In the latest podcast, Ali and Ian met up with writer Douglas Skelton, initially to talk about his Dominic Queste novels, The Dead Don’t Boogie and Tag – You’re Dead, but the discussion touched upon so much more.
They talk about Douglas’s ‘Davie McCall’ series of novels, his non-fiction, the importance of secondary characters, Glasgow’s fascination with crime, the influence of the novels of Ed McBain, Shane, Buffy The Vampire Slayer, and the greatest TV show of all time (TM) – Hill Street Blues.
As you would expect, if you have read Skelton’s recent work, there are plenty of cultural references and enough “film buffery” to keep everyone happy, or at the very least the people in the room.
Douglas knows of that which he writes as he has done the hard research for real-life crime books such as Glasgow’s Black Heart and Dark Heart, and as such the podcast is a must hear for anyone with an interest in crime writing, but will also appeal to a much wider audience, just as Douglas Skelton’s novels do. Continue reading
It’s the time for ‘Books Of The Year’ lists and we like to think that Scots Whay Hae!’s selection for 2016, while small, is beautifully formed and well worthy of your attention.
These are the books which stood out against a lot of stiff and perhaps better known competition. The list could have been longer but we like to stick to a traditional Top Ten. Consisting mostly of novels, with one remarkable collection of short stories, and one unforgettable musical (auto)biography, these are the books which have left their mark. Here’s what we thought at the time:
Young Soul Rebels – Stuart Cosgrove
Stuart Cosgrove writes as he broadcasts – eloquently, forcefully and at pace, and as such he makes persuasive and forceful arguments. If you have a music fan in your life, then I would suggest this book is the perfect gift. If they are a soul fan, then it is a must. Anyone who has ever pored over liner notes, obsessed over b-sides, searched out limited editions and rarities, or cued hours for tickets or entry will recognise themselves at least in part on the page, no matter what their musical tastes. Stuart Cosgrove is here to remind you that while music may not be a matter of life and death (and there are poignant reminders of that in Young Soul Rebels) it certainly makes the former worth living. Continue reading
Last year we recorded a podcast with Graeme Macrae Burnet and Graham Lironi, both of whom had written novels which could be described as crime fiction, but which were vastly different from one another, or anything else published last year. During the discussion both spoke about the problems they had with their work being labelled as in any way ‘genre’.
If this subject interests you, you can still listen to the full podcast here, but the short version is this; on the one hand, if you can be categorised as a genre writer it will arguably help booksellers to market you, and perhaps gets your books into the hands of those who otherwise may not have read them. On the other hand, you risk assumptions being made about your writing which are unfair, or just plain wrong, and which may put off another group of readers. Although you would hope the quality of work would speak for itself, there are prejudices at play, married to the economics and practicalities of selling books, which can be hugely frustrating for writers.
Saraband Books have embraced this apparent dichotomy with their ‘crime/thriller’ offshoot, Contraband. They are the publishers of both Macrae Burnet’s His Bloody Project and Lironi’s Oh, Marina Girl, accepting both novels for what they are; brilliantly written, beautifully crafted, and original. Other authors published by Contraband include Neil Broadfoot, Matt Bendoris, and Shelley Day, and it is clear that what they have managed, in a relatively short time, is to become known as a place to find offbeat, interesting and quality fiction no matter how you label it. The fact that His Bloody Project has made the Man Booker Prize longlist this year suggests that how we categorise genre and literary fiction can, should, and perhaps is changing. The only question that should matter is, ‘Is the writing good?’, and this is what Contraband puts first. Continue reading