Showing posts with label The Big O. Show all posts
Showing posts with label The Big O. Show all posts

Saturday, November 1, 2014

Publication: CRIME ALWAYS PAYS now available in paperback

I’m delighted to announced that my current tome, CRIME ALWAYS PAYS (Severn House), is now available in paperback, which means that you can score the hardback edition for £16.99, the paperback for £11.99, or the e-book for £9.65. Quoth the blurb elves:
Who says crime doesn’t pay? The perpetrators of a botched kidnap make their getaway in this hilarious sequel to THE BIG O.
  Karen and Ray are on their way to the Greek islands to rendezvous with Madge and split the fat bag of cash they conned from her ex-husband Rossi when they kidnapped, well, Madge. But they’ve reckoned without Stephanie Doyle, the cop who can’t decide if she wants to arrest Madge, shoot Rossi, or ride off into the sunset with Ray. And then there’s Melody, the wannabe movie director, who’s pinning all her hopes on Sleeps, the narcoleptic getaway driver who just wants to go back inside and do some soft time.
  A European road-trip screwball noir, CRIME ALWAYS PAYS features cops and robbers, losers and hopers, villains, saints – and a homicidal Siberian wolf called Anna. The Greek islands will never be the same again.
  According to the good people at Publishers Weekly, CRIME ALWAYS PAYS is ‘both baffling and entertaining’. For all the details, clickety-click here

Monday, September 9, 2013

CRIME ALWAYS PAYS: The Novel

The more eagle-eyed among you will have noticed that blog posts have become rather sparse around these here parts lately, largely because I’ve been working on putting the finishing touches to my latest book, CRIME ALWAYS PAYS. It’s a sequel to THE BIG O, and features more or less the same cast of reprobates, albeit this time causing mayhem in the Greek islands, and there’s a couple of new characters in there to spice things up. It kicks off like this:

Chapter 1

Rossi said he’d torque if he needed to torque, he’d just had his ear ripped off.
  Sleeps allowed Rossi made a valid point, especially as the hound that tore off the ear was three parts Siberian wolf to one part furry Panzer, but that Rossi, with the gash in the side of his head flapping like a glove puppet every time he opened his mouth, was maybe mishearing.
  ‘What he said,’ Sleeps said, ‘was try not to talk.’
  It was bad enough they were holed up in a vet’s surgery and down two hundred grand, Rossi minus an ear and raving about how genius isn’t supposed to be perfect, it’s not that kind of gig. But then the vet had started threading catgut into what looked to Sleeps like a needle he’d last seen on the Discovery Channel stuck through a cannibal’s nose and sent Rossi thrashing around on the operating table, hauling on the restraints, Rossi with a terror of needles and ducking around like Sugar Ray in a bouncy castle.
  The vet leaned in to squint at the raspberry jelly mess that was the side of Rossi’s head. It didn’t help there was no actual ear. It had been torn clean off, along with enough skin to top a sizeable tom-tom.
  ‘If he doesn’t lie still,’ he said, ‘he’s going to wind up with his brain on a skewer.’
  Sleeps sighed and climbed aboard, making a virtue of his considerable bulk by sprawling across Rossi and pinning him to the steel-frame operating table. Rossi went cross-eyed, launched into a gasping stream of profanity that sounded like a leaky balloon with Tourette’s. Sleeps wriggled around, sealed Rossi’s mouth with a plump hand.
  The vet knotted the catgut. ‘I’d appreciate it,’ he said, ‘if you’d point that somewhere else.’
  Sleeps’ pride and joy, the .22, nickel-plated, pearl grip. Enough to stop a man and put him down but not necessarily lethal unless you were unlucky. The .22 being empty right now, at least Sleeps didn’t have to worry about getting any unluckier than chauffeuring Rossi around when the guy was down one ear and a fat bag of cash.
  Sleeps slipped the .22 into his pocket. ‘Okay,’ the vet said, ‘hold him still. This’ll hurt.’
  Sleeps, fascinated, watched him work. The vet with Roman senator hair that was turning grey, the eyes grey too, giving off this unflappable vibe that Sleeps presumed came from every day sticking your hand up a cow’s wazoo. Or maybe this was a regular thing for him, a couple of guys on the run stumbling out of the forest into the back yard of his veterinarian practice with wounds it might be tough to explain away at hospitals that weren’t built next door to zoos.
  ‘I’ll warn you now he’s going to need an anti-tetanus shot,’ he vet said. ‘Looks like this, ah, car door you’re saying somehow ripped off your friend’s ear had some serious teeth. We could be looking at rabies.’
  ‘That’s just his natural disposition,’ Sleeps said. Rossi throwing in muffled snarl or two as the vet tucked the stitches snug. ‘But okay, yeah. I think we both know it wasn’t a car door.’
  ‘What are we looking at? Doberman?’
  ‘I’m not sure,’ Sleeps said. ‘Some kind of Siberian wolf mix, there’s maybe some husky in there. Belongs to his ex, Karen, she took it on when he went back inside.’
  ‘I thought we said no names.’
  ‘Right, yeah.’ Sleeps, who was looking to go back inside, cop some soft time, figured it might be no harm to drop a few crumbs with the vet. ‘She’s a beast, though. The hound, not Karen. I mean, our friend here was driving a Transit van at the time and she shunted it off the track, came bombing through the windscreen and tried to chew his head off.’ Sleeps had seen it all happen, having little else to look at on account of being stuck behind a deflating airbag at the wheel of their getaway Merc, the Merc at the time wedged at an angle between a boulder and the bole of a fat pine near the bottom of a gully maybe half a mile from the lake where Rossi had just heisted a two hundred grand cash ransom from Karen and Ray.
  Rossi had pulled up in the Transit, which he’d also swiped from Karen and Ray, and called down to Sleeps, told him to hold on. Then Sleeps heard a howl and the splintering crash of the hound going through the Transit’s window. Rossi’d floored it, aiming the van at the nearest tree, but the wolf had shoved the van off the muddy track and down into the gully, at which point the hound, wedged chest-deep into the crumpled window frame, had set about decapitating her former owner.
  To be fair, Sleeps acknowledged, the girl had her reasons. She was very probably the only Siberian wolf-husky cross on the planet wearing a pirate patch, this because Rossi, trying to break her in, just before he went back inside for his third jolt, had gouged out her eye with the blunt end of a fork. And that wasn’t even her most recent provocation. Only twenty minutes previously Rossi had left her laid out on the lake shore, putting a .22 round in her face, point-blank.
  If Karen and Ray hadn’t come riding over the hill like the cavalry, hauling the hound off along with the two hundred gees, Rossi would have been crushed, minced and spat out.
  ‘Listen, I don’t mind stitching him up,’ the vet said, ‘but I’d appreciate you leaving out any detail that’s not strictly relevant to his condition. You know I’ll have to ring the police, right? Because of the possible rabies. And the less I know …’
  ‘Sure,’ Sleeps said, ‘yeah. But if you could just give us, like, maybe an hour’s start? It’s been a bad enough day already.’
  ‘It’s tough all over,’ the vet agreed. Then Rossi gave a yelp as the needle slipped, tried to bite Sleeps’ hand.
  In the end Sleeps jammed his thumb into the ragged hole where Rossi’s ear used to be, stirred it around. Rossi screeched once, high-pitched, then keeled over and passed out.
  Sleeps slid down off the operating table, retrieved the .22 from his pocket. ‘Okay,’ he said, ‘I’ll be needing a bag of horse tranks. And whatever gun you use for putting down the animals.’
  The vet sewed on. ‘We don’t use those anymore, they’re not humane.’
  ‘Humane? You’re a vet, man.’
  ‘We treat them like children,’ the vet said, ‘not animals.’
  ‘Nice theory.’ Sleeps, who’d been hoping to bag himself a cattle-prod at the very least, gestured at Rossi with the .22. ‘But what if they’re a little of both?’


