Oxford Today and Crime Fiction Reviews

Why is it that some books attract more attention than others? I’m not sure there’s a definitive answer. I’ve written at least one book – Take My Breath Away – that I thought was good but which made little impression on reviewers. But, thankfully, the Lake District Mysteries have done better. And, when you’ve been around for a long time, it is often hard to get attention for your  work.

The Hanging Wood has now become one of my more successful books in terms of reviews. It’s attracted favourable attention in The Times and The Literary Review, a column in The Guardian, and pleasing comments elsewhere, here, in the US, and on Amazon. And now it’s been highlighted in Oxford Today, a glossy magazine with a big readership: “stylish writing and a gripping plot make the perfect crime thriller.”

I’m very gratified, since reviews do matter. And the merit of positive reviews is that they are good for morale and motivation. There’s no doubt that, this week-end, I’ll write with greater zest because of this latest review.

And this is something I bear in mind when reviewing the books of others, especially those of living writers. It’s not about offering constant praise without a single caveat, because that tends to devalue the review. But I do like to look for the positives, especially with writers who aren’t best-sellers, and who deserve to be better known. Above all, I think it’s right to try to review a book on the basis of what it is trying to achieve, rather than what it isn’t.

Writing about Violence

I mentioned on Monday my delight at a very positive review of The Hanging Wood in The Times. I'm equally pleased with a very generous review of the book in The Literary Review. And again it's gratifying that the reviewer, Jessica Mann, is, like Marcel Berlins of The Times, one of the genre's most thoughtful critics. And fascinating – at least to me – that they make very similar points.

This review, which says the book is "an excellent example of the traditional British whodunnit", and is "interesting and enjoyable", makes the point that the story "has all the ingredients: an attractive setting, a dysfunctional posh family and ingenious murder methods, with the violence taking place off-stage."

There is no denying that some of those who die in The Hanging Wood meet their end in a very gruesome ways. There are reasons for this, connected with the nature of the storyline, but I didn't have any wish, when I was writing the book, to salivate over the unpleasantness of what happens. There are certainly some books where graphic descriptions of acts of violence are absolutely necessary, and key to the integrity of the story, but there are other books where, it may be argued, the gore is over-done. Each author has to decide what approach to take, and I don't think there is a "right" or "wrong" approach that can be easily defined. In the end, much is bound to depend on the personal taste of the author and reader.

Is it old-fashioned to write the way I do? I agree with Marcel Berlins that it isn't, and I like to think the books like mine, although written in the detective novel tradition, have plenty to say about contemporary life. But in any event, you can only really write in a way that suits you – chasing after fashion in fiction may work occasionally, but not very often. So I really am heartened when intelligent critics with high standards are sympathetic to my books. Even without reviews, I'd keep on writing, but there is no doubt that the hugely positive reaction to my last novel is helping to motivate me with the follow-up.

A Moment to Savour

I've mentioned how difficult it is these days for a writer like me, who is scarcely a bestseller, to get a mention in the review columns of the major national newspapers and magazines. So I was thrilled on Saturday when The Hanging Wood was reviewed in the Times by Marcel Berlins.

And I was even more thrilled by the content of the review. When I say that the other three novelists covered were Mark Billingham, Ruth Rendell, and George Pelecanos, you can see what I mean about bestsellers. It's great company to be in, flattering in itself.

A fortnight ago I told the story of my first bad review. So I hope I can be forgiven, in my delight, for quoting this good review – especially as it raises a couple of wider issues that I'd like to cover in future posts.

"Martin Edwards writes the kind of whodunnits too often labelled, utterly unfairly, old-fashioned – because they do not contain meticulous descriptions of bloodshed, rampant psychopaths or emotionally tormented coppers. The Hanging Wood is the fifth in his Lake District series. A woman whose brother disappeared 20 years ago, when she was seven, tries to persuade the police that their uncle, generally believed to have killed him, is innocent. No one takes seriously. Two days after her final plea, she is found suffocated in a grain silo on her family's farm. Other deaths follow. The main police character, Hannah Scarlett, head of the cold cases section, is appealingly normal; killings take place off-stage; there are many suspects; characters are drawn with insight. A lovely read."

I'll talk about these issues of fashion in crime, and the depiction of violence, on another day. For the moment, I'm not only savouring this review, but getting on with my fiction at last after too long a gap because of day job commitments.

The Hanging Wood

A quick post to say that the cover artwork for the UK edition of The Hanging Wood has just been finalised. Here it is, in the new series style.

I was very encouraged the other day to receive an email from a leading American reviewer telling me how much he'd enjoyed the book. This reaction helps to put a writer in good heart as one awaits the domestic reaction. Always a slightly nervous time!

Having said that, I guess that - within reason! - any reaction is better than none. Too many good books are widely overlooked, which is one of the reasons why I like to cover other modern writers in this blog as well as Golden Age favourites, films and telly.

The first review of The Hanging Wood

You can probably imagine that, for any writer, the initial reaction to a new novel is awaited eagerly but with some trepidation. It is difficult to judge one’s own work, and the opinions of friends (and sometimes even agents and editors) aren’t necessarily a guide to wider reaction among the leading critics.

So I am thrilled that The Hanging Wood has started life, ahead of publication, with a starred review in the Library Journal and of course I can’t resist quoting it in full:

'When 14-year-old Callum Hinds goes missing in England’s Lake District, everyone suspects his uncle, who, unable to stand the pressure, commits suicide. Twenty years later Callum’s sister raises doubts about her uncle’s guilt, but no one listens. Then she falls into a grain silo and suffocates. DCI Hanna Scarlett, head of Cumbria’s Cold Case Review Team, begins an investigation that leads to more deaths and an unexpected ending. Edwards’s fifth series title (after The Serpent Pool) builds suspense while capturing its characters’ rage, anguish, and resentment that complicate the investigation and intensify the danger for all involved. VERDICT With an unforgettable ending, this outstanding cold case will attract Lynda La Plante and Mo Hayder fans.'

And after that bit of trumpet-blowing, I'll do a post tomorrow about two other writers!