The 2017 CWA Daggers

It’s been a while – let’s hope I can remember how to do this blogging thing…

After what seemed to be a change to the format last year for announcing the CWA Daggers they now seem to have settled on a process. Two Daggers have already been confirmed and the shortlists for the remainder were announced earlier this week. The winners of all the CWA Daggers will be announced at the Dagger Awards Dinner to be held on 26 October, when Ann Cleeves will be awarded the Diamond Dagger and Mari Hannah will be presented with the Dagger in the Library award.

Each year I think ‘this year I’ll read whole longlist shortlist’ but each year I seem to have read fewer and fewer of the books that find their way onto the lists. I am also always surprised about the proportion of books that I have never heard of – great coverage for these authors to get onto the long or short lists. But there are only two shortlisted books that I’ve read thus far and I’ve only reviewed one of these. So wishing William Ryan all the best with The Constant Soldier!

There are currently ten daggers awarded annually by the Crime Writer’s Association.

The Diamond Dagger – selected from nominations provided by CWA members – 2017 winner is Anne Cleeves and the award will be presented at the CWA Dagger Awards Dinner on 26 October.

The longlists for the following daggers (except the Dagger in the Library I believe) were announced during Crimefest and the shortlists (titles in bold) announced on 26 July.

Gold Dagger

The Beautiful Dead by Belinda Bauer
Dead Man’s Blues by Ray Celestin
The Girl Before by J P Delaney
Desperation Road by Michael Farris Smith
Little Deaths by Emma Flint
The Dry by Jane Harper
Spook Street by Mick Herron
Sirens by Joseph Knox
Ashes of Berlin by Luke McCallin
The Girl in Green by Derek B. Miller
A Rising Man by Abir Mukherjee
Darktown by Thomas Mullen

Ian Fleming Steel Dagger

You Will Know Me by Megan Abbott
Kill the Next One by Frederico Axat
The Twenty Three by Linwood Barclay
The Killing Game by J S Carol
The Heat by Garry Disher
A Hero in France by Alan Furst
We Go Around in the Night Consumed By Fire by Jules Grant
Moskva by Jack Grimwood
The One Man by Andrew Gross
Redemption Road by John Hart
Spook Street by Mick Herron
Dark Asset by Adrian Magson
Police at the Station and They Don’t Look Friendly by Adrian McKinty
The Constant Soldier by William Ryan
The Rules of Backyard Cricket by Jock Serong
Jericho’s War by Gerald Seymour
The Kept Woman by Karin Slaughter
Broken Heart by Tim Weaver

 John Creasey (New Blood)

The Watcher by Ross Armstrong
The Pictures by Guy Bolton
What You Don’t Know by JoAnn Chaney
Ragdoll by Daniel Cole
Sunset City by Melissa Ginsburg
Epiphany Jones by Michael Grothaus
Distress Signals by Catherine Ryan Howard
Himself by Jess Kidd
Sirens by Joseph Knox
Good Me, Bad Me by Ali Land
The Possessions by Sara Flannery Murphy
Tall Oaks by Chris Whitaker

International Dagger

A Cold Death by Antonio Manzini, Tr Antony Shugaar
A Fine Line by Gianrico Carofiglio, Tr Howard Curtis
A Voice In The Night by Andrea Camilleri, Tr Stephen Sartarelli
Blackout by Marc Elsberg, Tr Marshall Yarbrough
Blood Wedding by Pierre Lemaitre, Tr Frank Wynne
Climate Of Fear by Fred Vargas, Tr Siân Reynolds
Death In The Tuscan Hills by Marco Vichi, Tr Stephen Sartarelli
The Bastards Of Pizzofalcone by Maurizio De Giovanni, Tr Antony Shugaar
The Dying Detective by Leif G W Persson, Tr Neil Smith
The Legacy Of The Bones by Dolores Redondo, Tr Nick Caister & Lorenza Garcia
When It Grows Dark by Jorn Lier Horst Tr Anne Bruce