Thursday, July 11, 2013

On Milestones, Bargains And The Future Of Irish Crime Fiction

I mentioned last week that the Crime Always Pays blog was about to pass the 1,000,000 point for page views, which is a milestone of sorts that I’d like to mark. Of course, the whole point of this blog is to bring to readers’ attention new and interesting Irish crime writing, my own included. In that spirit, I’d like to refer to you this post on the Irish crime novels of the year, and also point out that the e-book versions of my novels are retailing at the recession-busting price of $2.99 / £2.50 for the month of July.
  If said spirit moves you to mention this on Twitter, Facebook et al (all you need do is click the buttons beneath this post), I’d be very grateful indeed …
THE BIG O $2.99 / £2.50
“Imagine Donald Westlake and his alter ego Richard Stark moving to Ireland and collaborating on a screwball noir and you have some idea of Burke’s accomplishment.” – Kirkus Reviews (starred review)

EIGHTBALL BOOGIE $2.99 / £2.50
“I have seen the future of Irish crime fiction and it’s called Declan Burke. Here is talent writ large - mesmerizing, literate, smart and gripping. If there is such an animal as the literary crime novel, then this is it. But as a compelling crime novel, it is so far ahead of anything being produced, that at last my hopes for crime fiction are renewed. I can’t wait to read his next novel.” - Ken Bruen

ABSOLUTE ZERO COOL $2.99 / £2.50
Winner of the Crimefest 2012 Goldsboro ‘Last Laugh’ Award. “Among the most memorable books of the year, of any genre, was Declan Burke’s ABSOLUTE ZERO COOL ... a fiendishly dark thriller that evokes the best of Flann O’Brien and Bret Easton Ellis.” – Sunday Times

SLAUGHTER’S HOUND $2.99 / £2.50
“Many writers of crime fiction are drawn to the streetwise narrator with the wisecracking voice – Raymond Chandler and Dashiell Hammett have a lot to answer for – but only a handful can make it credible and funny. Irish writer Burke is one who has succeeded spectacularly well … From the arresting opening image to the unexpected twist at the end, this is a hardboiled delight.” – The Guardian

Tuesday, April 23, 2013

World Book Night: Free Books For The Asking

It’s World Book Night, as you may already be aware, and to get into the spirit of the occasion I’m going to send off a free e-book of EIGHTBALL BOOGIE or THE BIG O to anyone who asks.
  All you have to do is email me at dbrodb[at]gmail.com and indicate which book you’d prefer. Simple as that.
 I look forward to hearing from you …

UPDATE: Thanks very much to everyone who got in touch yesterday to request books, and also to those of you who got in touch with some very kind words indeed. I’m working my way through the backlog as you read: if you made a request and haven’t received your copy yet, rest assured that it will be with you very shortly.
  Normal service has now been resumed, and THE BIG O and EIGHTBALL BOOGIE are available again at $2.99 / £2.99.
  Thanks again, folks – that was a lot of fun.

Saturday, April 6, 2013

Crime Always Pays: Yay Or Nay?

So this is the proposed cover for CRIME ALWAYS PAYS, my forthcoming e-tome, which is a sequel to THE BIG O. It’s a trans-Europe road-trip comedy crime caper set for the most part in the Greek islands. If you have any thoughts, I’d love to hear them.
  CRIME ALWAYS PAYS, by the way, was briefly available as an e-book a couple of years ago, although given that it was a sequel to a book that wasn’t available in digital form, I thought it best to take it down again. During its brief availability, though, CRIME ALWAYS PAYS made it onto one of my favourite lists – Paul D. Brazill’s Top Ten Novels to Cure Your Hangover.

Sunday, January 29, 2012

ABSOLUTE ZERO COOL: The Booklist Verdict Is In

It’s been a while, although not nearly long enough, some might say, since we’ve had some ABSOLUTE ZERO COOL-related flummery here, but the book officially goes on sale in the United States and Canada next Friday, February 3rd (where the hell did January go?), so it’s incumbent upon me to point you in the direction of some recent reviews of said tome. I’ve already mentioned that Publishers Weekly gave it the thumbs up, and Elizabeth A. White was also good enough to say some very kind things about AZC a couple of weeks ago. With which, as you can imagine, I am mightily pleased.
  Meanwhile, the most recent review comes courtesy of Booklist, with the gist running thusly:
“Metafiction? Postmodern noir? These and other labels will be applied to Burke’s newest; any might be apt, but none is sufficient. ABSOLUTE ZERO COOL is largely a literary novel that draws on history, mythology, and literature to insightfully discuss writing, books, parenting, relationships, health care, and dying with dignity. Bits of Burke’s comic noir (THE BIG O, 2008) appear, but they serve to subvert the form. Noir fans may not care for this one, but lovers of literary fiction will find much to savour.” — Thomas Gaughan, Booklist
  Which is, again, very nice indeed, and I thank you kindly, Mr Gaughan.
  Incidentally, THE BIG O picked up a review the other day, and one which touches in part on an issue raised here a few weeks back, given that the reviewer announces at the beginning of the review that he / she gave up reading halfway through, largely put off by the fact that the book is infested with sexism. “I wouldn’t normally review a book I disliked this much,” the review concludes, “but it’s frustrating to find an author who can clearly write, but who can’t make an intelligent creative decision.” Which may well be the epitome of the back-handed compliment.
  Anyway, back to ABSOLUTE ZERO COOL. The book gets its official North American release on Friday, as I say, and loath as I am to ask favours of CAP readers, I’d be obliged if you could spread the word by any means available to you. Tell a friend (or an enemy, if you read it and didn’t like it), mention it on your blog, post a review to Amazon, etc, or simply send up a barrage balloon with the book cover emblazoned on the side (or both sides, if your budget will stretch). As always, any and all help would be very greatly appreciated.
  Here endeth the flummery.

