Showing posts with label Mean Streets. Show all posts
Showing posts with label Mean Streets. Show all posts

Monday, 16 January 2023

Walking the Mean Streets of Historical Noir

So, Douglas, why yet another new direction?

I was asked this question recently in relation to my new book, An Honourable Thief (Canelo), an historical adventure/crime/espionage thriller (I think that just about covers it) set between London and Edinburgh in 1715.

It is true that my writing career appears to have encompassed more changes of direction than an indecisive sat-nav – from true crime, to non-fiction history, to biography, to gritty Glasgow underworld fiction, wisecracking private eye novels, a fast-paced New York set conspiracy thriller and dark – may I say lyrical? Yes, I may – crime novels set in the Scottish highlands.

Okay, so why?

Well, I believe authors should always stretch themselves, step out of their comfort zone. But is this new one really THAT much of a change of direction?

Look at the list above. I’ve written historical books before. In fact, that’s how the plot for AHT – as we in the know call it – came about. I was researching Dark Heart, which told the story of Edinburgh’s Tolbooth, a building that played a major role in the city’s blood spattered history, and came across a line about a certain document that old Queen Anne may, or may not, have penned. The story was that the letter may have suggested she favoured her half-brother James Edward Stuart to succeed her to the throne over George of Hanover, of whom she was apparently none-too-enamoured.

That notion stuck in my mind and over the next 20 years or so I added bits and pieces of plot, set-pieces and a protagonist named Jonas Flynt rubbing shoulders with real-life characters of the period. One of those set-pieces features the aforementioned Tolbooth. 

Of the non-fiction books with my name on them, I am very proud of Indian Peter, a true-life tale of adventure and legal shenanigans in Scotland and the American Colonies of the mid-18th century.

And the four Davie McCall books are set between 1980 and the millennium. Apparently that’s deemed as historical, although I can remember those years so, frankly, I don’t see it that way. 

Then came A Rattle of Bones, the third in my Rebecca Connolly series. The opening chapter was set in 1752 and that prompted crime writer Denzil Meyrick to suggest that I try my hand at historical fiction. I resisted but secretly the idea took root. After all, I’d already done most of the research over the years. Why not give it the old college try?

Fully expecting to abandon it before it was halfway done, I set to the task.

Three months later I had a complete draft, so perhaps all that had gone before was paving the way for the new book.

The words literally fell onto the screen. Yes, they needed work – it was a first draft, remember – but I don’t think I’ve ever written a novel quite so quickly, but then, the narrative style is very much in my ball-park. I think if there had to be a label put onto the series, and there ALWAYS has to be a label, it would be Historical Noir.

With the exception of the Rebecca Connolly series, I’m a believer in the Raymond Chandler dictum that whenever the story seems to slow down, have two guys with guns kick in the door.

In fact, Jonas Flynt is introduced limbering up to do just that, only it’s a brace of flintlock pistols he wields. The streets of Georgian London and Edinburgh are ideal for the genre. They were mean. And dark. And dirty. And far from fragrant. 

Oh, and no CCTV or mobile phones and no real forensics to speak of. My goodness, that sure does free things up for the writer. Think about it – Flynt doesn’t need to worry about fingerprints, DNA, contact traces, or disguising his digital footprint when getting up to anything murky. He may be on the side of the angels but he sure as hell ain’t one.

He does have demons because I seem to have a thing for people being haunted by dark pasts. I don’t know why such characters attract me, because I am such a sunny, carefree fellow.

I’ll pause here to let those who know me hoot with laughter.

So, in the end, how much of a departure is AHT? Well, linguistically, chronologically, geographically and other words ending with -cally, it is different. 

Otherwise, it’s business as usual. Only with added research!

The second book in the series to feature Jonas Flynt, A Thief's Justice is due to be published in May 2023.

A Thief's Justice by Douglas Skelton. (Canelo Crime) Out May 2023

London, 1716. Revenge is a dish best served ice-cold… The city is caught in the vice-like grip of a savage winter. Even the Thames has frozen over. But for Jonas Flynt– thief, gambler, killer – the chilling elements are the least of his worries… Justice Geoffrey Dumont has been found dead at the base of St Paul’s cathedral, and a young male sex-worker, Sam Yates, has been taken into custody for the murder. Yates denies all charges, claiming he had received a message to meet the judge at the exact time of death. The young man is a friend of courtesan Belle St Clair, and she asks Flynt to investigate. As Sam endures the horrors of Newgate prison, they must do everything in their power to uncover the truth and save an innocent life, before the bodies begin to pile up. But time is running out. And the gallows are beckoning...

More information about Douglas Skelton can be found on his website.  You can also follow him on Twitter @DouglasSkeleton1 and on FaceBook.