Non-Fiction Dagger

A Dangerous Place by Simon Farquhar
Close But No Cigar: A True Story of Prison Life in Castro’s Cuba by Stephen Purvis
The Scholl Case: The Deadly End of a Marriage by Anja Reich-Osang
Arthur and Sherlock: Conan Doyle and the Creation of Holmes by Michael Sims
The Wicked Boy: The Mystery of a Victorian Child Murderer by Kate Summerscale
A Passing Fury: Searching for Justice at the End of World War II by A. T. Williams
The Ice Age: A Journey into Crystal-Meth Addiction by Luke Williams
Another Day in the Death of America by Gary Younge

CWA Short Story Dagger

The Assassination by Leye Adenle in Sunshine Noir Edited by AnnaMaria Alfieri & Michael Stanley
Murder and its Motives by Martin Edwards in Motives for Murder Edited by Martin Edwards
Alive or Dead by Michael Jecks in Motives for Murder Edited by Martin Edwards
The Super Recogniser of Vik by Michael Ridpath in Motives for Murder Edited by Martin Edwards
What You Were Fighting For by James Sallis in The Highway Kind Edited by Patrick Millikin
The Trials of Margaret by LC Tyler in Motives for Murder Edited by Martin Edwards
Snakeskin by Ovidia Yu in Sunshine Noir Edited by AnnaMaria Alfieri & Michael Stanley

Debut Dagger (unpublished writers)

Camera Obscura by Richard McDowell
Strange Fire by Sherry Rankin
The Reincarnation of Himmat Gupte by Neeraj Shah
The Swankeeper’s Wife by Augusta Dwyer
Hardways by Catherine Hendricks
Lost Boys by Spike Dawkins
Victorianoir by Kat Clay
Red Haven by Mette McLeod
In the Shadow of the Tower by Clive Edwards
Broken by Victoria Slotover

Endeavour Historical Dagger

The Devil’s Feast by M.J. Carter
The Coroner’s Daughter by Andrew Hughes
The Black Friar by S.G. MacLean
The Ashes of Berlin by Luke McCallin
The Long Drop by Denise Mina
A Rising Man by Abir Mukherjee
Darktown by Thomas Mullen
By Gaslight by Steven Price
The City in Darkness by Michael Russell
Dark Asylum by E.S. Thomson

 

Dagger in the Library longlist

Andrew Taylor
C J Sansom
James Oswald
Kate Ellis
Mari Hannah – Mari was announced as the winner in June 2017
Tana French

So how’s your reading going – will you have read enough to judge a category for yourself?

He Said/She Said

Title – He Said/She Said

Author – Erin Kelly

Published – April 2017

Genre – Psychological thriller

I occasionally start a book with preconceived ideas because I’ve heard other people talking about it or seen it being promoted but in this case I hadn’t come across many references – I requested the Netgalley on the strength of the author without reading the blurb. Which means it’s perhaps a little odd for me to say that the book wasn’t what I expected. Without any idea of what the story would be about, my assumptions kept catching me out; the opening made me think I was going to be reading a legal thriller and then it was more about crime and rape and perceptions and then it was about stalking and then … well it keeps you on your toes!

The opening of the book is sparse on background, leaving the reader to figure things out for themselves. Young couple Laura and Kit are appearing as witnesses at a trial after an incident that took place when they were watching the eclipse in 1999. The story hinges on a momentary outburst from Laura and what may have been an error of judgement haunts her and Kit. His obsession with chasing eclipses provides a framework for the story which spans 15 years to bring events up to date and is told from their two perspectives.  But enough said – it feels important not to give too much away though!

What I will say is that the story is cleverly crafted and there are plenty of moments when you kick yourself for not having spotted the clues, but Kelly’s writing ensures these are subtle and not ‘signposted’, the moments of revelation unexpected but plausible. The characters are realistically drawn, warts and all, most of them aren’t particularly likeable but this wasn’t a book where you felt you were being forced to hate them. In the moments of tension (and there are plenty) you root for them even though you might not always agree with their choices.

An unusual psychological thriller, smartly executed,  that will keep you intrigued as the plot unravels.

