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I was lucky enough to spend last weekend at The Crime and Justice Festival (run by excellent bookshop Readers' Feast) in Melbourne this past weekend.

The third year this festival has been held it's a great time to catch up with friends (all of whom I know from online book discussion groups), sit in some thought provoking (or just flat out amusing) panels, get some favourite books signed, listen to some favourite authors, eat a little, drink a little (stop spluttering - we're restrained... sort of), buy some books, talk about books, talk about stuff and generally enjoy.

This year we were lucky enough to hear Kerry Greenwood (Festival Patron) talk about her life as a legal aid solicitor, Garry Disher, Adrian Hyland, Sulari Gentill, Felicity Young, Robert Gott, David Hewson, Angela Savage, Russell Robinson amongst lots and lots of other people.  We heard tales of court life; tales of the Painters and Dockers; ideas on how to get your book noticed, published and what to do once that happens; a glimpse of how your own personal experience does (and doesn't) inform your writing; and nicely this year, we heard some readings from authors from their books.

It is a great weekend in a beautiful location, and we thoroughly enjoyed ourselves - looking forward to next year I can tell you.

(You'll notice a few new books purchased over the weekend... only a few.  Although I did have a lot of trouble fitting clothes back into my suitcase after I'd packed those books).  Still - there are worse things in the world to be addicted to... aren't there?

(Good news incidentally - Angela Savage's second book is on the way, Robert Gott is writing a new Will Power mystery, there's another Wyatt in the planning as well as Adrian is promising another Emily book). 

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The list of nominees for the 2010 Davitt Awards has now been released.  More wonderful reading to catch up on!

* Marks the ones I've had the good fortune to read so far.

ADULT FICTION

Allen & Unwin - Sharp Shooter by Marianne Delacourt *

Allen & Unwin - Forbidden Fruit by Kerry Greenwood *

Allen & Unwin - Red Dust by Fleur McDonald

Arcadia - Steel River by Antoinette Eklund

Hachette - Dark Country by Bronwyn Parry

Harper Collins - Labyrinth of Drowning by Alex Palmer *

Harper Collins - Too Many Murders by Colleen McCulloch

Harper Collins - A Beautiful Death by Fiona McIntosh *

Harper Collins - Siren by Tara Moss

Harper Collins - Gene Thieves by Maria Quinn

Harper Collins - Gladiatrix by Rhonda Roberts

Pan MacMillan - Move to Strike by Sydney Bauer

Pan MacMillan - Pearl in a Cage by Joy Dettman

Pan MacMillan - Bloodborn by Kathryn Fox

Pan MacMillan - The Killing Hands by PD Martin

Polygon Press - The Devil's Staircase, Helen Fitzgerald

Penguin - Riding High by Emma Boling

Penguin - H (Honey) M Brown by Red Queen

Random House - Ghost Child: The Past Is Always Close Behind by Caroline Overington

Random House - Black Ice by Leah Giarrantano *

Zeus Publications - Pestle & Mortar by Carol Gibson

CHILDREN’S AND YOUNG ADULT FICTION

Allen & Unwin - The Reformed Vampire Support Group by Catherine Jinks

Allen & Unwin - Genius Wars by Catherine Jinks

Allen & Unwin - Liar by Justine Larbalestier

Interactive Publications - Hedgeburners: An A~Z Mystery by Goldie Alexander

Random House - Pop Princess by Isabelle Merlin

Random House - Cupid’s Arrow by Isabelle Merlin

Scholastic Australia - Conspiracy 365 - January by Gabrielle Lord *

Walker Press - The Walk Right in Detective Agency – Bad News for Milk Bay by Moya Simons

Walker Press - The Walk Right in Detective Agency – On the Case The Walk by Moya Simons

Walker Press - Right in Detective Agency – Mischief Afoot by Moya Simons

TRUE CRIME

Allen & Unwin - Lady Killer: How Conman Bruce Burrell Kidnapped and Killed Rich Women for Their Money by Candace Sutton and Ellen Connolly