Tuesday, September 20, 2011

Crime Always Pays: 400,000 Not Out

Barring unforeseen disaster, at some point today, or more probably tomorrow, Crime Always Pays will pass the 400,000 hits mark, and begin its Sisyphean journey towards the magical half-million. A rather small hill of beans, I know, in the grander scheme of things, and I’d trade them all for a milking cow, or a beanstalk, or even a flunky called Jack who might wander forth and bring home a goose that lays golden eggs. Or even one golden egg. Or just an egg.
  Anyway, I wanted to mark the moment not to blow any trumpets (although I might let loose with a kazoo-parp as the hit-counter ticks past the mark), but to celebrate the blog and what - or who, more importantly - it represents. When it all kicked off about four and a half years ago, Irish crime writing was still very much a niche-niche genre - to be honest, I thought I’d be lucky if I found myself talking about twenty or so writers, past and present. As it happened, I was extraordinarily lucky, in that I started CAP (to plug THE BIG O, at the time) just as Irish writers started churning out top quality crime fiction in astonishing quantity and quality. I was also very lucky in that some of the top Irish writers at the time - in particular John Connolly and Ken Bruen - were more than happy to play along, and lend their considerable reputations to the gig by taking part in various blog posts I suggested; as a result, CAP was picked up by a whole host of like-minded people in the wider crime writing and reading community, and we were off and running.
  Four and a half years later, there’s been a lot of highs and lows. As all Three Regular Readers (who were obviously very busy hitting the repeat button) will already know, I’ve downed tools on CAP on a couple of occasions, unable to keep up with various other demands, most of them related to labour that pays in more than love. Mostly, though, it’s been highs. For starters, and probably most importantly, I’ve met so many terrific people through CAP that I really couldn’t start to count them, and some of my best friends these days originated on these pages. When all is said and done, and in accepting that we’re all here because we love books, these are the things that truly matter.
  Other personal highs include seeing THE BIG O get published in the US, not least because so many people were good enough to play their part in creating a word-of-mouth buzz that eventually proved irresistible; the publication of DOWN THESE GREEN STREETS, which was a direct and logical follow-on from CAP; and seeing ABSOLUTE ZERO COOL finally emerge from its purgatory to sit on a shelf as an actual book, having first debuted in public on these pages and received such strong support and goodwill that it would have been churlish not to pursue its publication to the bitter end.
  There’s also the fact that CAP has - by default, almost - put me in a position whereby I tend to catch new Irish crime writers at an early stage, and thus get that wonderful buzz of ‘discovering’ new writers, a buzz that’s only really matched by the thrill of being able to let the world at large know about the latest sensation that’s on its way.
  It’s a total coincidence, of course, but a timely one, that the 400,000 hits mark will be passed this week, and very probably on the day I fly out to New York in the company of some very fine Irish crime writers - Colin Bateman, Arlene Hunt, Declan Hughes, Alex Barclay - for a symposium on Irish crime fiction to be hosted by Ireland House at NYU, which will also be attended by John Connolly and Stuart Neville, who are currently at large in the US and very probably terrorising unsuspecting bystanders. Very nice it’ll be too to spend a weekend in such august company, especially for the purpose of bigging up the Irish crime novel in general and specifically DOWN THESE GREEN STREETS; and particularly as it was a Dublin dinner in the company of two men, John Waters and Joe Long, when I first got the glimmer of the idea that became GREEN STREETS. All kinds of synchronicity, then, will be sparking in New York this weekend; if you’re going to be in the vicinity, feel free to drop by and say hi. All the details can be found here
  Finally, I’m going to mark the 400,000 mark with a very humble offering, being a threefer of signed copies of EIGHTBALL BOOGIE, THE BIG O and ABSOLUTE ZERO COOL to the person who drops a comment in the box closest to the ticking-over moment. If, as is highly unlikely, it appears that there’s something of a tie, I’ll put the names in a hat and draw the winner.
  Until then, I thank you all for your support, kindness and encouragement over the last four and a half years, and here’s to another four and a half years to come …

Monday, April 11, 2011

A Good Think, Interrupted

I tuned in late to the Masters last night, long after Rory McIlroy (right) had blown his four-shot lead at the start of the day, but just in time to watch Rory disintegrate in considerable style as he took the long way home, hacking his way through the undergrowth of the more remote parts of Augusta’s back nine. Commiserations to Rory, although it’s hard to feel truly sorry for him - if you’re good enough to establish a four-shot lead going into the last day of the Masters, then you’re good, period.
  Back in the days when I used to swing a golf club, in the process exploring the more exotic flora of whatever course I was on, I used to call that ‘value for money’. People did try to persuade me that the point of the exercise was to take the minimum number of shots to get around, but investing good money in a set of clubs and not using them as often as possible made no sense to me.
  I don’t golf anymore. I like the game, but I can’t be doing with all the bullshit that has to be negotiated between the car park and the first tee. Plus, it’s a time-consuming sport. Besides, writing is a much more exquisite form of self-torture. If golf is a good walk spoiled, as Mark Twain suggested, then writing is all too often a good think interrupted.
  It occurred to me last night, and not for the first time, that golf and writing have much in common. The pursuit of an impossible excellence, for one. How the finest difference in intent and execution can result in triumph or disaster. One of Rory McIlroy’s drives last night was perhaps only a millimetre off when club struck ball, for example, but that put it two feet off its trajectory when the ball hit a tree branch, and the branch deflected the ball a couple of hundred yards away from where it should have been.
  At the time, Rory was a shot clear of a chasing pack which included Tiger Woods, and such competition brings with it its own pressures. Ultimately, though, when Rory stood over that shot, or any of his shots, he wasn’t competing against anyone but himself. He was competing with the limits of his skill, his facility for grace under pressure, his ability to keep his inner demons at bay whilst maintaining an outward façade of calm efficiency.
  In the end, Rory lost his battle with himself, which will probably be the most disappointing thing for him when he wakes up this morning. To be beaten by a better golfer is one thing, and nothing to be ashamed of. To be beaten by yourself, though, sabotaged from within, that’s a whole different issue.
  Most writers I know are prone to self-sabotage, most of it connected to the nebulous concept of confidence. They might have just written a brilliant book, but when it comes to starting the next one, they can’t remember how it’s done. And there’s no point in telling yourself that if you’ve done it once, you can do it again - there’s always the possibility that the last time was a fluke. Hell, even I hit a hole-in-one once. But I could stand on the same tee from now until Judgement Day, swinging the club in exactly the same way, and never hit that hole-in-one again.
  In the more extreme versions, some writers - yours truly being one example - go through this every day.
  All of which is a roundabout way of saying that confidence plays a huge part in the writing process. And it’s nice, on those occasions when you find yourself ankle-deep in the rough, and possibly out-of-bounds, to get a shot of confidence, aka a positive review. Seana Graham, a long-time friend of Irish crime writing, who blogs over at Confessions of Ignorance, provided such a shot in the arm this weekend, when she posted a reader’s review of EIGHTBALL BOOGIE on Amazon, with the gist running thusly:
“THE BIG O could justly be called an Elmore Leonard style caper book, with a madcap carnival of characters keeping the action going. Though EIGHTBALL BOOGIE could never be accused of being less than lively, and plot-wise it is probably just as complicated, the story is perhaps a bit more grounded in the character of its protagonist, one Harry Rigby. Rigby’s got all the usual P.I. problems - women trouble, cop trouble, and smart mouth trouble. Unlike some similar protagonists I’ve read recently, I’m not all together convinced that he’s a good guy. But he does have one core value, and that’s protecting his son Ben. Trace that through, and you’ll see that everything he does is motivated by that one objective. Everything.
  “In one aspect, anyway, this book is a straight up homage to Raymond Chandler, and of course it’s a brave thing to offer yourself up for comparison to an American master of detective fiction. But in my book, Burke is up to it. There are countless throwaway lines that show the same kind of spark of cleverness, and I think the first one where I realized I should slow down and start paying better attention was: “Conway lived two miles out of town, the house only three drainpipes short of a mansion.” This is the kind of book that fans will love to dig such nuggets out of, but why should I spoil your pleasure by revealing more?
  “There are many plot twists in this story, and some of them I did manage to see coming. But there is one great piece of finesse that figures in towards the end, and I admired it immensely. I think there is something in this one for everyone, though I will say that as with much Irish crime fiction I’ve read, there was one moment of brutality that was a bit beyond my tolerance level. Well, make that two.
  “But hey, if you’re going to read Irish crime fiction, you’re going to have to get used to this stuff.” - Seana Graham
  All of which is very nice indeed, and I thank you kindly, ma’am. Do I honestly believe that THE BIG O is entitled to be mentioned in the same breath as Elmore Leonard, or EIGHTBALL BOOGIE compared with Raymond Chandler? No, I don’t. But such references go a long way towards bolstering a fragile confidence, tantalising whispers that suggest if I stay the course, and keep doing what I do, that some day, somehow, I’ll write a book that does deserve such exalted company. Even if it does turn out to be a fluke.