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The Paris Winter – Imogen Robertson

Title – The Paris Winter

Author – Imogen Robertson

Published – 2013

Genre – Historical fiction

Our move West and a sustained busy period at work means that although I am still reading at the rate of around a book a week (call myself a blogger!!) I’m struggling to find the time to review what I’ve read and that is a real shame. I seem to have, in the process, dropped off the lists for a number of publishers, so while I never received a huge amount of ‘book post’ my average is now just one or two books a month. Which means that I’ve got the opportunity to catch up on some books that I have had waiting on the TBR for some considerable time – and this book at 3 or 4 years is by no means the longest!

Out of necessity I will post some shorter reviews but I hope that I still manage to do justice to some of the really enjoyable books I’ve read so far this year.

I picked up The Paris Winter as an antidote to a run of gripping but gritty contemporary crime fiction. The book was shortlisted for the CWA Ellis Peter Historical Dagger, losing out to The Scent of Death by Andrew Taylor. The setting is Paris, 1909, and Maud Heighton is a young English woman learning to paint at Lafond’s famous Academie. While many in Paris are enjoying the Belle Epoque it can be a difficult time for the women studying away from their families and the death of a fellow student throws Maud’s poverty into sharp relief. Rescue seems to be offered through the intervention of one of the models and a glamorous Russian; with their help Maud is employed by a young man to act as companion to his vulnerable sister.

What appears to be a lifeline for Maud is anything but. It soon becomes clear that not all is as it seems and their world of luxury hides a dark secret. I don’t really want to give anything away because I enjoyed how events played out and how Maud’s future became entangled with theirs. As the story progresses the characters of Yvette, the model and Tanya, the wealthy Russian are fleshed out and between the two we see the polar opposites of those enjoying the delights of Paris.

I loved the setting, both in terms of period and location, and the art school backdrop brought back memories of a number of books I enjoyed which featured The Slade in London. It’s beautifully written and the author made the book really immersive – getting off the train after I’d put it down I would wonder why I was in London, why it wasn’t snowing… I liked the characters, a mix of woman who showed strength but in different ways and without becoming caricatures and a plot that didn’t take the reader into the realms of the implausible.

If you enjoy historical fiction with a criminal leaning then you should add this to your TBR.

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The Iron Chariot – Stein Riverton (trans. Lucy Moffatt)

51cw35zyl0lTitle – The Iron Chariot

Author – Stein Riverton (translated by Lucy Moffatt)

Published – 2017 (in English) 1909 (in Norwegian)

Genre – Crime fiction

I was intrigued by the publisher’s description of this book as being one of the greatest Norwegian crime novels of all time. Abandoned Bookshop was publishing, in a modern translation by Lucy Moffatt, what may be the first commercially available English translation of The Iron Chariot. I’m not a fan of everything that’s ‘nordic’ but I thought this should be worth reading.

The quiet idyll of a summer retreat on a Norwegian island is disturbed by the discovery of the dead body of one of the guests. The circumstances make murder seem a possibility and the the local police seem ill-equipped to investigate, so Detective Asbjorn Krag is summoned from the capital of Kristiania to take charge. The story is narrated by one of the guests at the hotel, a young man who is staying there alone. The evening before the discovery of the body he was on a night-time walk and heard a mysterious noise – a rattling and thrumming which a local fisherman told him was the ‘Iron Chariot’, last heard some years previously on the night a local farmer died.

While the opening sees the first oppressive heat of the summer, the author uses the change in weather and landscape and moves a lot of action to the night to create a tense and atmospheric read. The pace is is a little slow but probably what what you would expect from a book of the period.  The investigations of the detective and unusual circumstances give a claustrophobic and disturbing feel as the story reaches its climax. The menace of the ‘Iron Chariot’ adds a potentially supernatural element to the story and the sinister occurrences take their toll on the narrator with an increasing feeling of oppression and sense of dread.

It’s easy to compare Krag with detectives like Sherlock Holmes and Hercule Poirot (or even Columbo!). He’s an odd character who behaves a little strangely and appears to be taking an unconventional approach to solving the mysteries. His success in identifying the ‘Iron Chariot’ however, suggests that in the end he’ll get to the bottom of the murder.

The translation seems to be seamless, there’s never a word or phrase that jars. For a book that’s over a hundred years old it’s surprisingly readable and I’m sure this must owe something to the skills of the translator too! It’s remarkable when you consider the date this was published compared to other more ‘groundbreaking’ crime fiction authors who were writing in English, this really does seem to have been ahead of its time.

