Hal David R.I.P.

Hal David, the American lyricist, has died at the age of 91. It's extremely sad news as far as I'm concerned, as he wrote the lyrics to a great many of my absolutely favourite songs. Hal David has often been described as 'legendary' - Paul Gambaccini, speaking to BBC News, has just described him as a 'giant' - yet he was a modest man, content by and large to remain in the shadow of his main songwriting partner, Burt Bacharach, to whose complex and sophisticated melodies he supplied words that were, in contrast, straightforward, yet somehow equally distinctive and memorable.

David had an extraordinary gift - the ability to make a very challenging form seem remarkably easy. His approach to writing offers a shining example not only to other lyricists, but to anyone who uses the written word for artistic purposes. He used to say that it's easy to write something complex - what's really difficult is to write something simple, something that sounds so natural that it seems as though nobody 'wrote' it. The more I've learned about writing, the more I've realised how true this is. 

The only time I saw Hal David in the flesh was at a Royal Albert Hall tribute concert, when Andrew Lloyd Webber and Tim Rice paid glowing tribute to the influence that he and Bacharach had on their writing of musicals, and this admiration was shared by countless people all over the world. Only a couple of months or so ago, Barack Obama lauded David's work when he and Bacharach became the first songwriting duo to win the Library of Congress Gershwin Prize. There's even a video of Obama on Youtube singing the opening words of 'Walk on By'.

Hal David conjured up crisp phrases in his lyrics - phrases such as 'walk on by', 'make it easy on yourself', 'what the worlds need now is love', 'do you know the way to San Jose?' 'what's it all about, Alfie?', 'anyone who had a heart' and many others - that stayed in the mind. The lyric to '24 Hours from Tulsa' offers a brilliant, heart-rending story about adultery in a few lines - and I used that lyric as a reference point in a rather dark short story named after the song which was included in Best British Mysteries a few years back. He can even be forgiven for rhyming 'phone ya' with 'pneumonia' because the lyric to 'I'll Never Fall in Love Again' is such a concise - and witty - masterpiece. It was written for the musical Promises, Promises, a show which provides part of the background for the Harry Devlin novel The Devil in Disguise.

A Hal David lyric provided a clue to the solution of the mystery in my very first book, All the Lonely People,and another led to a key revelation of the fourth, Yesterday's Papers. I'm pretty confident that his work features more often in my novels than that of any other novelist, and that's simply because I love those Bacharach and David songs so much. In the 60s, it was their work, even more than that of the Beatles, that gave me my love of music. For that I shall forever be grateful. Thanks, Hal, for all those countless magic moments. (And yes, he did write 'Magic Moments'.)

Harry Devlin is back!

I’m truly thrilled to say that my early Harry Devlin books, set in Liverpool, are now enjoying a new life. They are available as ebooks, in new editions with some very special features that I hope readers will find fascinating. For me, it’s all very exciting. And the books are also being made available again, for those who prefer hard copies, in paperback editions.

Andrews UK, who specialise in ebooks and print on demand editions, have now produced six of the eight titles in this way – the whole series, that is, with the exception at present of Eve of Destruction and the much more recent Waterloo Sunset.

The most notable of the special features is that each book benefits from a brand new introduction by a leading crime writer. I’ve been extraordinarily lucky here – this original material, only available in these editions, comes from some of the most gifted and renowned of modern British writers.

CWA Gold Dagger Winner Frances Fyfield introduces my debut novel, All the Lonely People. Frances reviewed my earliest work in legal magazines (she and I, like Harry, are solicitors) and I have long felt an enormous debt of gratitude to her for her encouragement.

The same is true of Val McDermid, the CWA Diamond Dagger winner who has written a new introduction to the second book in the series, Suspicious Minds. Val reviewed one or two of the early Devlins very favourably, and her generous remarks in this new edition made me glow with pride.

I Remember You, the third book in the series, has an introduction from Margaret Murphy – the current joint winner of the CWA Short Story Dagger. Margaret is not only an old friend, but someone who knows Harry Devlin’s Liverpool  better than most.

Yesterday’s Papers, perhaps my favourite Devlin book, has an introduction from another CWA Diamond Dagger winner, Peter Lovesey. Again, Peter is a superstar of the genre who has supported me generously for many years. He and I share an enthusiasm for classic, twisty plots, and it seemed to me appropriate that this particularly elaborate mystery should include an intro from such a master of the genre.

A third CWA Diamond Dagger winner, Andrew Taylor, kindly wrote the introduction to The Devil in Disguise. This was a book I really enjoyed writing, though I remember being mortified when my original publisher didn’t care for it. As a result, I moved to Hodder, with increased sales as a result. Andrew was a Hodder author too, and we launched this book, and one of his Lydmouth titles, at the same enjoyable event in the late lamented Mysterious Press bookshop in London.