Wednesday, April 6, 2011

The Asylum Has Taken Over The Lunatics

I’d have got less for GBH, etc. Today is the fifth anniversary of my voluntary incarceration in the occasional lunatic asylum that is Crime Always Pays Towers (appropriately stale two-year-old cake pictured, right) and all Three Regular Readers won’t be in the slightest bit surprised to learn that the first post was a plug for my then current novel, THE BIG O (these days, of course, I’m plugging the bejaysus out of EIGHTBALL BOOGIE. But that’s a story for another day). THE BIG O had just been published with the small but perfectly formed Hag’s Head Press, and between us we hadn’t so much as a Michael Lowry red cent for promotion and publicity purposes. Crime Always Pays was intended to be a cheap (i.e., free) means of getting the word out there, although I also saw it as a chance to celebrate the small but growing number of Irish crime writers.
  These days, I’m delighted to say, there are so many Irish crime writers that it can be hard to keep tabs on them all, with more appearing every year. Then again, it’s hardly surprising that crime writers are coming up like mushrooms, given that the official response to the larceny on the grandest of scales that is the Irish economic downturn, recession and austerity bail-out was to shovel on the shite and keep us all in the dark.
  Anyway, one unintended consequence of Crime Always Pays is DOWN THESE GREEN STREETS: IRISH CRIME WRITING IN THE 21st CENTURY, which is a collection of essays, interviews and short stories by Irish crime writers on the subject of Irish crime writing and edited by yours truly, and which will be published next month by Liberties Press. It’s an odd feeling, waiting for it to appear. I’m nervous on its behalf, of course, especially as I have no idea of how it’ll be received, given that - to the best of my knowledge - it’s one of a kind. But I have no sense of ownership of the collection, not in the way I would if it was one of my own books. As far as I’m concerned, the book belongs to the contributors. I am proud of it, though, proud on behalf of the very fine writers involved, and delighted to see such a diverse range of talents all together and talking about a phenomenon that has long since been recognised abroad, and is finally starting to register with an Irish audience.
  Another unintended consequence of CAP, the most delightful, and one which has always kept me going through the inevitable peaks and troughs of a writer’s life, is the number of people I’ve met on-line, most of them in the crime fiction community. I was bowled over in the early days of CAP by the generosity of spirit offered to a newbie by people I’d presumed would be competitors, i.e., fellow bloggers, but it appears that the spirit of good karma is alive and well in a blogosphere near you. People, you know who you are, and you keep me young(ish). It’s a labour of love, ye olde blogge, but as with most things, you get out what you put in.
  Upwards and onwards, folks. Here’s to another five years or so, twice as many Irish crime writers, multiples of good folk met on-line, and perhaps even a book or two to promote from yours truly. Hey, I can always dream …

Tuesday, March 1, 2011

The Best Things In Life Are Free … Books

It’s been a turbulent old week for EIGHTBALL BOOGIE. As most of the Three Regular Readers will be aware, EIGHTBALL went live as an ebook on Kindle UK, Kindle US and many other formats on Monday, at the knockdown, recession-friendly price of €0.99c. That was a buzz in itself, not least because the book got a brand spanking new cover for itself; I am by no means sartorially inclined, but I do love a nice new jacket once in a while. Nicer still was the fact that the book picked up a couple of five-star readers’ reviews in its first days, and that sales appear to be steady if not earth-shattering.
  Behind the scenes, meanwhile, the cogs and gears were whirring at a furious rate. When I got in touch with the publisher of the hard copy EIGHTBALL to tell them about the impending ebook odyssey, I was offered the opportunity to buy up the existing stock of the book at a scandalously low price. Now, the alternative to me buying up the stock was that the books would end up pulped at some point, and the idea of all my little babies being orphaned and crushed was simply unbearable. And so we agreed a reasonable price, and now I own the rights to EIGHTBALL.
  Behind the scenes, meanwhile, the cogs and gears of the universe were whirring at a furious rate. I got up the following morning to find an email from my agent waiting for me, saying that a well known and very respected UK production company had been in touch with him enquiring about - dum-dum-DUM! - EIGHTBALL. Now, I’ve been in this position before, both with EIGHTBALL and THE BIG O, and nothing has ever come of it; still, it was a nicely serendipitous validation of my decision to buy out the rights to the book.
  Anyway, the cogs and gears, etc., and the stock was delivered, and very nice it was too to see all those orphan-type rascals home again. Trouble is, we don’t have room for them all here at our modest orphanage. So we had a chat, me and the orphans, and I’ve agreed to find them all a good home; and because I managed to buy them back at a very reasonable rate, I’m in a position to give them away, free, gratis and for nothing - although, the postal people being who and what they are, I’ll need to charge for the post-and-packing, which comes to €4.50 / £3.80 / $6.20.
If you’re wondering whether or not the book is worth the post-and-packaging, here’s what a selection of generous people had to say about it:
“I have seen the future of Irish crime fiction and it’s called Declan Burke. Here is talent writ large - mesmerizing, literate, smart and gripping. If there is such an animal as the literary crime novel, then this is it. But as a compelling crime novel, it is so far ahead of anything being produced, that at last my hopes for crime fiction are renewed. I can’t wait to read his next novel.” - Ken Bruen, author of THE GUARDS

“Burke writes in a staccato prose that ideally suits his purpose, and his narrative booms along as attention grippingly as a Harley Davidson with the silencer missing. Downbeat but exhilarating.” - The Irish Times

“Harry Rigby resembles the gin-soaked love child of Rosalind Russell and William Powell ... a wild ride worth taking.” - Booklist

“A manic, edgy tone that owes much to Elmore Leonard … could be the start of something big.” - The Sunday Times

“One of the sharpest, wittiest books I’ve read for ages.” - The Sunday Independent

“EIGHTBALL BOOGIE proves to be that rare commodity, a first novel that reads as if it were penned by a writer in mid-career ... [it] marks the arrival of a new master of suspense on the literary scene.” - Hank Wagner, Mystery Scene

“The comedy keeps the story rolling along between the sudden eruptions of violence … Burke’s novel is not just a pulp revival, it’s genuine neo-noir.” - International Noir
  So there it is. EIGHTBALL BOOGIE, at $0.99c / £86p on ebook; or free, not including post-and-packaging, in its original dead tree incarnation. Anyone interested in picking up a copy of the latter should email me at dbrodb(at)gmail.com. And make haste, people - those orphan-type rascals are eating me out of house and home …

Tuesday, February 22, 2011

On Books As Hangover Cures

Blogger extraordinaire and Spinetingler Award nominee Paul D. Brazill did me up a treat yesterday, when he put together his list of ‘Ten Crime Books To Cure Your Hangover’ for the Mulholland blog. For lo! The name of Declan Burke appeared not once but twice. To wit:
5&6. THE BIG O / CRIME ALWAYS PAYS by Declan Burke

THE BIG O and its follow up CRIME ALWAYS PAYS actually are that oxymoron ‘screwball noir’. These novels are two cracking, fast-paced, clever and very droll road movies with a top drawer cast that includes a narcoleptic called Sleeps and a one eyed wolf. Twists and turns, spicy dialogue and scenes which really make you ‘LOL’, as the young people say.
  Sweet. Thank you kindly, Mr Brazill. For the full list of hangover-curing books, clickety-click here
  Mind you, it’s a yin/yang world. The Mulholland blog linked through to the Good Reads website, and upon investigating further, I discovered that a certain Marta had rated THE BIG O a one-star read, her review in its entirety declaring that THE BIG O was - and I quote - ‘WORST book i have ever read. Period.’ A damning enough review in itself, of course, and deliciously scathing in its semi-punctuated contempt, but matters are further clarified by the fact that Marta has awarded four- and five-star reviews to novels featuring teenage wizards, teenage vampires and sundry tomes variously titled I GAVE YOU MY HEART BUT YOU SOLD IT ONLINE, MY HEART MIGHT BE BROKEN BUT MY HAIR STILL LOOKS GREAT, IDA B AND HER PLANS TO MAXIMISE FUN, AVOID DISASTER AND (POSSIBLY) SAVE THE WORLD, and THE EARTH, MY BUTT AND OTHER BIG ROUND THINGS.
  So there you have it. Hopefully Marta will like my next novel, I WAS A NEUROTIC TEENAGE VAMPIRE WIZARD FROM OUTER SPACE BUT AT LEAST I HAD THE KARDASHIANS, a little more.
  If not, well, it just goes to prove that you can’t fool all the people all the time. A salutary lesson, indeed.

