Thursday, 21 May 2020

2020 Arthur Ellis Award Winners


Crime Writers of Canada have announced the Winners of the 2020 Arthur Ellis Awards. Congratulations to all!

Best Crime Novel sponsored by Rakuten Kobo with a $1000 prize
Greenwood by Michael Christie (MacClelland & Stewart)

The Best Crime First Novel sponsored by Maureen Jennings with a $500 prize , Nobody Move by Philip Elliott (Into the Void Press)

Best Novella sponsored by Mystery Weekly with a $200 prize 
The Red Chesterfield by Wayne Arthurson (University of Calgary Press)

Best Short Story sponsored by Mystery Weekly with a $300 prize,
Closing Doors by Peter Sellers (Ellery Queen's Mystery Magazine

Best French Book
Tempêtes by Andrée Michaud (Éditions Québec Amériques)

Best Juvenile or YA Book sponsored by Shaftesbury with a $500 prize
Keep This to Yourself by Tom Ryan (Albert Whitman & Company)

Best Nonfiction Book
Murdered Midas: A Millionaire, His Gold Mine, and a Strange Death on an Island Paradise by Charlotte Gray (HarperCollins)

The Unhanged Arthur Award for Best Unpublished Manuscript sponsored by Dundurn Press with a $500 prize
The Dieppe Letters by Liz Rachel Walker

The complete shortlist can be found here.

Wednesday, 20 May 2020

Bosch on the Bayou at Bouchercon 2021



To keep our spirits up during this surreal period of COVID-19 confinement - one must plan for when we can next see our friends, colleagues and fellow advocates of the Crime and Mystery Fiction Genre.

Sadly, many 2020 crime, mystery and thriller fiction events have been cancelled in the wake of this RNA-Virus - such as Bouchercon 2020 [Sacramento, USA], Theakstons’ Crime Writing Festival 2020 [Harrogate, UK], Crimefest 2020 [Bristol, England] to name a few. 

We’re waiting to see if Adam Hamdy, David Headley and Liz Curle’s Capital Crime 2020 [London, England] will occur, as it is after the summer and we pray that we will have the COVID-19 situation under control by then.

Thriller writer KJ Howe, with ITW’s technical bloke Jeff Ayers, and the team behind International Thriller Writers Inc, have come up with a good plan, following the cancellation of New York’s Thrillerfest 2020 [due to fears of COVID-19] – so the ITW gang have a planned Virtual event, details HERE

We got word from the Bouchercon Board of Directors, that it’s all steam ahead for Bouchercon 2021 [New Orleans, USA]; and that the work of Michael Connelly is to be celebrated as he will receive the lifetime achievement award for his writing.

We are delighted that former journalist Michael Connelly and his novels, stories [many featuring that singular creation Harry Bosch] and film / TV is to be celebrated during Bouchercon 2021.

In 2018, the Crime Writers Association recognised a lifetime achievement award in London, when he was presented with the CWA Diamond Dagger.

We recorded the 2018 event, with CWA Chair Martin Edwards' introduction, and Mike Connelly’s acceptance speech –


For many readers (myself included), Michael Connelly is one of the greatest living crime writers working today, and for many - his creation Harry Bosch of the LAPD is one of fiction’s greatest detectives. And now Amazon Prime’s BOSCH series reaches its sixth season, with Titus Welliver playing the eponymous Investigator. All seasons of Bosch are available to stream online at Amazon Prime.  


Reports from Jeff Peirce’s The Rap Sheet on our visits to the Hollywood set of Season One can be accessed HERE while our location visit for Season Two at Venice Beach [Los Angeles] can be accessed HERE

Literary commentator / critic, horticulturist and sports presenter Michael Carlson published an excellent feature for Shots Magazine THE ABSTRACT ART OF BOSCH, which can be accessed HERE


And if you are readying yourself to watch Bosch Season Six, remember part of the narrative arc comes from Michael Connelly’s THE OVERLOOK. It was originally a story serialised in the New York Times, but eventually found itself as a novel – I spoke with Michael at the time about this lean and extraordinary post-911 narrative [one that features Larry Gandle as Bosch’s Boss] – it is archived HERE  

Joining Michael Connelly, as Guests of Bouchercon 2021, are :-

Steve Berry – Thriller Guest of Honour

Craig Johnson – American Guest of Honour

Charles and Caroline Todd – Historical Guests of Honour

Jo Nesbo – International Guest of Honour

Alafair Burke – Toast Mistress

Jonathan Maberry – Kid’s Bouchercon Guest of Honour


And for some reason, I’m also excited to attend.