Well worth a read. Many thanks to the publisher for the review copy.

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Stasi Wolf – David Young

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Title – Stasi Wolf

Author – David Young

Published – Feb 2017

Genre – Crime fiction

I reviewed David Young’s debut, Stasi Child, in October 2015 and in 2016 it was the winner of the CWA Endeavour Historical Dagger – a great feat for a debut. So what’s the sequel like I hear you ask – any ‘second novel’ issues? I have to say that I think Stasi Wolf is the better of the two books.

Following the end of Stasi Child Karin Müller has been sidelined from her activities in the Berlin murder squad and separated from her old partner. Which means that when she is offered another job which will involved the interference of the Stasi she still accepts it. The assignment sees her sent to Halle-Neustadt, a new ‘city’ created in 1967 and known as City of the Chemistry Workers it was one of the largest construction projects on post-war Germany.

ADN-ZB Lehmann 30.4.82 Halle: Fast 100.000 Einwohner zählt heute die Chemiearbeiterstadt Halle-Neustadt. Überwiegend Werktätige aus den Chemiekombinaten Leuna und Buna sowie aus anderen Großbetrieben sind hier zu Hause. Neben modernen und komfortablen Wohnhäusern prägen Sozial-, Kultur-, Sport- und Dienstleistungseinrichtungen das Bild von Halle-Neustadt.

Halle-Neustadt

The case she is sent to investigate, set in 1975, is the disappearance of twin babies. Of course in a city that is the pride of the communist state the Stasi are keen to control how far the team is allowed to publicise the case and who they are able to question about it. As ever, Karin is determined to find justice and her empathy with the parents of the missing babies helps to drive her to find a resolution. She has to work with and despite the Stasi and the team of local police who initiated the investigation.

As a possible clue to the case there are some passages, set in the past, which are narrated by a character who the reader can’t necessarily identify but they are obviously key to the mystery.

This book felt as if it dwelt less on the comparisons of the free West versus the East and more on the new world that the Eastern German citizens were being offered. It’s clear from the descriptions that this isn’t perhaps all that it’s cracked up to be and this isn’t what the leaders would want the populace to think but from Karin’s perspective you get a feeling for both points of view.

One aspect I was curious about was Karin’s husband. In Stasi Child it felt as if there was more to his relocation than perhaps Karin knew but that was only lightly hinted at here. What we did find out was more about Karin’s own backstory and specifically an incident as a small child and the loss of her best friend.

As with the preceding novel the author brings the atmosphere of the post-war setting without filling the narrative with too much detail. It certainly conveys the claustrophobic feeling of living in an environment where the wrong word or emotion can lead to no end of trouble.

The resolution perhaps relies a little more on coincidence than I would like but it is satisfying regardless of that. Although it can be hard to judge when you have read the preceding book, I don’t think you would feel you were missing out if you read this book without reading Stasi Child first.

A great follow-up to an award-winning debut, this is shaping up to be a series well worth reading. Many thanks to the publisher for the review copy. You can see another point to view on Kate’s blog – For Winter Nights.

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Deep Down Dead – Steph Broadribb

51dphgk8vslTitle – Deep Down Dead

Author – Steph Broadribb

Published – Jan 2017

Genre – Thriller

Before I start my review it’s only fair to say that I have known Steph (aka ‘Crime Thriller Girl‘) for a  few years and may have had a social drink or two with her at crime fiction events. I hope that readers of my blog can trust, however, that I wouldn’t give a positive review to a book because of this. In fact that does lead to some interesting thoughts about the world of bloggers, authors and crime fiction conventions / events – but for another day!

Florida bounty-hunter and single mother Lori Anderson seizes the opportunity to take on a job to help her make ends meet after her young daughter’s medical treatment. But with a higher than normal bounty comes a higher than normal risk and Lori finds that the job has a personal aspect to it that will bring back memories that she would prefer to stay buried.