Monday, January 3, 2011

When The Barbarians Come They Will Make The Laws; Or, Rome Wasn’t Sacked In One Day

It’s not often I get reviewed these days, which is hardly surprising, given that I haven’t had a book published since God was a lad. Or 2008, to be a little more accurate about it, which was when HMH published THE BIG O in the US. Even so, reviews of THE BIG O do tend to pop up on blogs and websites at irregular intervals, for which I’m very grateful indeed, the latest coming courtesy of Glenna over at Various Random Thoughts, with the gist running thusly:
“It was clever, funny, the characters smart and witty, and a plot evocative of Elmore Leonard … Intelligence, humour, and wonderful characters all made for an enjoyable and quick read.” - Various Random Thoughts
  I thank you kindly, ma’am.
  Print reviews, of course, traditionally appeared in a very narrow window around a book’s publication, but websites and blogs give people the freedom to write about whatever it is they’re reading, however belatedly. Brian Lindemuth, if I’m not mistaken, is taking that notion to another level entirely, by revisiting novels to review them years after they’ve been published, while the Patti Abbott-inspired meme-a-licious ‘Friday’s Forgotten Books’ has been excavating ignored novels for quite some time now, and is very probably the inspiration for Twitter’s ‘Friday Reads’ hash tag.
  It’s not quite the interweb’s fabled long tail, and it may well be the reverse of the long tail, without being an actual short tail, but whatever it is, long may it continue. The increasing volume of books published, combined with the limitations of print reviewing - space, for the most part - mean that most books don’t get reviewed in the traditional way, leaving the interweb to pull in the slack and go some way towards levelling the playing field for upstarts like yours truly. And that’s before we factor in the number of e-only books being published these days, which is very probably the next big growth area for on-line reviewing.
  Anyway, it was a good holiday for me in terms of being reviewed, for two - Oh yes! Two! - reviews of my books appeared. The second gives another little twist on the potential of web-based reviewing, given that Mike Dennis, bless his cotton socks, not only read my current novel-under-consideration, BAD FOR GOOD, aka THE BABY KILLERS, but blogged a review of it over at his interweb lair. The gist:
“The book is a dizzying ride through all phases of author angst, including the ending (which you won’t see coming), and Burke has deftly pushed the envelope just about as far as it can go.” - Mike Dennis
  Now, there’s a very good chance that I’m a little too close to this particular project to be objective about it, but there’s something delightfully subversive about the idea of a novel that hasn’t been published, and may well not be published, being fair game for reviewing. Maybe it’s just a mini-version of Authonomy and suchlike, where writers post excerpts for workshop purposes, and get feedback from their peers, although it’s only fair to say that BAD FOR GOOD is the finished article, for good or ill. Either way, it’s another example of the web’s capacity to bypass, undermine and / or ignore the current model of publishing, which seems to grow more moribund by the day.
  Of course, such reviews - of books that may never grace a shelf - might well be pointless, given that they have no real worth beyond my own gratification. In other words, the writer-critic-reader feedback loop being largely the preserve of dusty academia these days, the industry’s perception of reviews is that they boost sales. So what’s the point of reviewing a book that can’t be monetised?
  Well, the thing is this: once a book is written, and written as well as it can be, then you’re kind of honour bound as its writer to do something with it. The traditional thing, of course, is to send said tome to your agent, if you have one, or to a slush-pile, and I have taken the traditional steps. But, given the dynamic immediacy of the web, such steps seem almost passive these days. So why not, if there are readers out there willing to read the story, send it to them and see what they think of it? If I may quote Dostoevsky, as I do in BAD FOR GOOD: “You will ask why did I worry myself with such antics. Answer: Because it was very dull to sit with one’s hands folded, and so one began cutting capers.” - Fyodor Dostoevsky, NOTES FROM THE UNDERGROUND.
  Or, more bluntly, and quoting Cavafy: “When the Barbarians come they will make the laws.”
  In short, I’m happy to imagine BAD FOR GOOD as one of a horde of barbarians clamouring at the gates. There’s a very good chance, what with all those pinging arrows and barrels of boiling oil, and all my fellow barbarians a-clamouring, that BFG won’t make it over the battlements. Still, better to die in a gloriously foolhardy assault than starve silently to death beyond the walls. No?

Friday, December 31, 2010

Word Junkies; Or, The True Cost Of Writing

Like most people who are even semi-serious about the writing business, I try to write every day. That’s not always possible, what with pesky issues like the need to put food on the table and nappies on bums to deal with, and the even more pressing need of ensuring the mortgage gets paid so that your daughter doesn’t have to go live in an actual tree (right), but I generally get a couple of hours a day done, five or six days a week. Which is pretty poor going, especially as fulltime writers get to spend eight or ten hours at the desk every day, but needs must, and a couple of hours per day is usually enough to keep me ticking over and the bubble of whatever world I’m creating fully inflated.
  Taking a break of more than a day or two can be a dangerous business. It can be a good thing, in that it allows the mind to roam more freely, and you can start making connections that might not otherwise have occurred to you; it can also serve as a kind of damming process, behind which the story builds up, thus allowing you to burst back into a story bright-eyed and bushy-tailed.
  The danger, of course, is that spending even four or five days away from a story affords a perspective that can very easily prick that bubble. The old doubts about your ability have time to fester; you start to wonder if the story is actually all that believable; or, worse, if there’s really any point to writing it, no matter how believable it is, or enjoyable to write.
  The week just gone by, in which I took a break of six days from working on the current story, appears to have fatally holed it beneath the waterline. I still think it’d be fun to write, and I like the characters, by which I mean I find them interesting enough to follow through to find out where the story will take them; but the whole ‘what’s-the-point?’ black dog started howling out in the darkness.
  Worse, while slumped in a turkey-and-sherry-trifle coma in front of some rubbish TV, I started crunching numbers. Now, I earn a decent if not remarkable wage as a freelance writer. The hours are long, and the work itself is interesting, and the bills get paid and nappies get put on bums. All of which, especially in the current climate, is very good indeed.
  For some reason, though, I started wondering about how much, in terms of dollars and cents, I’ve invested to date in my writing ‘career’. Any aspiring writers out there might want to look away now.
  The nuts and bolts run thusly: I’ve had two books published, EIGHTBALL BOOGIE (2004) and THE BIG O (2007). I’m hopeful, although not hugely so, that I’ll have another book published this year, BAD FOR GOOD aka THE BABY KILLERS. (I’m not counting CRIME ALWAYS PAYS for the purpose of this little exercise, by the way, as that went straight to e-format - but feel free to have a squint, if you’re so inclined).
  Now, I started writing EIGHTBALL BOOGIE some time around 2000 or 2001. So let’s say, for a round figure, and taking a huge leap and presuming that I’ll have another book published in 2011, that by the end of this year I’ll have had three books published to show for 10 years work. (I’ve written other novels, there are three or four gathering dust on the shelf, but for now let’s just stick with published books).
  The rates for freelance journalism have changed over the last decade, not always upward, so it can be hard to put an hourly figure on earnings. These days I can write a feature in two hours and earn €200 (very rare), but my hourly rate, when I’m being honest with myself and factor in the daily commute, is usually closer to €20.
  Now let’s extrapolate, and apply that hourly rate to writing fiction. At two hours per day, five days per week, 48 weeks per year, at a rate of €20 per hour, that amounts to €9,600 per year ‘spent’ on writing fiction. Multiply that by the ten years I’ve been writing seriously, we’re looking at the guts of €100,000, or €33,000 per book published. And that’s presuming that I’ll have a book published in 2011, which is a pretty big presumption; if I don’t, we’re looking at each book I’ve published costing me €50,000. Meanwhile, the largest advance I’ve ever received is €10,500, a figure that’s roughly ten times what an author scrabbling around at my level is likely to receive if he or she is lucky enough to see a book land on a shelf.
  I should say, of course, that those hours I spend writing fiction tend to be in the 6am-8am or 9pm-11pm bracket, hours when I very probably wouldn’t be working at earning anyway. Still, it’s a sobering thought, that investing all that time and effort should end up costing you somewhere in the region of seventy grand.
  If this was any other kind of business, I’d have been declared forcibly bankrupt and / or certifiably insane a long, long time ago.
  Unfortunately, it’s not any other kind of business. It’s writing. And just like the degenerate gambler and / or junkie who keeps on borrowing to feed his habit, I’ll keep on pounding the keyboard. Not in the hope that, one day, I’ll hit big and earn enough to have made all those years financially worthwhile, because junkies don’t think like that. No, I’ll keep writing for the pure and simple buzz of seeing the words appear on the page. My words, my story, my dream made real.
  I’m not a moron, all evidence to the contrary. Unlike the average junkie, I won’t be doing anything that might impact on my ability to put nappies on bums. Those writing hours I do scrape together will remain in the 6am-8am or 9pm-11pm slots, and will be just about enough, hopefully, to keep me from turning into the psychopathic bear I become when I don’t get my two-hourly fix every day. If I do get another book published this year, that will be marvellous; if not, well, you write in order to write. Everything else to do with the publishing industry, with apologies to everyone involved, is just a necessary evil.
  So, my New Year Resolutions:
1 To write and not to count the cost.
2 Give up smoking.
3 Spend more time with Lily.
  Meanwhile, a happy and prosperous New Year to all of you good folks, and here’s hoping that 2011 is a better year than the annus horribilis gone before. Upward and onward, people …

