Tuesday, 11 February 2014

Liar Liar - Lisa Unger

Why do people lie?  Let’s start with you.  When’s the last time you told a lie?  And I don’t mean a big one.  I mean a little one, say to protect a friend’s feelings, or to spare yourself embarrassment.  I consider myself an honest person, but I occasionally lie.  My daughter believes in Santa Claus and the Easter Bunny.  While I didn’t tell those lies precisely, I have played along.  Even today, I woke up thinking of a palatable lie I might tell a friend to avoid spending time with him and his new girlfriend out of loyalty to his ex-wife who is also my friend.  There are a hundred things that I don’t say, or gloss over to keep the peace in relationships.  Is keeping silent the same as lying?  When it comes to lying, I have a lot of questions.

Most of my novels are, in one way or another, my way of answering the queries I have about human nature.  I am most concerned with motive.  I am far less interested in what people do than I am in why they did it.  Why do some people cheat, steal, or murder to meet whatever dark agenda they might be running?  Why do others willingly sacrifice themselves to protect, to defend, to help strangers?  But I am especially fascinated with why people lie.  Why do we lie to each other?  Why do we lie to ourselves?

I have had a number of characters lie to me over the years.  I start off thinking they are one thing only to learn, as the narrative progresses, that they are something else entirely.  But Lana Granger, the main character of IN THE BLOOD is by far the most effective liar I have encountered.  When we first met, I knew she was hiding something, maybe a few things.  But the size and scope of her lies surprised even me.  Of course, she had her reasons.  Liars usually do.

Given the corrosive nature of lies, and how the act of lying and then lying again and again to protect the initial lie takes such a heavy emotional and psychological toll, wouldn’t it be easier to just tell the truth?  I often look to myself for answers when pondering my characters.  Take the situation with my friend, for instance.  Wouldn’t it be simpler for me to just say: “Hey, look, as much as I love you, I just can’t get past the idea that hanging out with you and your girlfriend is a terrible act of disloyalty towards your ex-wife.”  Otherwise, I will perpetually have to come up with excuse after excuse until the invitations cease out of anger, annoyance or just embarrassment. 

But the truth hurts.  For Lana, it is far harder to bear the facts of her life than to live a lie.  Her falsehoods form a cocoon, and inside it she’s undergoing a metamorphosis.  She’s growing and changing.  She’s reaching a point where she might be able to push out through the layers of her chrysalis and emerge a new creature altogether.   So, in that way, don’t her lies have some kind of redeeming value for Lana?  Perhaps it is her psyche’s way of healing itself from the trauma of her past.  Perhaps it was wise or even necessary for Lana to lie about herself.  Maybe it was her right to be someone she wasn’t, just for a little while, until she was stronger.  One of my other favorite questions: Is a lie always a bad thing?


Writing about my lying characters has convinced me that honesty is the best policy where my friend is concerned. But I’m still not sure what I’m going to do.  It takes courage to speak an unpleasant truth. And I know this from bitter personal experience.  There have been times when I have opted to say the absolute truth of my feelings.  I have stood up against abuse, spoken out against bad behavior, left situations that were too unpleasant to endure simply for the sake of good relations, and offered honest responses to hard questions asked by friends.  In some cases, when people were ready to hear the truth, things turned out all right.  But mostly, they went badly.  Huge battles followed, relationships were sundered or permanently maimed, and I still struggle with thinking that I should have just kept my mouth shut. 

I think there are myriad shades of truth in most encounters, layers of self that are revealed or concealed.  The laying bare of the soul is a frightening act of intimacy; most of my characters don’t have the courage for it at the beginning of my novels.  Some do by the end.  Maybe that’s the point, that they all walk the road from lies to the truth.  And for most of them, there’s redemption in the journey. 


In The Blood by Lisa Unger is out in paperback and eBook, 13th February

This article also appeared in http://crimespreemag.com 

Follow Lisa Unger @lisaunger  




Friday, 17 January 2014

London Calling - short story by Clare O'Beara



London Calling

"London calling," said the investigator in the Moscow branch.  "Interpol wants us to send a liaison officer to them."
His superior frowned.  This might be a time to get on someone's good side by sending their son to this brief. On the other hand...
"We don't want to make it a permanent posting," he said.  "I can think of someone we can be well rid of for a few months."