Boolarong Press - A Greater Guilt: Constance Emilie Kent and the Road Murder by Noelene Kyle

Ford Street Publishing - Crime Time: Australians Behaving Badly by Sue Bursztynski

Jewel Publishing - Salvation – The True Story of Rod Braybon’s Fight for Justice by Vikki Petraitis *

PanMacmillan - Hotel Kerobokan: The Shocking Inside Story of Bali's Most Notorious Jail by Kathryn Bonella

Random House Lambs to the Slaughter by Debi Marshall

The Five Mile Press - Blood Brothers: Justice at Last by Robin Bowles

The Five Mile Press - Outside the Law 3 by Lindy Cameron, ed. *

Viking (Penguin) - Forensic Investigator: True Stories from the Life of a Country Crime Scene Cop by Esther Mckay

Looks like I'd better get reading.

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I was lucky enough to catch up with Louise Welsh on the phone recently and chat to her on behalf of the local Sisters in Crime chapter.  We talked about her latest book - NAMING THE BONES, crime fiction, education and that ongoing question - so what is it about Scotland and all those fantastic writers (amongst a lot of other things).

NAMING THE BONES is the latest book from Louise Welsh and it is ostensibly the story of Murray Watson and his research into the life of poet Archie Lunan.  More than that, this is a book about obsession, closed societies and family relationships.

One of the elements that readers of Louise's books will notice is that there is always a strong sense of place and character.  Louise believes very much in creating a visual sense, often a very contained world, and the art of taking a character and a reader into that place.  In NAMING THE BONES the closed society is a combination of a university and an island.

In this book Murray's childhood is in his mind because of the death of his father and Murray's unresolved guilt / anger at his father.  As Louise puts it, an author often has a backwards view of events.  This is something that comes out very clearly in the structure of the story in NAMING THE BONES.  The way that Murray's life moves forward against a constant backward pull is palpable. 

Given the intensity of all of Louise's subject matter, I was interested to see if the writing was an emotional rollercoaster.  Whilst trying leave it at her desk, walk away and shake the story off, it is often writing the smaller things, for example, a libretto for an opera, that can be even more emotional.  Perhaps because there is less time to rationalise what she is happening to a character?

What was particularly interesting was the amount of thought and consideration that goes into so many of the scenes in the books.  There is an example in NAMING THE BONES where Murray is slogging through a lot of mud in an attempt to get to a particular geographical place, that is also leading to considerable emotional impact for him.  Louise described the process of developing that scene - thinking through how it would feel to be in that place, the technical implications of what he had to do at the end of the journey, how he would be feeling physically, emotionally, and so on.  Louise believes that writers need a particular kind of stamina.  They need to practice the craft, work it, think about it all the time.  Summed up best in her own version of a Jodi Picoult quote "I have days when it is awful, but at least I can edit something awful, you can't edit a blank page".  (The exact quote from Picoult's website is "... if it's writing time, I write. I may write garbage, but you can always edit garbage. You can't edit a blank page.")

Louise didn't particularly start out to be a "crime writer" as such, but appreciates the way this group of writers keep their feet firmly on the ground.  Although not a fan of the "travel" bit of travelling, hanging out with readers and other writers is the bonus at the end of the trip, as well as being immensely grateful for the chance to visit places she would never have expected to be.  As most of her books have been set in and around Scotland or areas that she knows, I did take the opportunity to ask about locations.  Whilst Louise has dabbled with other places, such as Berlin, ultimately bringing the story and the characters "home" is important.  Possibly that is part of the reason why the sense of place works so well in these books - the place is as familiar to the writer as it becomes to the reader?

