Cricket and the World Cup

This is a blog about crime fiction, but occasionally I like to feature other books that interest me, especially if I can introduce a crime-related element. With the ICC Cricket World Cup now in full swing, I've had a chance to catch up with the official book about the tournament, put together by Chris Hawkes, and published by Carlton. It's a glossy production, lavishly illustrated, with plenty of interesting background information.

For instance, I had no idea that cricket was being played in Afghanistan way back in 1839, long before Dr Watson picked up a Jezail bullet prior to meeting Sherlock Holmes. Arthur Conan Doyle was a keen cricketer, and the names of Sherlock and his brother Mycroft both derived from cricketers - Frank Shacklock and William Mycroft, who played for Derbyshire, a county that Doyle knew well.

International cricket has occasionally featured in crime fiction - for instance in Testkill, co-authored by cricketer Ted Dexter and journalist Clifford Makins - but more often it crops up incidentally, in the context of county or (more often) village matches. Authors as diverse as Julian Symons and Henry Wade have set scenes in their crime novels at cricket games, though perhaps the best known example is the cricket match in Dorothy L. Sayers' Murder Must Advertise. And in my current novel-in-progress, for the first time, I am featuring a cricket match in a key scene. The game plays a significant part in one of the sub-plots.

When I get the chance I am keen to watch some of the games in the World Cup, but there is always the consolation that if rain stops play, there are plenty of books to keep me fully occupied; not just the souvenir book about the tournament, but novels which it's time I re-read, such as Alibi Innings by Barbara Worsley-Gough, Pro by Bruce Hamilton (a crime novelist, though it isn't a crime novel) and my favourite cricket book, Settling the Score by Peter Gibbs.

The Writing Life

The writer's life is often said to be a solitary one, although I guess there are plenty of people whose experience of office life makes this seem attractive rather than lonely. But I realised some time ago that one of the sub-texts of this blog is that it reflects my belief that, even for a mid-list writer who is far from being a mega-seller, the writing life can be hugely appealing. It's a belief that has survived some mishaps in my writing career, as well as many very happy moments, and one point I often make when giving talks about writing is that, in fact, the writing life offers plenty of opportunities for enjoyable socialising.

As The Golden Age of Murder explains, the Detection Club enjoyed great success because it offered the first social network for writers. Even those who prefer our own company much of the time can still relish the chance of an occasional get-together with like-minded people. Last week brought varied opportunities for me to enjoy social occasions with other writers.

These included dinner with Douglas Stewart, whom I've featured on this blog more than once before. Doug is a fellow lawyer as well as fellow crime writer, and he was stopping over at Manchester Airport on his way from the Isle of Man to Las Vegas. It was great to catch up with him, as well as with a mutual friend who was also a colleague of mine for many years. Not all social events with lawyers are fun, in my experience, but this one definitely was..

Next came a wonderful trip to Oxford in the company of Peter Gibbs, a highly successful writer for television and stage, as well as a novelist whose Settling the Score is one of the best novels ever written about professional sport. Peter introduced me to Vincent's, a sportsman's club in the heart of the city which (given my lack of sporting prowess) I never even knew existed. Fascinating. Peter was once a prominent professional cricketer, not far short of Test match standard, and I really used to enjoy watching him bat. A highlight of our trip was being shown round the cricket pavilion in the Parks where his name is emblazoned on the boards listing the Oxford cricket Blue who have played in the University match. We also attended a drinks party at Balliol hosted by the Society of Authors - an excellent organisation which provides a great deal of helpful advice to authors. If you are eligible to join, I strongly recommend membership.

And then there was a lunch in Boroughbridge for members of the Northern Chapter of the Crime Writers' Association. It was great to see there Peter N. Walker, who founded the Chapter 28 years ago. I met Peter and his wife Rhoda at that first meeting, and we've been friends ever since. By one of those strange coincidences, Peter was the author of the books on which Heartbeat was based - and the lead screenwriter for Heartbeat was,,,Peter Gibbs.It's a small world.

Again, the CWA, and its regional chapters, offer a great deal to members, and I've benefited enormously from being a part of the Northern Chapter. I very much hope that any authors who feel they'd benefit from meeting pleasant and like-minded people will consider joining up with a writers' organisation. If my experience is anything to go by, you will never regret it..





  .

Gimme Shelter

I've detected a trend which I find quite intriguing. I've just come across a third highly successful writer of screenplays who has finally turned to writing a novel. I've mentioned in recent times the former cricketer and Heartbeat scriptwriter Peter Gibbs, who wrote the wonderful Settling the Score, and also the admirable Robert Banks Stewart, creator of Shoestring,who has published a thriller, The Hurricane's Tail.

Now it's the turn of Rob Gittins to produce a crime novel. I'm pleased to see he's joined the ranks of those of us who favour Sixties song titles as titles of crime novels - his book is called Gimme Shelter, and it's published by a small press, Y Lolfa, which is based in Wales, where Rob lives. It's quite a gritty story which concerns witness protection, and features Ros Gilet, a witness protection officer whose job requires her to tell lies every day. Witness protection is a fascinating topic for a thriller. In fact, is a subject in which I'm very interested myself. Some years ago, I even wrote a synopsis of a mystery about witness protection, but never got any further with it - partly because I wasn't quite sure how best to research it.

