Suffice to say that, for a devotee of classic detective fiction, it was an absolutely memorable day. And by the way, you will see that Blogger has finally allowed me to upload some pictures. But very reluctantly, it has to be said! And I still haven't figured out why the font of my posts keeps changing. No wonder I'm so gripped by technofear that I haven't tried to be more adventurous with social media!

Betty Fisher movie review

When I visited John Curran in Dublin, I had not only the chance to admire his book collection, but also his very wide-ranging collection of DVDs, and he recommended a number of films to me that I'd never even heard of before. Among them was a French film, directed by Claude Miller with the frankly unpromising title Betty Fisher and Other Stories.

I was startled to find that the film is based on a novel by Ruth Rendell. The source book is Tree of Hands, a suspense story I enjoyed reading when it first came out. But that was a long time ago, and I must admit I've forgotten how the story goes. That was probably an advantage, given that Betty Fisher focuses on the core themes, but with many changes of detail.

To some extent, it's a story about maternal instincts, as well as about grief and guilt. Betty is a successful novelist with a crazy mother. When her son dies in an accident, her mum kidnaps another child, whose mother is an occasional prostitute, and who doesn't seem to miss him much. The strands of the two women's lives intertwine time and again, ultimately with bloody results. The use of coincidence is very typical of Rendell, but the treatment somehow seems very Gallic, and the effect is rather stylish.

It's one of those films where you really can't be sure what is going to happen. I found I just about believed in the story, despite various implausibilities, and it certainly kept me gripped from start to finish. An odd movie, perhaps, but a good one. John is a sound judge!

A Criminally Good Break

When Agatha Christie's Secret Notebooks, by John Curran, was published, I felt that it was the most fascinating book about the genre that I had read for a long time. The notebooks that John Curran has so painstakingly transcribed give a fascinating insight into the thought processes of the most successful crime writer of all time.

So when John invited me to attend the launch in Dublin of his follow-up volume, Agatha Christie's Murder in the Making, I seized the chance to combine the get-together with a long weekend in the Irish capital. And it all worked out marvellously well – even the weather was pretty kind.

The launch was held at a prestigious venue, the Civic Offices on the banks of the River Liffey, and was attended by well over 100 people. The following evening saw a private party hosted by friends of John at their house in Clontarf, which was another highly enjoyable event. Amongst the highlights, as the photograph shows, was the production (and consumption!) Of a cake featuring a facsimile of the book. Mathew Prichard, Christie's grandson (and the father of James Prichard, whose Langtail Press I have featured a few times in this blog) was present on both evenings, and there's no doubt that his support of the project has been crucial to the success of John's work, and that it has been absolutely justified by the dedication John has shown.

I'll be reviewing the book shortly, and I'm delighted that its publication gave me the excuse (if one were needed) for a brief but fascinating break. Dublin is a fairly compact city, and we covered a lot of ground in a short time. And, as unexpected bonus, whilst I was there I not only dreamt up a new short story, but got an idea for the title for my next Lake District Mystery.

John Curran

When you attend a crime fiction convention, there is a pleasurable dilemma about how you spend your time. Do you go to as many panels as possible? Do you network avidly? Or do you try to carve out some time for longer conversations, especially with people whom you seldom have the chance to meet? Of course, there isn't a definitive right answer, but in recent years I've done a bit less manic flitting about, and spent more time indulging in a range of fascinating conversations with some of the very interesting people whom I've encountered.

At the recent Crimefest convention in Bristol, I had the pleasure of talking to a number of people for quite a while, among them the Irish writer and researcher John Curran. John is best known as the author of Agatha Christie's Secret Notebooks, a wonderful book which has a follow-up volume due out later this year. He is currently researching detective fiction written in the period between 1930 1950, and his knowledge of the genre is encyclopaedic. Not surprisingly, he was one of the contestants in this year's Crimefest Mastermind.

On the Saturday of the convention, John and I had lunch together and talked endlessly about Golden Age detective fiction, a subject close to both our hearts. So endlessly, in fact, that when the cafeteria at Bristol Cathedral closed, we continued our conversation in the delightful Cathedral garden, where I took this photo of John. And when the garden closed, we carried on the discussion, walking along the very pleasant Bristol waterfront in the sunshine.

John has been researching the Golden Age in the copyright library at Trinity College, Dublin, and has come across all manner of rare books. He told me, for instance, about an Australian book called Murder Pie which was inspired by the Detection Club's The Floating Admiral, and which I'm tempted to try to track down. Because of work commitments, I wasn't able to join the party which John took around Agatha Christie's former home Greenway, much to my regret. Next year, perhaps! In the meantime, the chance to spend a few hours with a fellow enthusiast for long forgotten detective fiction (as well as for the unforgettable Agatha Christie) remains one of the memories I'll take away from this year's Crimefest.

Agatha Christie's Poirot - Hallowe'en Party

Hallowe’en Party is the latest instalment of Agatha Christie’s Poirot, due to be shown in the UK at 8 p.m. tonight, and as I’ll be away, I’ll be setting my recorder with a view to doing a review soon. For although the original book is one of Agatha’s least impressive, in my opinion, I am told by John Curran that the TV adaptation is excellent. And John, as the author of Agatha Christie’s Secret Notebooks, is a very good judge of these matters.