Inevitably, when considering the waves of excellent crime fiction coming from specific locations, the question of "what is it about Scotland" comes up.  Here we wandered into some absolutely fascinating territory.  Being so closely connected to Scandinavia (Norway in particular), there is a sense of shared sensibility between the locations - and there is excellent crime fiction coming out of both locations.  Social issues being explored is a common thread, although there is difference sense of humour in Scottish fiction, slightly edgy possibly harsh to those readers not used to it.  Louise also made the observation that education is highly regarded in Scotland, and this creates immense opportunities for everyone, with a feeling that you can be anything you want.  This possibly gives rise to a larger percentage of writers from different backgrounds, with a a different sensibility, viewpoint and life experience.  There is also a strong desire and tradition of story telling in Scotland, as it is in Ireland.  Here we got into a very interesting area of discussion as to why there is less of a push from Wales, for example, ultimately musing whether or not it was a question of preserving cultural heritage.  Wales does it through their own language, their music and poetry.  Scotland and Ireland through their story-telling, and a need to preserve tradition orally, combined with that sense of humour (not to say that any culture has less of any of those individual elements!).  All in all it was a very thought-provoking discussion.  Perhaps it's not just something in the Scottish water - it's something in the Gaelic sense of tradition.

Louise also sees how pleasing it is for readers to get a sense of validation of their own culture and experience - the pleasure you have on seeing or "hearing" someone or something in a story that you can immediately identify with.  Good fiction, crime fiction in this case, also allows a reader to walk in somebody elses shoes - probably in an area that most readers will never have an opportunity (or the desire) to do in real life.  For Louise to present that good crime fiction, she is always trying to be slightly different, to improve, change, adapt her story-telling style.  She is also generous with her readers, believing it is a privilege to meet readers at festivals and events who knows the books better than she does. 

At present there does seem to be a propensity for publishers to push for series books / characters / scenarios yet none of Louise's  books are in any way connected to the earlier ones.  Never having encountered any pressure from her publishers in any way, Louise goes to them with the synopsis or idea behind the next book, they don't come to her with any specifics.  Which is just as well as she doesn't necessarily know what the next project will be until she's started it.  In fact she tries very hard not to get too comfortable, too ahead of herself as she does not want to lose the edge that the unexpected gives her.

We actually started off this interview talking generally about the notion of genre fiction.  Louise says (and I'd have to agree) that genre readers are often open to a range of different styles - be it crime, science fiction, fantasy, urban fantasy etc.  This makes for a readership that is frequently in search of strong narratives and good solid characterisations.  And as she also pointed out, writers are almost invariably readers first.

We ended up the interview back talking about NAMING THE BONES.  Not just a book about obsession and closed societies, Louise was exploring the nature of families and the relationships within all the different sorts of families.  As she puts it, they are the people you are most likely to fall out with, because you know they will take you back.

Louise's books are gothic, dark, unexpected, thought-provoking and often emotional.  And they are well worth reading.

Books so far are:

The Cutting Room (2002)
Tamburlaine Must Die (2004)
The Bullet Trick (2006)
Naming the Bones (2010)

Louise Welsh will be at the Melbourne Writers Festival in September.  Stand by for news of the Sisters in Crime events she will be attending as well.  Do make sure you catch up with her books, and with any of the sessions that she's speaking at.

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A while ago I bought an ereader (ECOReader - not store or manufacturer aligned / supports heaps of different formats / Linux installation - ticked all my boxes in other words).  I didn't buy it as a device to become a rogue reader though, far from it actually.

We've been listening to, involved in, asked about and thought about digital rights a lot lately.  I guess this is something that we have a slightly different perspective on - having been in the business of giving away free software (open source) and using free software (don't need to use Microsoft software on my laptop or Netbook - miss out on nothing by not) for ages now.   (Disclaimer - I'm now involved in a small publishing venture and we're about to start releasing some ebooks as well).

One of the most frequent concerns voiced is, however, not by the consumer of copyrighted material - it's by the producers.  How are we going to make a living in a world where copyright seems to no longer be respected.  Where free downloads, ripping off of materials and wanton distribution of illegal materials is not just condoned, it's often celebrated.

This is now becoming an issue for authors as the craze for ebooks takes off.

