You Can Jump

Mat Coward is someone I've never met, but we've corresponded with each other for years, and I've included several of his short stories in anthologies that I've edited. He's a man of many accomplshments, an occasional novelist, and involved with that intriguing TV programme QI. But arguably, his stand-out achievements are in the field of short stories. He's original and witty, a real master of the form.

His new collection,You Can Jump, is now available. Four of the dozen stories that it contains have featured in anthologies I've edited, so naturally I think they are good, but suffice to say that the standard doesn't falter in the other entries, which have previously appeared in a range of good homes,including books edited by Anne Perry and Jeffrey Deaver.

I asked Mat what appealed to him about the short form and found his answer interesting:

'Someone asked me the other day "Why are writers so keen on writing short stories?" Her puzzlement was genuine; if she was a writer, her frown said clearly, she'd be getting on with the real work - the novels, the stuff that people actually read, and review, and that might even make some money.

But it's true: most writers - or at least, most crime writers of my acquaintance - love writing shorts, and will take any opportunity to do so, even stealing time from their book schedules, despite the numerous disadvantages of the form: not the least of which is that hardly anyone publishes short stories. Which, you know, is quite a significant drawback.

There are lots of answers I could have given to the question - and I'm sure you'd collect more answers the more writers you asked - but there is one obvious reason which is not often mentioned.

Short stories are short.

I like writing short stories because I can complete more of them, in a given lifespan, than I can novels. There is a type of short story which is really just a pre-edited novel; it's all there, it's just shorter, which means you can do more of them.

So, that' s one answer: I like writing short stories because I like finishing things.'

The paperback is available from his website (or on order from bookshops and libraries, of course) and the ebook is at available here.

Short Story Specialists

Fiona mentioned Stacy Aumonier recently, in relation to his story ‘The Octave of Jealousy’, which has a structure reminiscent of La Ronde. I haven’t read it, but I’ve read one or two stories by Aumonier, who in the course of his short life (1888-1927) established a formidable reputation as a short story writer. Julian Symons was an admirer, and so was James Hilton, author of Goodbye, Mr Chips.

Although Aumonier published six novels before TB cut short his life, there seems to be general agreement that he was better at the short form. There are a few writers, not just in crime, of whom the same might be said – not so much because there novels lack merit but rather because their gifts are especially suited to the short story.

I’m tempted to put Arthur Conan Doyle in that category, and possibly G.K. Chesterton. In the modern day, names that spring to mind are those of Edward D. Hoch, Mat Coward and Jerry Sykes. Hoch in particular was a prolific short story writer – he produced close to 1000 – and only turned out novels sporadically.

I enjoy writing both forms of prose. I’d rather be thought of as a novelist, I suppose, but it could be argued that, with one Dagger win and a further Dagger short-listing for my short stories, I’ve achieved at least as much recognition with the short form. One problem, of course, is that you can’t begin to make a living nowadays just from writing short stories. And that may mean that, in future, specialists like Aumonier will be very rare indeed. Which would be quite a pity.

Take My Breath Away

I’m truly thrilled to have received a contract for the publication in the United States of Take My Breath Away, which appeared in the UK back in 2002. It’s a book which I’m very proud of, although it’s only fair to admit that it attracted much less attention than my other books.

The idea behind the story was one I was (and am) truly passionate about. It represents a complete break from the Harry Devlin series, even though the setting is a law firm – a glitzy outfit called Creed, based in the heart of London. The first chapter is set at a posh reception organised by a headhunter, and the opening line is: ‘The dead woman smiled.’ Some people whose judgement I respect have said the first chapter is one of the best things I’ve ever written, and the story that develops from there is quite elaborate, following the twin journeys of true crime writer Nic Gabriel, and a mysterious young woman who calls herself Roxanne Wake.

One of the background elements of the book is that there is a vein of political satire. Creed is a very ‘New Labour’ firm, and some of the dialogue of the senior partner, Will Janus, owes much to the inspiration of Tony Blair. I was pleased with the way this worked, but it didn’t seem to be noticed by the critics (except the perceptive Mat Coward, who has long been very supportive of my work – perhaps his insight into left-wing politics explains how he latched on to the political bits more readily than others.) Maybe it was too deeply buried in the text for most people to see it, I’m not sure. But I still think it works, although of course the story can be read as a psychological suspense novel, with various elements of mystery, without any regard to the political dimension.

I left open the possibility that Nic Gabriel might one day return. This may still happen, though I decided to strike out in a new direction with the Lake District Mysteries, and their much greater success means I’ll be sticking with them for the foreseeable future. Oddly enough, those people who did read Take My Breath Away tended to like it a lot. Trouble was, there weren’t enough of them! They included Priscilla Masters, who was kind enough to feature the book in a novel of her own. I’m absolutely delighted the book is to have a new lease of life.

Acts of Destruction

I’ve just managed to lay my hands on a copy of Mat Coward’s latest novel, Acts of Destruction, which pleases me a good deal, because this is a writer whose work I have long admired. I’ve never actually met Mat, who doesn’t go to crime conventions, but we’ve been in touch for a number of years, and he’s provided a string of excellent stories for anthologies that I’ve edited.

Mat’s fame in the crime writing world is, indeed, mainly in the realm of short story writing, and whilst it is well deserved, it has meant that he runs the risk of being typecast as a short story specialist. It’s a recurrent issue for writers that, if you do one thing well, publishers, critics and (yes!) some readers are tempted to think that is what you should stick with. It’s a bit like asking a favourite musician only to play their early hits – understandable, but apt to risk missing out on a lot of good stuff.

In fact, Mat’s a talented novelist whose previous work has appeared more often in the US than the UK. Acts of Destruction sees him branching out in a new direction, with a police series ‘set in a near-future London. In a world of fuel shortages, food scarcity, and wars over water, the Commonwealth of Britain is struggling to turn necessity into opportunity, and build a happier, more efficient and more democratic nation. It’s a new society with new rules; it’s just a pity no-one told the criminals….’

But still there is a link with his short stories, for DI Wallace from this book first appeared in one of those stories Mat produced for me – ‘Back to the Land’, which was included in Crime in the City, a collection published under my editorship back in 2002. So I feel an immediate affinity with the new novel!

I look forward to devouring it. And readers of this blog who would like a copy can pick one up for a tenner, post-free, from Alia Mondo Press, care of Elastic Press, 85 Gertrude Road, Norwich NR3 4SG.