Finally, there is First Cut is the Deepest, with an introduction from Kate Ellis, twice shortlisted for the CWA Short Story Dagger.  This was the last Devlin story I wrote before taking a ten-year break, and it is also the longest and perhaps the most complex entry in the series. Kate, like Margaret, is a Liverpudlian with a deep love for Harry’s home city.

For each book, I have written a detailed new “Making of” feature, along the lines that you find in DVDs. There is also a biographical note, and an appreciation of my work which has most generously been contributed by former CWA Chair, Michael Jecks.

Each book includes a “preview chapter” for the next book in the sequence, a device that I hope will encourage people who dip into the series for the first time to return to it.

As we all know, the world of publishing is changing rapidly. With all change, there are advantages and drawbacks. But I am very optimistic that for writers like myself, who do not have massive publicity teams or budgets at their disposal, that digital publishing will help to make the books available to a new and wider readership. We shall see. One thing is for sure: it’s enormously gratifying to see these early books given a fresh life.

I can’t close this post without expressing my profound gratitude to Frances, Val, Margaret, Peter, Andrew, Kate and Michael, all of whom offered their contributions without the slightest degree of arm-twisting! (The same is true of CWA Gold Dagger winner Ann Cleeves, whose introduction to Eve of Destruction is at present unfortunately unavailable because of the frustrating and unhelpful attitude of the rights owner.) Generous people, as well as terrific writers, and I am proud to call them friends.

H.R.F.Keating R.I.P.

The death last Saturday of H.R.F. Keating has robbed us of a giant of the genre. Much has already been said by obituarists about his novels, featuring Inspector Ghote and others, which earned two CWA Gold Daggers, so I’d like to focus on other aspects of his career.

He was both imaginative and daring in his work. He wrote a long crime story in verse and dreamed up an unlikely but effective sleuth in the cleaner Mrs Craggs. His prose style was sometimes quirky, and very good at getting points across. And his work was full of ideas that gave clues to his considerable intellect.

Harry was not only a prolific reviewer, but an insightful commentator on the crime genre. He edited a book of excellent essays about Agatha Christie, a collection of stories honouring Julian Symons, two CWA anthologies, a study of crime writers past and present, and a first rate pot pourri called Who-Dun-It - as well as choosing 100 classics of the genre for a book that contained short and pithy accounts of why those particular stories would stand the test of time. He wrote with affection about the Golden Age in Murder Must Appetise.

I found him personally generous and kind. He provided a quote for the cover of The Devil in Disguise, and he and his wife Sheila Mitchell invited me to be their guest at the top table at Malice Domestic the night he received a lifetime achievement award. In latter years, we shared a publisher. Most recently, I enjoyed their company at Detection Club dinners. I shall miss him, but remember him with affection and admiration.

Plagiarism and Borrowing

Some years ago, a friend suggested to me that another writer had ‘borrowed’ some aspects from one or more of my novels and utilised them in his own work. I took a look at the ‘offending’ work, and thought I could see what she meant. But it didn’t amount to plagiarism, and frankly it didn’t bother me.

Writers do need to avoid plagiarism. When I gave a presentation at the Theakston’s Old Peculier Crime Fiction Festival at Harrogate in July, I told the story of the legal case where James Herbert was sued by an author of an author of a non-fiction book who claimed that a Herbert book called The Spear was excessively derivative. The judgment makes rather entertaining reading, but is a salutary reminder that care is required when using research materials. Thankfully, though, plagiarism cases that reach court are rare.

That is as it should be. The fact is that the borrowing of ideas and so on happens all the time, and it is a perfectly healthy activity, as long as it is kept within bounds. Shakespeare is the classic example of a recidivist borrower, but there are plenty of others. Coming up with a truly original idea (or witty one-liner, come to that!) is far from easy. Several writers have used the trick that Christie pulled in The Murder of Roger Ackroyd, for instance, but so long as they give it a fresh spin, that seems fine to me. Christie even did it herself, with Endless Night. Sometimes, of course, there is no borrowing at all, conscious or unconscious – two writers just have a similar idea at much the same time. For instance, I doubt whether Christie was influenced, in writing And Then There Were None, by the American mystery The Invisible Host, which appeared a little earlier. And I was startled when my wonderfully original idea of finding a corpse on a waste tip (All the Lonely People) turned out to have been anticipated by G.D.H. and M. Cole, many years before!

It has, though, amused me on several occasions to give a nod, in my own fiction, to some of my favourite stories by other writers. Part of the idea for the main plot of The Devil in Disguise is a sort of spin on Christie’s After the Funeral, though I don’t know of any reader who has ever commented on it (although there is a pretty big clue in the book, which actually mentions the Christie novel.) In the same novel, I recycled a few of my favourite lawyer jokes. And my very first short story, ‘The Boxer’, was a homage to Conan Doyle’s wonderful story ‘The Red-Headed League’, but set in modern Liverpool. This sort of thing seems fine to me, and I enjoy it when I come across it in the books of others. The key to making it work, as so often in life, is not to over-do it.