Thursday, November 25, 2010

The Irish Book Awards: DARK TIMES Never Seemed So Good

A ray of light in these dark times: Gene Kerrigan’s DARK TIMES IN THE CITY deservedly won Best Crime Novel at the Irish Book Awards last night. The shortlist was, as I’ve mentioned before, missing such luminaries as John Connolly, Ken Bruen, Arlene Hunt and Alan Glynn, but then last year was a very strong year indeed for Irish crime writing, and the very strong shortlist did include Tana French, Declan Hughes, Alex Barclay, Stuart Neville and Jane Casey. All of which should give Gene an extra fillip as he plonks his award on the mantelpiece. Mind you, Gene being an unusually modest man, there’s every chance said gong will be put away out of sight, lest anyone remark upon it and force Gene to admit that, yes, he’s actually a very fine writer indeed. Hearty congratulations to the man, and commiserations to all the runners-up …
  I reviewed DARK TIMES almost two years ago now, and had this, among other things, to say:
“Cruelly authentic, the novel refuses the simplistic pieties of either the genre’s form or society’s wishful thinking. DARK TIMES IN THE CITY is a very fine crime novel, but it’s also one of the very few novels of any stripe to hold up a mirror to the dark heart of modern Ireland’s boom-and-bust.”
  For the rest, clickety-click here
  Elsewhere, by which I mean my own little world, it’s been a busy, funny and often odd week or so. Yesterday, my former agent, who still holds some of the European rights to THE BIG O, rang to say that the contracts for the Italian version of said tome had arrived, and was I available to sign on the dotted line? Erm, yes, please. The money involved, of course, would hardly stretch to cover some decent lattes and a plate of spag bol, but at this stage, money is not the point. It’ll be fantastic to see THE BIG O in Italian, especially as I have a particular fondness for the country, and it also means that I’ll have been translated into three languages, as EIGHTBALL BOOGIE was published in Holland some years ago, under the title SPEEDBALL. The third language I’ve been translated into, as any of my editors will attest, is English.
  So that was nice. If you have any Italian friends who might enjoy a crime-comedy romp featuring a one-eyed Siberian wolf called Anna, feel free to give them a heads-up.
  Meanwhile, Paul D. Brazill did me proud with a review of the sequel to THE BIG O over at his interweb lair, aka You Would Say That, Wouldn’t You? To wit:
“CRIME ALWAYS PAYS is the follow up to Burke’s splendid THE BIG O and it almost actually IS that oxymoron ‘a screwball noir’. There’s a LOT going on, and it does take a bit to get used to the frantic pace, but it’s a satisfying read that still makes you want more. CRIME ALWAYS PAYS: A SCREWBALL NOIR is a cracking, fast paced, clever and very droll road movie with a top drawer cast - especially Sleeps!” - Paul D. Brazill
  Which, again, is very nice, and thank you kindly, sir. Funnily enough, Sleeps is probably my favourite character from CRIME ALWAYS PAYS, and at one point I was even thinking of calling the book SLEEPS THE HERO. Sadly, for everyone already fumbling for their credit cards in their rush to secure a copy, the book is only available as an e-book, or as a download to your PC, and will set you back a whopping $1.99. If you’re still determined to read it, however, all the details can be found here
  Finally - and this may cause Ms Witch to prick up her ears, if no one else - I had something of an unusual request last week. In essence, it was from a publisher of children’s books, wondering if I’d like to meet to discuss the possibility of my writing a book for young adults. Now, writing a book for kids has been something that’s been flickering on the very edge of my radar ever since the Princess Lilyput arrived, but I’ve never spent any time thinking seriously about it. Right now, I can’t think of anything else. The idea I hatched has gone forward for consideration, but already I think that I’m going to write the story no matter what the decision is, because I’m entirely enthralled by it. For one thing, it’ll be a massive challenge to write a whole novel without recourse to foul language; for another, it’ll be an equally massive challenge to try to write something that will capture a young reader’s imagination. I have no faith in my ability to achieve either, but I like the idea of trying. Plus, given the rate at which I tend to write and get published, two-year-old Lily should be just the right age to identify with the 13-year-old heroine when the book finally appears. Or, as is far more likely, sneer at it with a carefully honed teenage disaffection …

Tuesday, November 9, 2010

300,000 Not Out

Trumpets please, maestro … At some point yesterday, round about 6pm Irish time, ye olde Crime Always Pays blogge passed the 300,000 mark for page impressions. Which isn’t particularly impressive, considering that CAP has been on the go since April 2007, when it was the sole marketing tool available to a broke but enthusiastic writer, but still, it’s not often we get to parp our trumpets around here, so 300,000 is as good a reason as any, especially - as all Three Regular Readers will be aware - ye blogge only has three regular readers.
  Kidding aside, I’d like to thank each and every one of you who come here on a regular basis, be that daily, weekly or monthly, and especially those of you who make the effort to leave a comment or two, on the rare occasion when the post is interesting enough to merit a comment or two. It goes without saying, although I’ll say it anyway, that this whole endeavour would be a complete waste of time without the likes of you looking for some way to completely waste your time.
  Upward and onward, then, to the next 300,000 page impressions. And hey, who knows - maybe I’ll even have another book to blog about when we reach the magical half-million mark. Stranger things have happened at sea, as they say …