This brings me to the question of whether TV adaptations can actually improve on the original book. The acting is crucial, of course, and David Suchet is always good value as Poirot. Much also depends on the quality of the screenplay, and Hallowe’en Party is written by Mark Gatiss, whose many credits include Sherlock and Doctor Who, as well as previous Christie stories. He’s a talented writer, to put it mildly, and more respectful, I think, of the source material than some other TV writers. But with Hallowe’en Party, the challenge unquestionably is to improve on the original, since Christie was nearing the end of her life when she wrote it, and I recall my disappointment as a teenager when I read the first edition. It simply wasn’t a good mystery.

Of course, only a major writer is ever likely to have his or her unsuccessful books adapted for TV. With Christie, the name is a brand, an assurance of enjoyable mystification, and such a strong brand that the quality of the original isn’t the key issue. Several of her masterpieces have been butchered by others over the years (The Sittaford Mystery was one of the most dismal recent examples) and so it will be a pleasing irony if Hallowe’en Party proves to be a triumph.

Good as Colin Dexter’s books were, I think the TV versions did improve upon them, and the same is true of some of the later and weaker Sherlock Holmes stories. On the other hand, the consensus seems to be that the first DCI Banks show did not live up to the standard of the books, while Tim Heald, Liza Cody, Marjorie Eccles and Frances Fyfield were not especially well served by the TV versions of their books. It’s all the luck of draw, I guess.

Mike Hodges and John Curran

Two highlights of Crimefest for me were first meetings with two men whose work I admire for very different reasons. One of the advantages of spending a bit of time in the bar at conventions is that you meet some very interesting people, and this was never more the case than when Maxim Jakubowski and his wife introduced me to Mike Hodges, whose first novel is being published by Maxim’s new imprint.

Mike Hodges is, of course, the legendary film director whose masterpiece is Get Carter. I’ve mentioned before in this blog that Get Carter is in my opinion one of the finest British crime films ever made, and it was a real pleasure to have a lengthy chat with Mike, who at 77 is a lively and entertaining companion. He told me a bit about his working relationship with Roy Budd, who composed the brilliant score for the film. He also mentioned that his fee for the film was a princely £7000. Not much for creating a classic, even allowing for inflation.

I also met up with John Curran, author of the wonderful Agatha Christie’s Secret Notebooks. I’d been listening to Marcel Berlins, a top crime reviewer, interviewing John and Matthew Pritchard, Agatha’s grandson, whom I’ve met a couple of times before. John, Matthew and I then had lunch together – for a Christie fan like me, this was a terrific experience.

I was glad to hear that John is bringing out a follow-up to his book next year. And very interested to learn that he has given up his job to do a PhD on Christie and other Golden Age writers. To spend your time having a wonderful excuse to read classics of the genre! It sounds enviable to me. But John deserves it; he has done crime fans a real service with his original work on the notebooks, which not only expand our knowledge of Christie, but cast light on the plotting process in a way that is hugely thought-provoking.

Fiddlers Five (or Three)

Agatha Christie was not just the best-selling novelist of all time. She also achieved, among other things, extraordinary success as a playwright. Some of her plays were based on novels, or short stories, while others were originated for the stage.

Her final play was written for the theatre, and it has a special significance for me. As my 16th birthday approached, my parents discovered that a new Christie play was to be performed in Manchester. And because they knew of my passion for Christie, I was therefore taken to the Palace Theatre to see it as a birthday treat.

The play was called Fiddlers Five. It starred Colin Bean, best known as Private Sponge, a supporting character from ‘Dad’s Army’ and nobody else of any note at all, so far as I can remember. I was rather baffled by the play. It seemed to be intended to be a sort of comedy, and the mystery complications took ages to develop. I enjoyed the experience, but it was not a great play with a great plot, and that was a surprise and a disappointment.

I wasn’t alone in my dubious reaction. In fact, most critics were less kind. Christie re-wrote the play as Fiddlers Three, but it doesn’t seem to have effected much of an improvement. It never reached the West End. John Curran devotes some space to Christie’s planning of the play in Agatha Christie’s Secret Notebooks and it seems she started work on it as early as 1958. But he is right to describe it as ‘a sad curtain call’. Apparently, it’s never even been published.

Five Little Pigs

In Agatha Christie’s Secret Notebooks, John Curran hails Five Little Pigs as the greatest of her ‘murder in the past’ plots. He suggests that it is her most impressive combination of detective and ‘straight’ novel. I agree, though I’d add that some of the books in which she focuses essentially on a creating a complex mystery are even more brilliant. But Five Little Pigs is an impressive book, with more effective characterisation than in much of her work.

Christie often found inspiration for her plots in nursery rhymes, and the ‘five little pigs’ rhyme is there at the beginning – but Curran points out that before the detail of the story took shape, ‘she had considered a different murder method, a different murderer and different suspects.’