I met Rob around ten years ago at a CWA conference in Hereford. Even at that stage he was a well-established member of the scriptwriting team of EastEnders, and his name continues to pop up on the credits at regular intervals - he's written more than 200 episodes. He also co-created and wrote all eight episodes of the BBC 1 crime series Tiger Bay, as well as a three-part political thriller for ITV, In the Company of Strangers. And much else besides.

The perception I have, which I think many people share, is that television writing is lucrative. And certainly Peter, Robert, and Rob have all achieved great success in their field. Yet, for most of us, writing novels is a long way short of being a massive money-spinner. So why are scriptwriters tempted to write novels? I guess that one reason is that writing a novel is essentially a personal thing, whereas television writing is highly collaborative - which can be rewarding, yet also frustrating because of the lack of control. And for a creative artist, retaining a significant degree of control over one's creation is often very important.

Heartbeat Country

Peter Walker, who (under the name Nicholas Rhea) wrote the books on which the enormously successful TV series Heartbeat was based, is the man who set up the Northern Chapter of the CWA, of which he was the convenor for many years. He's a great guy, and it was really good to have lunch with him and his wife Rhoda at another chapter meeting in Yorkshire on Sunday.

I was able to tell Peter and Rhoda that the previous day I'd finally achieved an ambition by travelling on the North Yorkshire Moors Railway, the preserved steam engine line that runs through "Heartbeat Country" on the moors, passing through the station at Goathland where a good many scenes in the series were filmed. Departing from Pickering, you can reach the other end of the line at Whitby in an hour and a half, and on a fine day, it's a beautiful trip. I'd made the excuse for years of waiting for a fine weekend, and happily Saturday was the ideal day to undertake the journey.

There's somethng about steam railways that provokes nostalgia, and whenever I've travelled on lines like this (an old favourite being the Tal-y-Llyn line in mid-Wales), I'm impressed by the devotion of the volunteers who devote so much time and effort to ensuring that these lines and trains are not lost forever, but are used to introduce people to lovely corners of the countryside. A sign of the success of the NYMR venture was the large party of German tourists who were having a wonderful time on board.

The NYMR is very different from the conscious glamour and luxury of the Orient Express, but in its own way, it is equally appealing (and a lot cheaper, believe me..) I had a great time, and I'd like to do the trip again and spend more time at Goathland. I was struck, too, by the number of guidebooks available with a Heartbeat theme. Peter's stories certainly struck a chord with millions of people. And I find it interesting that the leading scriptwriter on the series was the former cricketer and now novelist Peter Gibbs, whose Settling the Score I enjoyed so much, and whom I had the pleasure of meeting for the first time recently. Both the Peters, Walker and Gibbs, are delightful companions. And highly entertaining writers.

Settling the Score by Peter Gibbs

Settling the Score by Peter Gibbs, a paperback original published by Methuen, is a debut novel, although from the pen of an experienced screenwriter. There are special reasons why, for me, it was a wonderfully satisfying read, and although I had a perhaps unique interest in the book, I can recommend it very strongly. There is a 'whodunit' element in the plot, and one or two minor crimes are committed, but it's not a murder mystery, or indeed anything like any book I've ever reviewed on this blog. But let me first explain why I was so glad to have the chance to read it.

When I was growing up, I was not only a keen cricket fan, but one of the few who supported Derbyshire, a team widely regarded as perennial strugglers. I dreamed of opening the batting for them, but the brutal truth was that I was never a good enough cricketer to have any chance of that. But their opening batsman came from Cheshire, as I did, and had studied at Oxford University, which impressed me greatly. From occasional articles that he contributed to club brochures, I deduced that he enjoyed writing comedy, as I did at the time. He seemed to me to have a perfect life. And then, despite the fact that he was a very good player, he gave it all up at the young age of 28. I was baffled, since I hadn't yet learned that no life is perfect. His name was Peter Gibbs.

Some years later, he began writing for TV. One series, about a lawyer called Kinsey, was especially good. He also became the lead scriptwriter for Heartbeat, and so got to know Peter Walker, who first introduced me to the northern chapter of the Crime Writers' Association, and on whose books Heartbeat was based. I would guess that he's always harboured an ambition to publish a novel and now, in his 60s, he's achieved it.  And his background is... a Derbyshire cricket match in the late 60s, a period when I could claim to have an almost encyclopaedic knowledge of the players' records. But, of course, no knowledge of what went on behind the scenes.

This book lifts the lid in quite a fascinating way on the lives of youngish men, living and working together seven days a week for a large part of the year. It's received numerous positive reviews already, and I suspect that people will increasingly say that he's a much better writer than he was a cricketer; but that would be a bit unfair, since P.J.K. Gibbs, as one journalist who wasn't a fan always called him, was in fact a very good batsman to watch.

The story involves the conflict between two brothers, team rivalries spiced by illicit affairs, and a great many wittily described scenes. I found it laugh-out-loud funny, but there are also moments of poignancy, not least in one sub-plot that echoes a real life scandal in which a Derbyshire cricketer of the sixties was victimised by the establishment. There is a lot about cricket in Settling the Score, but I hope that even those who have no interest in the game will be tempted to give this book a try. It's the best novel about cricket I've ever read, even better than Pro, by Bruce Hamilton (brother of Patrick, whose crime novels I've mentioned before on this blog.) I'd go further, and say that, much as I admire the Dick Francis books, now carried on by Felix Francis, Peter Gibbs' debut is the most enjoyable sport-based novel I've ever read.