Tag Archives: crime fiction

Meet crime authors at Shrewsbury Waterstone’s

Meet crime authors from across the country at Shrewsbury Waterstone’s on Sunday 15th April from 2pm to 3.30pm. The branch is expanding its Crime Section, so to celebrate they have joined forces with the Crime Writers’ Association to bring you this Meet the Author speed-dating event. There’ll be fiction and true crime, an opportunity to talk to authors – and, of course, buy books.

Come and say hello! I will be in attendance with the shade of Alfred Swaine Taylor, whose most famous case – that of William Palmer, The Rugeley Poisoner – started with a poisoning in a Shrewsbury hostelry.

Find Shrewsbury Waterstone’s at 18-19 High Street, Shrewsbury, Shropshire, SY1 1SJ.

Alfred Swaine Taylor and The Poisoned Chocolates Case

Wonderful pulp cover of The Poisoned Chocolates Case, showing a woman in 1950s evening wear reaching for a chocolate.

It might seem odd to think that Alfred Swaine Taylor, who died in 1880, could have anything to do with Anthony Berkeley’s 1929 novel The Poisoned Chocolates Case – but he does.

I had already found references to Taylor’s books in some of Dorothy L Sayers’ work, so it wasn’t a surprise to find Taylor popping up once again in Berkeley’s novel as they’re both Golden Age authors who were acquainted with each other. In fact, before Taylor’s name was even mentioned in the book, my own knowledge of Taylor and poisons was piqued when the symptoms brought on by the poisoned chocolates was mentioned.

I don’t think it’s too much of a spoiler to say that the poison used in the novel is nitrobenzene – it’s mentioned quite early on. And the title of the book does somewhat giveaway the fact that poison might be involved somewhere.

I first heard of nitrobenzene in researching Fatal Evidence – when the chemical compound was first discovered, Taylor sounded the alarm. It had many purposes but was often used as a flavouring and as a scent because it mimics bitter almonds. Now, bitter almonds contains the same active ingredient as Prussic acid, and if you eat vast numbers of apple pips, or the soft centre of pips from fruit such as cherries and peaches, you’ll be consuming poison. Nitrobenzene was a synthetic variant, but it was still dangerous.

As I read on, congratulating myself for already knowing rather a lot about nitrobenzene thanks to Taylor, who should be mentioned but Taylor himself? Or least, Taylor’s Medical Jurisprudence? The same book which Sayers refers to in her work.

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And that’s the first draft

A black and white photograph of the River Colne at Wivenhoe. A Thames barge in full sail is in the middle of the photograph; a square rigger is to the right in the distance. On the left, the masts of many boats can be seen, and a jetty is in the foreground.

The River Colne at Wivenhoe. 19th century.

You will go to the devil, die when you will, you will go to a rare place when you die.1)Purloined from a real trial that you’ll find out about in Fatal Evidence, put into the mouth of a character in my novel. Because if you’re going to threaten someone, *that’s* the way to do it. Especially if you’re a Victorian.

I’ve always written fiction, so being commissioned to write non-fiction has been quite… surprising. But in a good way.

The trouble is that all the research that went into Poison Panic and Fatal Evidence stoked my fiction-writing brain-muscles. For the whole time that I’ve been writing those books, stories and characters began to take shape. It’s a bit like watching a candyfloss machine – the sugar spins round the stick, and what was air and granules becomes a novel.

Initially, it was a short story based on suspected poisoner Mary May. There was going to be a detective sent up from Scotland Yard, there was going to be a plucky governess, there was a to-do with some bottles, and there was a blacksmith…. And I wrote a tense dinner scene, and had no time to write more. So I carried on with my non-fiction and started work on the biography of Victorian forensic scientist Alfred Swaine Taylor. And Taylor decided to nose his way into my fiction. He wanted to be in a novel. He demanded it. I told him this was churlish behaviour, considering R. Austin Freeman had already based his detective Dr Thorndyke on him. But Taylor wouldn’t leave me be, so I let him wander about at will. But all he did was stalk back and forth past a flimsy theatre set of a north Essex village; a flint-covered church and a timber-framed pub. He didn’t look very pleased. I wasn’t either.

But it was a documentary about Scottish crime writer William McIlvanney, father of “Tartan Noir”, which helped me see the light. The setting for his gritty tales were the shipyards on the Clyde. And there was a shipyard and a dock where I grew up. In fact, if it wasn’t for that shipyard, I wouldn’t exist: some of my family only moved to Wivenhoe, a village on the River Colne in Essex, to work on the shipyard.

I’m not enough of a daftie to claim that the Colne and the Clyde are interchangeable, but that idea of the crime novel and the river, the shipyard and the dock was the moment that the vague, floating idea was forced into sharp focus.

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Footnotes   [ + ]

1. Purloined from a real trial that you’ll find out about in Fatal Evidence, put into the mouth of a character in my novel. Because if you’re going to threaten someone, *that’s* the way to do it. Especially if you’re a Victorian.