The story is fast paced, with lots of action and plenty of emotional twists and turns. Some of the action sequences have a very visual quality to them and it would be easy to see them transferred to (small or large) screen. It touches on some dark themes and has a smattering of sex, violence and secrets. There are aspects that manage to lighten the mood a little and Lori is a feisty leading lady. I don’t want to give too much away but there’s also a ‘will they, won’t they’ aspect to the story.

I have to confess that if there was one aspect I didn’t like it was Lori’s daughter. I can see how important she was to the plot and to Lori’s motivation but there was something about the too good to be true, pigtails and eye-rolling, that made me hope something dreadful would happen early on in the book!

I mentioned when I reviewed The Distance by Helen Giltrow that while there are plenty of women writing crime fiction it feels unusual to read a thriller written by a woman. It’s therefore great to read another credible, pacy thriller from a female author. Another unusual aspect of Dead Down Dead, and one that is shared with the series by Rod Reynolds and Mason Cross, is the use of an American setting by someone who is British.

This is an accomplished debut and in Lori, Steph has created a character with a very clear and convincing voice. It’s obvious that she’s also familiar with the locations she uses and I know that she took research further than most authors by training as a bounty hunter in California.

I was pleased that the ending didn’t pan out as I thought it might and  it didn’t go for an ‘easy’ option. This is the first in a series and I’m curious to know where the next instalment will take Lori.

Many thanks to the author for the review copy.

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Paula Daly and her writing process

The Trophy Child by Paula Daly, her fifth novel, was published on 26 Jan. A mix of domestic / psychological thriller and police procedural, in a similar vein to Eva Dolan’s Watch Her Disappear it explores the internal pressures within a family and the dark side that can be hidden behind a perfect facade.

As part of the blog tour Paula talks about her writing process.

I’m often asked about my writing process. Not so much about where the ideas themselves come from, but how I go about shaping those ideas, how I go about actually writing a novel.

I can understand the curiosity. When I first started writing it was the one thing I wanted to know. I read lots of books on how to write, how to write a novel, how to write a thriller, a crime novel. I watched endless YouTube videos of authors explaining how they went about their work, creative writing teachers extolling their methods, other writers at the same stage as me, sharing what they’d learned so far.

What was clear was that there were many ways to tackle writing a novel. You can come at it from lots of different angles and still arrive at the same end point. Some writers don’t plan at all and are happy to get what Anne Lamott calls the ‘shitty first draft’ down fast, and then revise the manuscript until it’s ready. Others plan meticulously. A lot of writers do both.

I used to write freely. As in, I had no idea where I was going and I let the plot take me where it wanted it to. Trouble was, I ended up with three unpublished novels as a result. So I decided to try planning instead and I’ve stuck with that process ever since. I realise now that I need to know what I’m writing towards or I’ll go off at crazy tangents and waste a lot of time. And I find writing hard. Getting the words down on paper is not easy for me. So I don’t want to have to delete whole chapters when I’ve got it wrong.

So, once I’ve got an idea for a book, I sit on it for a while. I know when it’s a good idea because I get excited about it. And other ideas seem to start flooding in and ‘sticking’ to that original idea, making it better, more interesting, adding layers.

Then I research. Researching is great because it throws up more ideas for your plot. Often, I can actually begin to fashion a story out of what I discover during the research period. Then I start to write down ideas for scenes. Nothing concrete, just things that I think would be cool to write about, or would maybe surprise the reader, because they’d not seen something done in that way before. Once that’s done, I organise the scene list, and list of ideas, into something coherent that resembles a proper plot. This again takes practice. Structuring a novel is where most people stumble and it wasn’t until I read lots of books and articles about structure that I finally cracked it.

Eventually I’m ready to write. After around three to four months of planning, I’m ready to write Chapter One. It is the scariest moment for me because so much of what happens in my books is rooted in that first chapter. So I have to get it right.

I write seven hundred words a day (it used to be a thousand but I’m limited by back pain now) until the book is done. I edit as I go along, something that a lot of writers don’t do because it stops them from finishing the book. But I have to edit as I go as it’s the only way I understand what I’m writing about, and it’s how I keep track of my story and my characters. When the thing is finished it doesn’t need much of an edit as I’ve been through it over and over by then. Maybe just a day or two tidying up last bits and pieces before it’s ready to go out to my editors.

Then I send it off and I pray.

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