Tuesday, 4 May 2021

Call for Submissions - American "Golden Age" Mystery and Detective Fiction 1920 - 1945

 Call for Submissions

Third issue of Mean Streets: A Journal of American Crime and Detective Fiction

Topic: AMERICAN “GOLDEN AGE” MYSTERY AND DETECTIVE FICTION 1920-1945

Proposals: July 15, 2021

Final essays: December 1, 2021

The “Golden Age” of mystery and detective fiction is generally agreed upon as bounded by World War I and World War II. While the designation is widely applied to both British and American fiction of the period, it has most closely adhered to British fiction, perhaps because American crime writing in the period was sharply bifurcated between Classical and Hard-boiled writing. Indeed, Stephen Wright claims that “It was in Britain that the clue-puzzle had its richest development” and also traces the important revision of narrative structure that became known as the “inverted” story to an English writer. So, in what lay the contribution of American writers? Are there unique features in their offerings to the Classical detective narrative? Is there any cross-fertilization (or creative friction) between Classical and Hard-boiled practices? Do the circumstances of American life and culture of the period produce qualities notably different from British narratives?

Some possible approaches:

  • Interrogate the question: Is there an American Golden Age?

  • Thematic explorations

  • Contemporary resurgence of Golden Age interest/popularity

  • Contributions of particular American publishers to Golden Age popularity and/or rediscovery (e.g., Rue Morgue Press, Library of Congress Crime Classics)

  • Juxtaposition of Classic and Hard-boiled fiction in the period

  • Analysis of the critical receptions of American writers by British critics

  • Selected authors associated with the period

    Anthony Abbot

    Stuart Palmer

    Anne Austin

    Zelda Popkin

    Hugh Austin

    Ellery Queen

    Earl Derr Biggers

    Patrick Quentin

    Anthony Boucher

    Virginia Rath

    John Dickson Carr

    Clayton Rawson

    Clyde B. Clason

    Mary Roberts Rinehart

    Dorothy Cameron Disney

    Mabel Seeley

    Todd Downing

    Rex Stout

    Mignon Eberhart

    Kay Cleaver Strahan

    Erle Stanley Gardner

    John Stephen Strange

    Frances Noyes Hart

    Phoebe Atwood Taylor

    C. Daly King

    Darwin Teilhet

    Rufus King

    S.S. Van Dine

    Helen McCloy

    Carolyn Wells

    Abstracts of 250 words with proposed title should be directed no later than July 15, 2021, to the editors: Rebecca Martin (doc.rmartin@gmail.com) and Walter Raubicheck (wraubicheck@pace.edu).

    Final papers of 7000-8000 words will be due by December 1, 2021, with publication anticipated in spring 2022. Feel free to send questions to both editors.

    About Mean Streets

    This journal is published by the Pace University Press (New York City), which has been sponsoring scholarly journals since the 1980s.

    Mean Streets is a refereed journal edited by two scholars in literature and film and guided by an Editorial Board comprised of distinguished scholars from several disciplines. Submissions will be reviewed by the editors and selected Board members.

    The journal’s first issue appeared in spring 2020, with the second issue anticipated in June 2021. Copies may be ordered at press.pace.edu/journals/mean-streets/.


Wednesday, 18 November 2020

Call for Papers (Extended) - New York State of Crime

Mean Streets

Call for Papers--Extended

Mean Streets: A Journal of American Crime and Detective Fiction

Issue 2

Topic: New York State of Crime

Proposals: November 30, 2020

Final essays: February 15, 2021

For the second issue of Mean Streets, the editors seek proposals focusing on crime literature of New York City or elsewhere in the Empire State. The “extended” CFP will give particular preference to crime literature set in New York outside of New York City. 

This “extended” CFP also invites proposals dealing with detective/crime fiction in urban environments in which the urban setting is given particular significance.

Raymond Chandler’s “mean streets” were the deceptively sun-dappled streets of Los Angeles, but the streets of New York City and its environs have a longer history of association with crime fiction. The vice-filled streets upon which Horatio Alger’s ragged newsboys trudged were the gritty New York City streets of the 1860s. Detective Nick Carter made his first appearance in the New York Weekly in September of 1866 in a serial focused on a crime in Madison Square, the original location of Madison Square Garden.

Decades later, Rex Stout, Chester Himes, Elizabeth Daly, Ed McBain, Ellery Queen, S.S. Van Dine, Amanda Cross, George Baxt, Julia Dahl and so many others found in New York the perfect setting for crimes, genteel or gruesome. The neighborhoods, bars, waterfronts, police precincts, theaters, subway tunnels and gleaming towers of New York have provided rich settings for sordid activities. Upstate New York—the Westchester and Long Island suburbs, Hudson Valley hamlets, the political cauldron of Albany, the once-thriving Catskill resorts, the Rust Belt, and the Snow Belt—has been featured in much crime writing, too.

Mean Streets is essentially a literary journal, so while discussion of film or other media is welcome, the balance of discussion will deal with literature.

Abstracts of 250 words with proposed title should be directed no later than November 30 to the editors: Rebecca Martin (doc.rmartin@gmail.com) and Walter Raubicheck (wraubicheck@pace.edu).

Final papers of 7000-8000 words will be due by February 15, 2021, with publication anticipated in spring 2021. Feel free to send questions to both editors.

About Mean Streets

This journal is published by the Pace University Press (New York City), which has been sponsoring scholarly journals since the 1980s.

Mean Streets is a refereed journal edited by two scholars in literature and film and guided by an Editorial Board comprised of distinguished scholars from several disciplines. Submissions will be reviewed by the editors and selected Board members.

The journal’s first issue appeared in spring 2020. Copies may be ordered at press.pace.edu/journals/mean-streets/.