Forgotten Music - What Am I Doing Here?

Patti Abbott’s series of Forgotten Books on Fridays is digressing into music today, and this gives me the chance to mention a song I really love which I’m sure few if any readers of this blog will ever have heard. And it has an indirect connection to one of my Harry Devlin novels. It’s a forgotten song because it was written for a musical, and then cut out of it. It’s common for such changes to be made to a musical, but a real shame that such a haunting ballad should be consigned to the vaults

My choice is ‘What Am I Doing Here?’ and I came across it thanks to a series of CDs called ‘Lost in Boston’ which collect songs that were cut from musicals. Liz Callaway’s version appears on ‘Lost in Boston 2’, and is quite marvellous – she is a very good singer.

The song was written for the musical Promises, Promises, which debuted on Broadway in 1968, but it was cut out at the last minute. The book of the show was written by Neil Simon, the music by Burt Bacharach, and the lyrics by Hal David. The show was based on that splendid Billy Wilder film The Apartment. If you don’t know the story, it’s about a keen young American who lends his apartment to his bosses so they can conduct their affairs. Our hero falls for Fran, who has been seduced by a senior executive, J.B.Sheldrake. In this particular song, Fran wonders why she keeps on with the affair, which she realises is hopeless.

Promises, Promises was enormously successful in its day. It won awards and yielded the famous song 'I'll Never Fall in Love Again'. However, the book is very much of its time, and the show hasn’t been seen much since (though I gather a revival on Broadway is forthcoming.) In about 1996 it was performed at the Bridewell Theatre in London, and I went to see it. I enjoyed it so much that I introduced a performance of the show in Liverpool, as a backdrop to one of the scenes in The Devil in Disguise. But although the Bridewell version did include one of the many songs dropped from the Broadway original, they didn’t find room for ‘What Am I Doing Here?’ Burt Bacharach continues to write great songs to this day, but he's never written another stage musical, and I suspect I remain destined to be one of the few people who think 'What Am I Doing Here?' is a masterpiece. A shame.

The Coffin Trail

I don’t have the statistics at my fingertips to prove it, but I suspect that, commercially, The Coffin Trail is my most successful book to date. It’s often the case that the first book in a series is an author’s most popular, even if later books are ‘better’ in various respects. Many readers like to start with the first in a series, so it’s likely – all other things being equal – that sales of that title will be highest.

Another reason why The Coffin Trail did well was that it reached the shortlist of six for the Theakston’s Old Peculier Prize for best crime novel of 2006. The award ceremony at the Harrogate Festival that year was hugely enjoyable, even though I realised from the outset that, given the shortlist included Ian Rankin, Val McDermid, Stephen Booth and Susan Hill, it wasn’t likely that I’d carry off the prize.

For some time, though, The Coffin Trail has been out of print in the UK. Good that it's sold out, but still very frustrating! So I’m truly delighted to say that Allison & Busby will be reissuing it, to coincide with the publication of the fourth book in the series, The Serpent Pool.

What is more, they have decided to go for new cover artwork, and I’m very pleased with it. Here is a preview.

Incidentally, I’m sometime asked which of my own books are personal favourites. They are: Yesterday’s Papers, The Devil in Disguise, Waterloo Sunset, Dancing for the Hangman and now The Serpent Pool. As for The Coffin Trail, I’m thrilled that it is about to have a fresh lease of life.

Caught in a Trap

The ITV 1 drama Caught in a Trap was a crime story, although not a mystery, and I enjoyed it a lot. It starred Connie Fisher, previously known to me only as a singer who won a talent contest on the BBC, playing the part of Gemma Perkins, a council worker who falsifies the takings from local parking meters to fund her craving for memorabilia connected with Elvis Presley.

The impressive script, by James Graham (a young writer who is definitely a name to watch, if this is anything to go by) was inspired by a true crime. A distinction is drawn between a script ‘inspired by’ real events and those ‘based on’ those events. It seems that Graham was much taken with the essence of a story, rather than the details, and his approach seems very sensible to me.

The real life case was that of Julie Wall, a North Kesteven council employee in her 40s, reportedly a ‘mild and modest’ individual who stole over half a million pounds, mainly on Elvis-related stuff before getting her inevitable come-uppance. The fictional Gemma was an attractive 28 year old. Connie Fisher played her very well, in an under-stated yet compelling way, and was admirably supported by a strong cast, including two actors of exceptional gifts, Jim Carter and Geraldine James.

Needless to say, the drama featured a lot of Elvis songs – including two which provided titles for books in my Harry Devlin series. One was The Devil in Disguise, and the other my favourite Elvis song, Suspicious Minds – from which the highly appropriate ‘caught in a trap’ title comes.