Arkady Renko arrived in London overland, having endured a long wearying journey and with one bag.  Although he was well travelled, the price of a taxi staggered him.  Interpol, based in Lyons, had a branch office here in London in an ordinary office building.  Renko showed his ID and asked for his contact.
"Good to meet you, Investigator Renko," said a bluff man in his thirties with fair hair razored short.  His grey suit was practical but much better tailored than Renko's.  "I'm Derek Jameson. We've got an apartment ready for you and we'll get you a security badge for this office first thing.  Then you can meet the rest of the team."
This office kept tabs on the many immigrants and migrants in London, business people and gangsters, employers and exploiters. Renko nodded politely at the Jamaican, the Pole, the Indian, the Lebanese and the several English men and women. He was too tired to contribute much the first day, but after some days he had settled in and was running through photo recognition software of people well known to him as Russian merchants, or gangsters in this context.  In the new Russia, one often equated to the other.
"This man imports luxury cars," he said, noticing a face on a surveillance shot. 
"Yes, stolen to order, resprayed and driven across borders, sometimes hidden among cargo in trucks," said Jameson.  "Interpol keeps a lookout for stolen Range Rovers, Mercedes, Lamborghinis and the like.  The database is here... and there's one of stolen art and antiques, another very flexible commodity."
Renko had a lot to learn, including finding his way around the technology.
The investigator had been there for a few weeks, gradually gaining confidence in his peers, when the ground floor desk paged him on the mobile phone he'd been issued.
"A young man is here to see you, if that is possible," the receptionist told him.
"I'm not expecting anyone," said Renko.
"He says his name is Pribluda."

Renko stared at the young man, trying to recall the face of his friend and colleague from Moscow, all those years ago.  This man was dark-haired, with a round face, heavy eyebrows and a high forehead.
"I used to know a Pribluda," Renko said.
"My uncle," said the man simply.
"You are?"
"Bas."
Renko frowned.
"Vasily, in fact, but the English find Basil easier."
"Tell me about yourself," invited Renko, and they strolled to a nearby café which broadcast a scent of strong coffee.
"The man you knew had a little sister, called Anya. She says he hoarded goods. He had tins of ham and warm socks and electrical items when the Iron Curtain made importing difficult.  He had a purpose... he used them to buy his sister a place as costume maker with the Ballet, then when they went on tour, she went along, and slipped away from the supervisors.  She's been here ever since."
Renko nodded, smiling.   While Pribluda had been a chubby man, tins of ham were far too valuable to eat at a time when city dwellers lived on bread, sausage, pickle and vodka, and town dwellers had the boon of gardens which had to be pressed into service to grow vegetables that kept over winter, like cabbage. Tins and electrical goods were for bribes.
"He kept that quiet."
"As an investigator he could not afford to have a tainted family. He had to make it appear as though they were estranged for years."
"Your mother married here?"
"If you can call it that," said Bas.  "Two years of a marriage. But she got me out of it.  The man was gone by the time I was born, so I have her surname.  We live in Harlesden because it's a mixed immigrant community, cheaper housing than the better areas."
"How did you know I was here?"
"The Russian community isn't huge. I am night manager of a restaurant and people talk."
"So," said Renko, "what do you want from me?"
Bas picked up a menu.
"Can I buy you lunch?"
"Here?"
"You didn't come to London to eat blinis," said Bas.
Over fish and chips with a wedge of lemon, the young man opened up to Renko.
"My girlfriend has gone missing."
"Report it to the police."
"It's not that simple," he said. "She was housekeeper for a businessman.  It's an investment, a London apartment, and somewhere for him to run when the heat is on at home. His wife and children go with him to Bulgaria for skiing and sun holidays, but he doesn't bring them to London.  He wanted a girl here so he brought Nadia along, told her she was his housekeeper and gave her an allowance for when he's not here. But her duties then turned out to include in his bed, and she was beaten if she refused. I met her at the restaurant and we got chatting, she started seeing me.  If she lost her job she would have to go back to Russia, and she doesn't want that."  Bas produced a mobile phone and showed Renko photos of his girlfriend.  She had dyed blonde hair with an inch of roots showing, and she wore city fashions.  She looked young.
"How old is she?"
"Just twenty.  I'm twenty-six.  She doesn't want to be blonde, her boss insisted she dye it.  She was going to try to get a college course; he refused to allow her to study, because then she could have her own visa. But she vanished a couple of days ago and I think he's come back and taken her back."
"Back where?"
"Well, to his apartment. I don't know the address. That's what I thought you might help with.  Nadia never wanted me to show up there in case I'd get hurt - or she would - so she wouldn't tell me. She moved in with me while the boss was away, but if he found her she'd be terrified and I think she'd go with him."
"How could I find the address?  Do you have his name?"
"No, but I do have his car registration.  From a photo she sent me of herself on her phone.  She's not answering now, but he'd take it away from her."
"I'll look into it," said Renko. "No promises."  He was thinking that he was no longer young and his body had been through enough rough work, but still, he could remember being the same age as this earnest, grey-eyed young man.
"I just want to help her escape," said Bas.