Much thanks must go to the Dynamic Duo, of best-selling thriller writer Heather Graham and the extraordinary Connie Perry [and their team], for chairing the event, and returning us back to New Orleans after the extraordinary event in 2016.



And Jeff Pierce at the Rap Sheet has commentary and pictures HERE and remember 2021’s Bouchercon is a return trip for Mike Connelly to New Orleans, as he was interviewed by Harlan Coben – Archived video HERE


So as the crime, mystery and thriller clan gather, after so long, I’d start planning for Bouchercon 2021: Blood on the Bayou

More information HERE

Hope to see you at the biggest celebration of Crime and Mystery Fiction, Bouchercon 2021 and I’d register as soon as possible as registrations are coming in thick and fast.


AND STAY WELL / TAKE PRECAUTIONS AND READ BOOKS TO ESCAPE

Time on your hands?



With all this COVID-19 lockdown dominating our lives, it was good to speak to Journalist Karen Robinson of The Sunday Times. She brought to the attention of Shots Magazine readers an interesting writing competition, for unpublished crime writers, in conjunction with publisher Hodder and Stoughton.

Over to Karen Robinson -

Have you got what it takes to be a bestselling crime writer? Find out by entering the Crime Club/Elizabeth George crime-writing competition. Unpublished authors have until Tuesday, June 2, to submit a 200-word synopsis and a first chapter of no more than 2,500 words. 

Elizabeth George, the creator of the Inspector Lynley series, will pick the winner. She’s just published Mastering the Process, her guide to writing novels, based on a lifetime in the bestseller lists. 

The winner’s prize is a personal masterclass with the author and a consultation with the commissioning editor for crime at Hodder & Stoughton, her UK publisher. 

Runners up will also be offered a consultation with a Hodder commissioning editor. 

Good luck. 

So, with time on your hands, why not read up on the crime writing process, and investigate this competition

More information on Elizabeth George’s Mastering The Process, from Hodder and Stoughton – Click Here

More information on The Sunday Times Crime Club/Elizabeth George crime-writing competition – Click Here

To join The Sunday Times Crime Club – Click Here



Mark Ellis on Coronavirus Britain v Wartime Britain


In recent weeks I’ve seen several media comments seeking to contrast our current Coronavirus troubles with those endured on the Home Front in World War 2. These have been mainly prompted by the rapid escalation of Coronavirus deaths, with the reported number now exceeding that of UK civilians killed during the Blitz in 1940/41. The two crises are of course very different but I thought it might be useful to set out some facts and figures to enable informed comparison.

As of the date of writing, there have been nearly 35,000 UK virus deaths according to the public health authorities. 32,000 deaths were caused by bombing in the Blitz and there were 87,000 casualties. The total number of war-related civilian deaths was 67,000.

The London Blitz lasted for eleven weeks and the city was bombed every night bar one. Other cities and towns were also subjected to heavy bombing. These included Swansea, Cardiff, Bristol, Southampton, Plymouth, Birmingham, Coventry and Liverpool. While the 1940/41 Blitz represented the worst phase of the Luftwaffe bombing of Britain, sporadic air attacks continued throughout the war. In 1944 London again came under heavy bombardment, this time from German V1 (and later V2) missiles, or as they were better known, ‘Doodlebugs’. These killed over 6,000 people and caused more than 18,000 casualties.

In addition to civilian casualties, over 384,000 members of the armed forces lost their lives in the war.

The wartime population had some deprivations which we in lockdown don’t have and vice versa.

Wartime food options were very limited. Many basic products, such as sugar, meats, fats, bacon, and cheese were rationed. A number of other products, though not rationed, were hard to find. Tropical fruits such as bananas, oranges and lemons were like gold dust. By contrast during the current crisis, apart from the hoarding panics seen in the early days, most food and other domestic products have been in plentiful supply. There is one point of food shopping we have in common, though – the requirement to form long queues.

Apart from a few weeks at the outset of the war, cinemas, theatres, dancehalls and other places of entertainment were open for the duration. We appear to have a while yet to wait for them to be open to us. It should, however, be remembered that the wartime population had few forms of home family  entertainment. The radio, playing cards and reading were pretty much the extent. People from then would be astonished at our world of Netflix, Spotify, YouTube, Twitter and Facebook.

Wartime pubs and restaurants were open. Restaurant fare, except occasionally if you were very rich, was limited, but if you wanted a change of scene from home, you could get it. We cannot, and it seems we have some weeks to wait before we can.