Friday, July 30, 2010

Rum Punch Drunk: Yep, It’s Another Elmore Leonard Comparison

Those precious few among you who have read CRIME ALWAYS PAYS - how few! how precious! - will be aware that it is an ebook release, and a sequel-of-sorts to THE BIG O. The reasons why it’s an ebook release are so complicated, pathetic and boring that even I’m sick to the back teeth of them; suffice to say, even if you don’t own an e-reader, the novel is now available to download straight to your desktop computer. So far it’s garnered very little by way of review, mostly because I don’t have the time to go promoting it the way I should, but those that have come in have been very gratifying. The latest is from Sean Patrick Reardon, a relatively recent addition to the ranks of readers of this blog, and the gist of his review runneth thusly:
“CRIME ALWAYS PAYS is a continuation of the cleverly written, fast paced, and gut-busting romp, THE BIG O …
  “The story is not so much a sequel as it is a continuation of the lives of the awesome cast of characters, how their lives intersect, and all of the resulting action, mishaps, and follies that result. There is enough ‘flashback dialogue’ to get the gist of what happened in THE BIG O, so reading it is not mandatory, but I highly recommend doing so for the sheer enjoyment, and it does help when reading this instalment.
  “Mr. Burke has a unique talent for creating characters and dialogue, and coupled with the solid story, CRIME ALWAYS PAYS delivered on every expectation I had before I started.
  “The comparisons to Elmore Leonard’s style are warranted and deserved, but Mr. Burke has managed to put his own unique spin on it. As an avid reader of Mr. Leonard, I can honestly say that I have never laughed out loud as much when reading his novels as I did when reading both of Mr. Burkes. Don’t get me wrong, there is plenty of suspense throughout the story, but it is so damn funny at times.
  “For anyone looking for some escapism, a great read, and a lot of fun, CRIME ALWAYS PAYS is for you. The style of narration, dialogue, characters, and the situations and how they play out in the story, are to me reminiscent of Guy Ritchie’s crime capers.”
  I thank you kindly, Mr Reardon.
  Meanwhile, if you glance to your left, you’ll see that the venerable Glenn Harper of International Noir had this to say:
“CRIME ALWAYS PAYS is part road movie and part farce, reminding me sometimes of Elmore Leonard, sometimes of Allan Guthrie, sometimes of Donald Westlake and sometimes of the Coen Brothers – sometimes all at once.”
  And if you scroll down a little further, you’ll see that the equally venerable Colin Bateman recently had this to say over at the Guardian blogs:
“If you want to find something new and challenging, comic crime fiction is now the place to go … Declan Burke [is] at the vanguard of a new wave of young writers kicking against the clichés and producing ambitious, challenging, genre-bending works.”
  So: if you’re intrigued by new, fresh, smart and subversive writing, clickety-click here for a free sample.
  If you’re not, fuck away off somewhere else and stop clogging up my bandwidth.
  And have a nice weekend y’all, y’hear?

Monday, June 21, 2010

The Loveliest Review In The World

Some reviews are good, some are bad, others are quirky. This review of CRIME ALWAYS PAYS popped up on Smashwords over the weekend, and is without doubt the loveliest review I’ve ever had. To wit:
When I was a kid and it was too hot to play outside, I would talk my mother into giving me a quarter if I didn’t have one, and then I’d grab my bike and hightail it down to the drugstore.
  By the time I hit the railroad tracks I’d be sweating. But downtown they had big trees with lots of shade and the pedalling would be easier.
  I would walk into the drugstore and head down to the comic rack. I would get what I could get for my quarter and head back. Going back I would pedal harder, full of anticipation. Just before I got to the house, I’d make a quick stop at the gas station and get a soda (ok, I had an extra dime.)
  I’d get home, turn on the fan, open that soda, spend a little time looking at that glossy cover and then I’d turn to the first page.
  Man, life couldn’t get better than that.
  Well, this is better than that. Shake a couple of bucks out, grab a Coke and have yourself a nice afternoon in the shade. ***** - Francis Roderick

Wednesday, June 16, 2010

The Review From The Blue House

God bless the interweb. Back in the day, and in the normal run of things, THE BIG O (being a co-published title with no marketing budget behind it when it first appeared in 2007) might have picked up a few press reviews and then crawled away into a dark corner to die. Happily, and given the ever growing network of bloggers and webnauts that exists among readers and writers, reviews still occasionally pop up. The latest comes courtesy of Rob Kitchin, a fellow scribe who blogs at The View from the Blue House, with the gist running thusly:
“THE BIG O is a comic crime caper – think of Carl Hiassen strained though a noir filter. The story is broken into a succession of short scenes each written from the perspective of one of the six principle characters. The structure works to provide a nice, quick pace and enables Burke to flesh out the characterisation, where each person is slightly larger than life with certain foibles … The only thing that grated after a while was the use of coincidence, which was clearly deliberate but edged towards excessive … THE BIG O is a very enjoyable read and a comic crime caper that is genuinely comic.” ****
  Obviously, it’s nice to know that Rob Kitchin liked - for the most part - the novel, and very generous he was too. What I liked about the review, though, is that few punches were pulled, when it would have been easier for Rob to gloss over what he didn’t like and simply emphasise what he did like (full disclosure: I’ve met Rob Kitchin once, and thought he was a nice bloke). He’s not the first to point out that the story of THE BIG O turns (gyrates) on an excessive use of coincidence; and whether that conceit was deliberately intended or not, readers are fully entitled to find it grating, irritating or simply unbelievable. They’re also fully entitled to call me on it.
  For what it’s worth, I think that that kind of robust critique is welcome and entirely healthy. It certainly beats having him gush about my book and me gush about his (Rob Kitchin has just published his second novel, THE WHITE GALLOWS), an all too common practice these days, and one that serves neither writer nor reader.
  On an altogether more rarefied level, the venerable Sarah Weinman recently blogged on a similar theme, when she mused aloud about ‘awards fatigue’. The gist of the piece was the proliferation of crime fiction awards (Anthonys, Barrys, McCavitys, Shamuses, Edgars, et al), the difficulty in differentiating one from another, and the overall worth (or otherwise) of having so many awards, all in the context of whether or not the awards are successful in raising the profile of the winning and nominated authors with an audience beyond that of crime fiction aficionados.
  Both EIGHTBALL BOOGIE and THE BIG O were nominated for awards, bless their cotton socks, so I’m in a position to say that, yes, it’s lovely just to be nominated. By the same token, and looking at the big picture, there appears to be a very real danger that crime writing, even with the very best of intentions, is creating a closed-loop feedback of mutual celebration. In a nutshell - and this is where Rob Kitchin comes in - when everything is good, nothing is good.
  Running parallel to the mutual celebration is the occasional statement from an author or critic from outside the crime fiction circle, which suggests that crime fiction isn’t as well written as it might be, or is too formulaic and predictable, or too simplistic in terms of form to reflect the complexity of the human condition. The reaction tends to be one of closed ranks, and dark mutterings about snobbery and prejudice, and reverse-snobbery accusations about ivory towers and self-indulgence.
  In one sense, that’s actually nice to see - it demonstrates the all-for-one and one-for-all nature of the crime fiction community. It’s failing, however, is that it’s a short-term view. All criticism is valid, and particularly when it offers opinions we’d rather not hear. We’re coming up hard now on the centenary anniversary of what I consider to be the birth of the modern crime novel - those collections of pulp short stories that would eventually crystallise into novels by Paul Cain, Dashiell Hammett, Raymond Chandler, et al - and yet the form, structure, intent and ambition of the crime novel has hardly changed in almost one hundred years. Content has changed to reflect contemporary concerns, certainly, but society, culture and civilisation have mutated in ways that would have been scarcely conceivable even to Jules Verne in his pomp.
  Is the proliferation of awards doing the crime novel any favours? Are we being honest enough with ourselves as to the enduring worth of crime fiction? Are we too stubbornly closing ourselves off to valid criticism that threatens (and apologies for the tortured metaphor) to prick the bubble of our closed-loop feedback?
  I’ll be honest with you: I want more from the crime novel. I want more than a response of ‘Oh, it’s the classical Greek structure’ when someone complains about simplicity of form. I want more than ‘Oh, it’s what the market demands’ when someone complains about shallow characterisation. I want more than ‘Oh, the crime novel is traditionally a conservative art form’ when someone complains about predictability. And I definitely want more than ‘Oh, you don’t want to make the reader so much as blink’ when someone complains that the writing wants for challenging prose or narrative conceits.
  Oh, and I’d also like a week in the Greek islands, preferably paid for by some commercially suicidal publisher who wants to publish one of my novels.
  Any takers?