Whilst the producers can have a go at protecting their copyright it's more often than not a fairly futile exercise - there is always somebody less than 1 step behind them cracking protection schemes, doing the distribution, pressing on with the theft.  And that's what it ultimately is - it's theft.  And it's not theft "from the big boys" therefore it's okay.  This is no Robin Hood behaviour people, let's not for a moment pretend that it is.  The artists are providing you with the means to entertain yourself, and you're stealing that effort.

Now I'm not for a moment pretending that we have all the answers in open source - and it is a model that has been struggling along under the weight of it's own issues for a long time now, but there are people making a living giving their main product (the software) away.  There are also other people who use the medium as a way into a living (as a springboard for a job).  There are ways that free product can be used to leverage an end result for the producer.  But there is also a concomitant obligation on the part of all consumers to acknowledge that without the producers, you have nothing to consume.  This idea that you can just steal what you want, when you want, because it's "electronic" is just pathetic and attempts to wrap it up as anything other than that - well who do you think you're kidding.

But on the more positive side, there are ideas out there - methods for leveraging are starting to be articulated and we're always on the lookout for these.

Recently 1,000 True Fans came up:  http://www.kk.org/thetechnium/archives/2008/03/1000_true_fans.php

Have a look - you might find it an interesting, if not slightly daunting idea.

In the meantime - if you're reading these posts on your pilfered copy of commercial software, or you're quietly listening to a music track that you illegally downloaded - snap out of it.  If you can't afford to buy the stuff - look for the Open Source / free alternative.  But for goodness sake, have some backbone and support the artists, software developers, authors, film and TV producers that entertain you and allow you to work.

(Second disclaimer - I have Torrented a bit in the past - conscience very quickly got the better of me.)

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AUSTRALIAN WOMEN’S CRIME BOOK COMPETITION, THE DAVITTS, NOW OPEN

Sisters in Crime is inviting publishers to enter its 2010 Davitt Awards for the best crime or mystery novels and true crime books by Australian women published last year.

Four Davitts will be presented by Scottish crime writer, Val McDermid, on Saturday August 28, 7pm, at the Celtic Club in Melbourne for best novel (adult); best novel (children’s and young adult); best true crime book and best book (readers’ choice), as voted by the 500 members of Sisters in Crime Australia.

The Davitts (named after Ellen Davitt, the author of Australia’s first mystery novel, Force and Fraud, in 1865) cost publishers nothing to enter.

The awards are handsome carved polished wooded trophies featuring the front cover of the winning novel under perspex. No prize money is attached. The awards do not extend to e-novels though it does extend to self-published books.

Sisters in Crime spokeswoman (and the Sydney Morning Herald’s crime columnist), Dr Sue Turnbull, said Davitts awards celebrated their 10^th birthday this year.

“Ten years ago, only seven books were in contention, though it’s true to say back then true crime books weren’t included. This year we expect that at least 40 books will fight it out for the Davitts, and it’s been the case for the past few years,” she said.

“The Davitts have played a key role in getting women’s crime books better recognised – and in encouraging Australian publishers to take a punt on crime books produced by women locally, instead of just importing the latest block busters from overseas. It’s a gamble that has paid off.”

A Beautiful Place to Die, the book by last year’s Davitt (adult fiction) winner, Malla Nunn, is one of six novels shortlisted for the Edgars, the most prestigious US crime award (to be decided late April).

The judging panel for 2010 comprises forensic pathologist Dr Shelley Robertson, retired bookseller Rosi Tovey and three Sisters in Crime national co-convenors: Dr Sue Turnbull, Tanya King-Carmichael and Jacqui Horwood.

Sisters in Crime was established 19 years ago, has chapters in different states and holds regular events in Melbourne dissecting crime fiction on the page and screen. It publishes a magazine, Stiletto, and hosts a popular annual short-story competition, the Scarlet Stiletto Awards.

To enter, email Carmel Shute on cshute@internode.on.com by May 17.

Enquiries: Carmel Shute, Sisters in Crime, National Co-convenor on 03 9527 7126 or 0412 569 356

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