In the war, as now, major sporting events were put on hold. However, ordinary sport carried on during the war years. Professional league football was suspended between 1939 and 1945 but where possible, other non-professional competition continued. Inter-service football matches were popular and drew large crowds.  Rugby and cricket continued on a similar basis. There were no limitations on the sporting activities ordinary people could engage in, other than where facilities had been put to alternative wartime use. Most golf clubs stayed open. Some new rules were introduced to accommodate the war. For example Richmond Golf Club introduced a rule that ‘in competitions, during gunfire or while bombs are falling, players may take cover without penalty for ceasing play’.

Parks have been a godsend to many of us during the lockdown. In WW2 most remained open, but some areas of parkland were unavailable as they were taken over for military use. In London there were gun batteries in Hyde Park and Holland Park. Other park space was used for allotments and air raid shelters.

Petrol was rationed and many people mothballed their cars for the duration of the war. Traffic on the roads declined substantially then, as it has during lockdown. Shortages of petrol have not, however, been the problem for us.

The war had a terrible impact on the economy. It took a long time for Britain to recover and the last repayment of US and Canadian war debts was only made by the British Government in 2006. The economic impact of the virus is clearly going to be substantial, although one hopes much more short-lived.

So there are points of similarity and points of difference between then and now. The biggest overall difference, however, is that the crisis faced by the British people in the war was an existential one. Defeat would have meant the loss of liberty and the British way of life. Tragic as the impact of the pandemic has been for many, it has not placed the existence of the country in peril.  

A Death in Mayfair by Mark Ellis (Published by Headline)
December 1941.  On a bright Sunday morning in Hawaii, Japanese planes swoop down and attack the US naval base at Pearl Harbour. America enters the war and Britain no longer stands alone against Hitler.  Conditions on the home front remain bleak. In a city pulverised by the Blitz, with rampant crime and corruption and overstretched police resources, life for Scotland Yard detective Frank Merlin continues as arduous as ever.  In the week of Japan's aggression, the shattered body of beautiful film star Laura Curzon is found on the pavement beneath her Mayfair apartment, an apparent suicide. A mile away, the body of a strangled young girl is discovered in the rubble of a bombed-out building.   Merlin and his team investigate, encountering fraudulent film moguls, philandering movie stars, depraved Satanists and brutal gangsters as they battle through a wintry London in pursuit of the truth.

More information about Mark Ellis can be found on his website.   He can also be found on Facebook and Twitter @MarkEllis15

Saturday, 16 May 2020

John Lawton on What Sparked The Storyline

In which I persuade John Lawton to reveal what was the idea that sparked the storyline.

Ayo — that’s a difficult question but only a literary gonif would refuse to attempt an answer.

I have always known where my Troy character came from.

Firstly a job tending an orange grove in Spain about forty years ago — there were not many English language books around, but one of them was Martin Cruz Smith’s Gorky Park (1981). Still unbeatable, my favourite detective story bar none. It led to a rush of Russia-set thrillers … but I wasn’t tempted. I needed an elliptical relationship to Gorky Park not a slavishly literal one.

Secondly, seeking to avoid an Eng Lit degree that might have left me drowning in Jane Austen. Marooned in a BBC costume drama, the like of which I cannot watch — ‘La, Mr D’Oily, the foxhound just farted’ — I signed up for the only undergraduate course in the UK in ‘American Literature’. Tennessee, Twain, Vonnegut, Vidal … Myra Breckinridge not Emma Woodhouse! … alas this was the sixties — the home decade of ‘bad’ behaviour. I got slung out. ‘Slung out’ is posh for rusticated.
John Lawton circa 1968

By the time I had worked my psych ticket (Thank you, Corporal Klinger) all the courses had changed and rather than revert to the drawing room and the farting hounds I opted for pre-Soviet Russian Lit, with a year’s Russian language thrown in for good measure. And I emerged steeped in axe-wielding Russian maniacs sometime in the seventies. I’m not wholly sure what the seventies were — I was looking the other way when they happened.

Out of this unholy combination — Russia X 2 — came Frederick Troy.

Joe Wilderness. 

Oh hell.

I am not a Londoner. I’m not even a southerner. London was a place I passed though without stopping. But, ’round about 1980 I was teaching in a London University college — ‘Othello and the Incredible Hulk’ and ‘Robert Browning at the Hotel California’ being my most notable lectures. You may imagine I did not last long … but I lived in Stepney. In 1980 Stepney was old London, ungentrified. The Indian settling of Brick Lane was under way, but the presence and influence of the previous wave of immigrants could still be felt — the Jews. I found the East End, the descendants of the pogrommed refugees, fascinating. I could walk into my local pub and overhear conversations in Yiddish. Also, the presence of the East End’s most notorious villains could still be felt. The Krays had been in prison about ten years at this point.

