The Appeal of Crime Fiction

Crime fiction has been gaining popularity in recent years, and there are no signs of this trend coming to an end. In 2011 an unprecedented third of titles long listed for the Booker Prize were crime novels. For the first time the Top Ten titles borrowed from libraries were crime novels. Not only that, crime drama dominated television drama.

“Most of us would be hard pressed to say anything in defence of real life crime, so how can we account for the popularity of crime fiction?” is a question I raised in an interview I gave on Crimespree. The truth is that crime in fiction is not the same as crime in real life.

It is disturbing to read about violent crime in the news, but in fiction the rules are different. The good guys win and justice is done. Philip Hensher writing in the Telegraph in 2011 put it like this. “We turn away from the unspeakable, inexplicable horrors of the newspapers, events with no resolution, into a world where a single running policeman can put everything right.” If only real life were like that!

This escape into a world where justice prevails is one reason for the appeal of crime fiction.

Books and Booker

‘I know it sounds pompous,’ I often hear myself say, ‘but I think writers have a duty to at least try to write well.’
Why do I feel I have to apologise for holding that view? If it implies criticism of some of my fellow writers, where does the blame lie?
Just the other day my dentist apologised for extracting the wrong tooth. ‘Sorry’, he said as he wiped my blood from his grubby fingers, ‘I’ve done a shocking job for you. Now I must be off, I’m up for an award as Dentist of the Year.’
Once my gums had stopped bleeding I arranged to meet some friends for supper. I ordered fish. It arrived promptly, quite well cooked on the outside and only slightly frozen in the middle. When I tried to return my dish I learned that the chef was no longer on the premises. ‘He had to dash,’ the waiter explained. ‘He’s off to hear if he’s won Chef of the Year.’
‘The food must be good,’ one of my friends said. ‘The chef’s up for an award!’ The others were too busy chewing to speak.
‘Some of the seasoning could do with severe cutting,’ I muttered. ‘Didn’t the chef taste this before serving it up?’ The only response was the sound of someone choking.

Sir Andrew Motion commented recently that some of the books put forward for the Booker Prize were ‘pretty shocking’ and ‘quite shockingly in want of a decent edit.’ Does the author take no responsibility for the quality of the writing?
My own books have been described as ‘well-written’ (The Times, Marcel Berlins) ‘refreshingly compelling and original’ (The New York Journal of Books, Michael Lipkin) ‘intelligently written’ (Bookersatz, Helen M Hunt) ‘well-written’ (Eurocrime, Amanda Gillies) ‘accomplished’ (Watford Observer, Melanie Dakin). I could go on.

So why do books like mine, well-written though they are, never appear on a long list for a literary prize? Because my books are also described – to quote just a few of many similar reviews - as ‘gritty and addictive… gripping, fast-paced read, pulling you in from the very first tense page and keeping you captivated right to the end ..’ (New York Journal of Books, Sam Millar) ‘a gritty page-turner from the start’ (Star magazine,) ‘tense… fast-paced twisty narrative’ (US Publishers Weekly starred review)

Yes – well-written they may be, but I write crime fiction.
Sorry about the door slamming. That was just my credibility as a writer leaving the room.