Wednesday, June 9, 2010

Laugh? I Nearly Emigrated

Colin Bateman (right) was kind enough to give me a very generous plug last week, in a piece he wrote for the Guardian’s Book Blog, in which he claimed that comic crime fiction is a ‘new and challenging’ way of dealing with what can often be moribund clichés in the crime writing genre. Peter Rozovsky picked up the ball and ran with it over at Detectives Beyond Borders, where the conversation became a debate about the use and abuse of gratuitous violence in crime novels, and particularly against women.
  There’s no doubt that employing comedy in crime fiction is a high-wire act. Crime is a very serious business, in more ways than one; violence, rape, torture and murder are not matters to be taken lightly. My big problem, as a writer, is that I love the crime novel form, and that I find it very difficult to write without trying to be funny. I have tried to write stories that are serious in tone, but I get bored very quickly, and find myself repressing the instinct to poke fun at the foibles of the characters, their ambitions and hubris. That puts me in an awkward position, not least because a good friend of mine died violently many years ago, and it goes against the grain to underplay the consequences of violence of any kind.
  My first novel, EIGHTBALL BOOGIE, was an attempt to write an homage-of-sorts to the novels of Raymond Chandler - in other words, the novel was serious in its intent, but its protagonist, Harry Rigby, was prone to comic quips and asides to the reader. As best as I can remember without rereading it, the story contains two murders, both of which, I hope, receive their full due in terms of their consequences. The story also contains occasional outbreaks of non-lethal violence, most of which is perpetrated against Rigby, and again, I tried to do justice to the reality of my own experience of physical violence - that it is brutal and nasty, and as psychologically unsettling as it is physically debilitating. That said, Rigby at one point ships a bullet in his gut and - after a brief period of recuperation - goes merrily on his way. Plausible? Definitely not, according to a number of reviewers. By the same token, none of the violence is gratuitous, nor is it excessively detailed or gruesome.
  By the time I came to write my second novel, THE BIG O, I was a little worn out by the forensically detailed emphasis on violence and murder in the novels I was reading, and particularly burnt out by those authors who were gleefully celebrating the extent to which their novels were plumbing the depths of human depravity. The form I decided on was a homage-of-sorts to Elmore Leonard, with a nod to Barry Gifford, but I also set myself the challenge of writing a crime novel that contained no murders at all, and the bare minimum of violence. Apart from self-inflicted harm, the novel contains two actual episodes of violence: a dog has its eye removed with a fork, and a man - one of the bad guys - gets shot in the knee. By the standards of the kill-count in the crime novel today, that’s positively quaint.
  The comedy aspect was a bit more challenging. Many reviewers commented on the number of coincidences in the novel: some were willing to play along with the conceit, others found it a bit wearying. My intent, for what it’s worth, was to write a comic crime novel according to the classical definition of comedy - i.e., in classical Greek drama, tragedy is considered to be undeveloped comedy. In the context of the novel, a group of characters scheme and plot towards the finale, growing increasingly desperate to achieve their aims even as fate - in the form of those coincidences - becomes a noose around their necks. I suppose the general idea was that of ‘Men plan and gods laugh’ - either way, the concept was one of poking fun at the illusion of human control over our actions and their consequences in what is essentially a blind and pitiless universe.
  My third novel, aka BAD FOR GOOD, which is currently out under consideration, is an attempt to get at a different kind of comedy. Again, it’s a crime narrative, in which a hospital porter deranged by logic decides to blow up the hospital where he works, in order to illustrate how all civilisations (in this case, Western civilisation) are undone from within rather than destroyed by external forces. The humour is decidedly darker than previously; the protagonist, Karlsson, allows for no limits on his imagination when it comes to inventing ingenious ways to persecute his superiors. But the form, too, is an attempt to move away from the traditional crime novel narrative. It’s a meta-fiction, in which failed writer Declan Burke finds his own person, and that of his family, under attack by his deranged creation, Karlsson. The idea is to fold back the violence writers propagate onto the writer himself, and to have Declan Burke live with the consequences of his wilful depravity. Whether the conceit works is up to others to decide, but for now I’m happy that the story is at least an attempt to come to terms with the responsibility a crime writer bears in terms of the ways in which he or she employs violence in their novels.
  Anyway, that’s my two cents on the comic crime novel. I should point out, by the way, that my own experience of writing and publishing comic crime novels has been that while readers tend to like them as a change of pace from more serious fare, they’re not generally taken all that seriously by the industry’s mainstream, either by publishers or readers. That may well be because of the way I’ve written those particular novels, or because people don’t as a rule take comedy seriously. I’d imagine it’s very probably a combination of both. Bateman, whose debut novel DIVORCING JACK poked fun at warring paramilitaries and won the Betty Trask prize, and whose THE DAY OF THE JACK RUSSELL recently won The Last Laugh award at CrimeFest, is one of the few exceptions. And that’s a shame, I think. Writers of serious crime novels who overdose on gratuitous violence and torture porn are no more realistic in terms of the truth of crime than comedy writers who exaggerate the tropes and blend genres. The funniest novel I’ve read so far this year has been Anthony Zuiker’s DARK ORIGINS, a laughably bad tale of an anally-obsessed serial killer mastermind, at the conclusion of which I had the overwhelming desire to take a shower. At the very least the comedy writers, bless their cotton socks, are serious about making you laugh.

Friday, May 14, 2010

On Choosing Your Favourite Child

Craig Sisterson over at Kiwi Crime was kind enough to point his 9mm at me (oo-er, missus), said 9mm being a quick-fire interview consisting of nine questions, one of which runneth thusly:
CS: Of your books, which is your favourite, and why?

DB: “Now that’s a tough bloody question. It’s like asking which of your kids you love most. And the honest answer is that I love them all equally, and I’m including those that haven’t been published when I say ‘all’. EIGHTBALL was magic because it was my first, and I’ll never replicate that shining, incandescent moment when I first held the book - an actual book, written by me - in my hands. It happened on a street in Galway, and I believe I kind of blanked out for a few seconds. I’d waited a long, long time to see that book … THE BIG O I love because it was a co-published deal with Hag’s Head, I and my wife put our mortgage money where my mouth was by paying 50% of the costs, and it ended up a modest success, from a co-published little effort (880 copies in Ireland) that ended up getting a pretty decent deal in the States, and allowed me go to the States for a road-trip to promote it. BAD FOR GOOD (which is currently out under consideration) I love because it’s radically different to the previous books, and I’m still not sure where the voice came from, or where the notion of having a hospital porter blow up his hospital came from. But even the books that will never see the light of day, I love them too, because they’re me at my most me. Which is the main reason why I write, I think.”
  For the rest, clickety-click here
  Actually, it was only after I’d seen the piece published that the sheer audacity of that question struck me. Not that I might have a favourite among my books, but the fact that there books out there that are ‘my books’, and enough of them published - the bare minimum, as it happens - to allow me choose a favourite. Some days you forget how far you’ve come relative to where you began … If you had told me 20 years ago that I’d have one book published, let alone two, I’d probably have had you consigned to a home for the terminally bewildered.
  It’s far too easy to get caught up in the bullshit that goes with writing - sales figures, publishing deals, not getting publishing deals, the near misses with commissioning editors who love your stuff but can’t get it past the bean-counters … All of which can be very frustrating, it’s true. Once in a while, though, it does no harm to lean back and glance up at the shelf where I’ve stacked the Irish crime fiction titles, and see ‘my books’ nestling in there (alphabetically, natch) amongst novels from proper good writers such as Colin Bateman, Ken Bruen, Paul Charles and John Connolly. I’ll probably never shed the notion that offerings are interlopers on that shelf, but hey, at least they’re there …
Declan Burke has published a number of novels, the most recent of which is ABSOLUTE ZERO COOL. As a journalist and critic, he writes and broadcasts on books and film for a variety of media outlets, including the Irish Times, RTE, the Irish Examiner and the Sunday Independent. He has an unfortunate habit of speaking about himself in the third person. All views expressed here are his own and are very likely to be contrary.