Sooner or later a Stepney kid was going to surface as the central character in a novel. That became Joe Wilderness — of no particular ethnicity, but born to a family of thieves, rogues and hookers. I housed him in what is probably the East End’s most famous street, Sidney Street, where a young(ish) Winston Churchill personally supervised an armed raid on a bunch of Russian anarchists circa 1910, and where Peter the Painter met his end, or not … depending in which version you believe.

The plot matter was ‘how to get Joe out of Sidney Street?’

I could not leave him there. I had no wish to write an East End gangster novel — quite enough of those around as it is.

Russia came to my aid once more.

Sgt.Maj Loudbutthick: “Right, you useless fuckers! You can spend the next six months square-bashin’ or you can go to Cambridge and learn Russian! Nah, wossit gonna be?”

Some choice … so they both became ‘spies’ … monitoring Russian broadcasting and communiqués.

That was Joe’s route out of the East End, my storyline — or perhaps that should be plural — a highly intelligent Cockney drafted into the RAF (the only branch of UK Armed Forces that had an IQ test for draftees), who becomes fluent in Russian, a valuable asset to MI6 … but … but inside he remains the East End rogue of his youth …. a thoroughly likeable, deeply dishonest spook who cannot get by without ‘something on the side.’

Two of my tutors in Russian Government, being too young for WW2 had been drafted into the RAF about the time of the Korean War.

My first Wilderness novel, Then We Take Berlin, sees him as a smuggler of coffee, as valuable a commodity as cigarettes in the late 1940s, from West Berlin to East Berlin. But, as a reviewer helpfully pointed out (I had not noticed) Joe never really profits, money runs though his fingers like grains of sand.


In the second, The Unfortunate Englishman, it is truckload of vintage Claret.


And in my current novel, Hammer to Fall, illegally-distilled Finnish vodka, which he smuggles into a thirsty Soviet Union, via a ‘hole-in-the-fence’ in Murmansk.


Every time I write a novel, it is an end in itself. Reviewers said of Then We Take Berlin ‘weird ending. He must be planning a sequel.’ I wasn’t. That really was where Wilderness ended.


Then, the home team … agents, publishers, girlfriends, say … ‘Well would it kill you to write a sequel?’


So, I do.


And The Unfortunate Englishman was also the last of Wilderness. One of the few happy endings I have ever written. (‘Happiness is for losers.’ F. Nietzsche 1897).


Cue home team. Repeat the process. Offer me money.


And … I was not at all sure I could write a third Wilderness. Could he not just stay happy in Hampstead with his wife and daughters?



No, he bloody well couldn’t.

What changed?

For one thing I had started isolating myself to write at the bottom of a deep valley in Southern Tuscany — a fourteenth century watermill, surrounded in mist, bollock-freezing cold and beautiful.

One of the neighbours — well, not that isolated after all — is the Finnish musician Anna-Riikka Santapukki. So, I learnt something of Finland just in the course of conversation, and pursued it in research, in particular its struggle to stay neutral during the Cold War and its thousand-mile, heavily-defended frontier with the USSR — not a country anyone would choose as a neighbour. And I learnt that in an effort to remain neutral it had, sometime in the early sixties, both kicked out the CIA and denied Russia use of military bases. This country, population under five million, had balls, and in the absence of the CIA I saw a role and a plot for Joe Wilderness. And, of course, Finland distils hooch in greater quantities than the backwoods of Kentucky. ’Nuff said.

I could not and did not leave Joe in Finland. The needs of plot called for more action … and a the next ‘big thing’ in the Cold War loomed ominous and obvious — the Warsaw Pact invasion of Czechoslovakia in August 1968.


Any more would be what I believe is termed a ‘spoiler.’ 


Hammer To Fall by John Lawton (Published by Grove Press)
It's London, the swinging sixties, and by rights MI6 spy Joe Wilderness should be having as good a time as James Bond. But alas, in the wake of an embarrassing disaster for MI6, Wilderness has been posted to remote northern Finland in a cultural exchange program to promote Britain abroad. Bored by his work, with nothing to spy on, Wilderness finds another way to make money: smuggling vodka across the border into the USSR. He strikes a deal with old KGB pal Kostya, who explains to him there is a vodka shortage in the Soviet Union - but there is something fishy about Kostya's sudden appearance in Finland and intelligence from London points to a connection to cobalt mining in the region, a critical component in the casing of an atomic bomb. Wilderness's posting is getting more interesting by the minute, but more dangerous too. Moving from the no-man's-land of Cold War Finland to the wild days of the Prague Spring, and populated by old friends (including Inspector Troy) and old enemies alike, Hammer to Fall is a gripping tale of deception and skulduggery, of art and politics, a page-turning story of the always riveting life of the British spy.