Not until she had indulged in a good deal of trial and error did Christie come up with the scenario she eventually chose. And what a chilling scenario it is – with the culprit watching the victim die. It’s much more horrifying, to my mind, than most of the graphic torture scenes so commonly found in modern books about serial killings. I would have assumed it was Christie’s starting point for the story, but far from it.

Writers like me can learn a lot from seeing how Christie played around with ideas, trying them out for size, discarding many plot twists that had superficial appeal in favour of alternatives that worked more effectively in the particular context. It’s a reminder that writing involves endless revision – and not just once one has completed the first draft.

I don’t work in the same way as Christie, but I empathise with many of her methods. When writing The Serpent Pool, I struggled over one aspect of the story for a long time. At a late stage, a way forward occurred to me. I am fairly confident that when people read the book, that late twist will seem fundamental to the whole story. As soon as it struck me, it felt ‘right’. But I confess – it did take an awfully long time to strike me!

The ABC Murders

Everywhere you look in Agatha Christie’s Secret Notebooks by John Curran, there are insights into the thought processes of an extraordinary writer that I find truly fascinating. One of the points that emerges very clearly is that good plots do not necessarily come into a writer’s mind fully formed. They often evolve over time.

This is something I needed to learn as a young writer. When, in my twenties, I wanted to write a murder mystery, I was daunted by the challenge of dreaming up a complex plot. Only when I realised that you can build up your story bit by bit did I really make progress.

A good example of the Christie technique is provided by her notes on The ABC Murders, which I believe is one of the finest whodunits ever written, with a central device that has been borrowed by many later writers (including several of real distinction.) It turns out that Christie flirted with the idea of having the murderer as one of the supposed victims of a serial killer. She pondered having a house party in the story – there isn’t one in the book. And, remarkably, her early notes make no mention of the alphabetical sequence which is at the heart of the novel. This seems to have occurred to her later.

It turns out that the first ‘A’ murder was originally due to take place in Aberystwyth, a resort I know and like. But for some reason she changed her mind and shifted the crime to Andover. It was left to Malcolm Pryce to make Aberystwyth a name to be reckoned with in crime fiction….

Agatha Christie's Secret Notebooks

I’ve already expressed my enthusiasm for John Curran’s analysis of Agatha Christie’s plotting notebooks. One of the many insights that fascinated me is the way in which Christie played around with ideas, sometimes for years, before coming up with an approach to a story that satisfied her.

Something that Christie’s critics foolishly overlook when they dismiss her as a ‘cosy’ writer whose characters were ‘cardboard cut-outs’ is her determination to experiment, and to push the boundaries of the whodunit. Her originality of approach is one of the explanations for her enormous success. Curran rightly points out, for instance, that relatively few of her novels are set in the cosy English villages with which she is so often associated. Her range of settings was remarkable.

One of her most interesting ideas was to set a murder mystery in Ancient Egypt. Death Comes as the End is in some ways a flawed book, although I do like it. I was intrigued to learn from Curran that Christie toyed with a number of different possible culprits.

But most intriguing of all is the revelation that Christie toyed with having a modern day story running in parallel to the ancient one. Shades of Possession or The French Lieutenant’s Woman – but this is not a concept that (so far as I know) has ever been adopted in a murder mystery. It’s a great idea, and someone really ought to give it a crack, even though Christie didn’t. I’m almost tempted myself….

John Curran

I’ve been reading the recently published Agatha Christie’s Secret Notebooks (‘Fifty Years of Mysteries in the Making’) by John Curran. It’s an extraordinarily interesting book, and I will post a variety of thoughts about some of the material it contains in the coming days and weeks.

But first I want to express my admiration for the work of John Curran in ensuring that this material has seen the light of day. I don’t know John Curran personally, but I do know of him as someone with a great love of the work of Christie, and that enthusiasm is apparent in every page of this book.

Curran got to know Mathew Prichard, Christie’s grandson, and became a regular visitor to Christie’s old home, Greenway, in Devon. There he became immersed in the handwritten notes that Christie had crammed, over many years, into no fewer than 73 cheap exercise books. He deciphered her handwriting with painstaking care – a task that could only be accomplished efficiently by someone who knew the novels and stories intimately and could thus understand the many obscure references. According to Prichard’s foreword, ‘had to be prised out for meals, sometimes spending 12 hours a day immersed in the history of Agatha Christie’s work.’

This truly has been a labour of love. To uncover and interpret such a treasure trove of material – which I am sure must, in its scope and range, be unique in the history of crime fiction, given Christie’s fame, productivity, and mastery of plot – is an extraordinary achievement. Curran must have felt like a child put in charge of sweet shop. A wonderful experience, and he is a lucky chap to have had it. But he deserves that luck, and the gratitude of all Christie fans, for he has done a magnificent job. I have found his book absolutely enthralling – not only as a lifelong admirer of Christie myself, but as a crime writer fascinated by plot and puzzle. I can heartily recommend Agatha Christie’s Secret Notebooks to anyone who loves traditional mysteries and would like to learn more about the creative process.