Interpol communicated with the Met and a plate read was returned with a name and address.
"What do you know of this man?" Renko asked Jameson.
"Feet in trouble everywhere he steps.   We keep an eye on his movements but we've nothing solid... we'd love an excuse to investigate his premises, see what exactly he's moving and who his contacts are. Rumour says he traffics women. They move money between dozens of bank accounts, use tax avoidance, make occasional donations to charity as a tax loophole, appear to be solid burghers. He's got hired muscle in case of kidnapping. These are ruthless people, as you know, business is done with violence."
"Kensington is a wealthy area," said Renko, who had got the hang of the Tube, strolled around various streets, soaking up history, traffic, bike couriers, local character and tourists. 
"Expensive homes often don't get offered on the English estate agent boards any more.  Agents know where the money is. Arabs and Russians are getting first pick."
Neither Bas nor Nadia had any criminal background, to Renko's pleasure. Criminals didn't normally walk into an Interpol office, but one could never be too careful.

Renko phoned Bas. 
"I have some information, but you must understand that I have no police standing here.  I can't make arrests. If this girl is being harmed, she can make a complaint in a police station."
"If I could just find out if she's there, if she's okay or being ill-treated," begged the young man. 
After further consideration, and a pleasant meal at Bas's restaurant with Interpol picking up the tab, and Anya chatting volubly in Russian about the days before she was free, Renko relented.  He and Bas sat in the young man's car at a corner of the road and watched the house.  A whole three-storey town house was this businessman's hedge against inflation or unfriendly competition, with a railed park across the road.  A couple of hours passed with no result. They did not wish to ring the bell and draw attention and censure on Nadia, if she was inside, and traffic was brisk enough that their presence went unnoticed.
Bas talked about his Jafraican neighbours, and the Armenian dry-cleaners, while nannies and children with balloons walked past to play in the park.  Renko, liking this young man, ventured some stories of Havana, and of a fishing vessel in the North Atlantic.  London was warmer than Moscow in this autumn, and there were worse places to be.
A car with tinted windows drew up and parked - illegally, Renko thought - near the townhouse in question. A man in a long coat got out and walked up to the door they'd been watching. Blinds were down barring a view inside, but he rang the bell. 
"This doesn't look good," muttered Renko, his instincts sending a warning.  He jotted a note of the car's number plate.
The door opened and a girl with blonde hair was visible.
"Nadia."  Bas sat straight. They were too far away to be sure, but Renko thought the girl had bruising on her face.
The newcomer pushed past the girl and she appeared to fall in the hallway.  Bas was out of his car in an instant, and cursing under his breath, Renko followed. His joints creaked from sitting. Next they heard shots. Bas didn't slow.  Renko did. More shots pierced the afternoon air on this pleasant street. The man who'd arrived stumbled out the door and back to his car, a pistol dangling from his right hand. Blood splattered the pavement.  He got into the driving seat and started the engine, moving out without indicating. Renko was already phoning for aid, giving the police the plate and other details. Then the investigator continued to the door.
"She's okay, just shocked," Bas said as he helped Nadia out to the street.  Her eyes were wide and her hair was blonde all the way to the roots, but the bruising on her cheek told its own tale, and she was clinging to the young man's arm.
"Stay right there.  The police are coming," Renko instructed, and Bas nodded.
"Police," he called out in English and in Russian.
Inside Renko found a man slumped in the hallway, a bulky man with a gun on the floor beside him and blood staining through the back of his jacket.  A quick touch of his fingers told Renko that the man had no pulse.  He investigated the downstairs room off the street, which had lights showing. This was a crime scene, but there might be someone he could help; there might be someone who could shoot first, as well.
The man in this room was past either option. He was sprawled back in a leather swivel chair, and a few bullets had found their mark. A sharp smell of blood stained the air. There was a laptop computer open on the desk, and a screen showing. Renko pulled on the thin latex gloves all police carried nowadays, before touching anything.  The screen was open to a bank account with over a million pounds in the balance.
"Renko! Police car coming," called Bas from outside.
Renko made a swift bank transfer of one million pounds to an account number he knew by heart, the charity Children of Chernobyl.  Then he left the house. 



London Calling was the winning entry in the competition held on The Dark Pages to celebrate the launch of Tatiana, the brilliant new thriller from Martin Cruz Smith.

Tuesday, 10 December 2013

Taking the writing on the road - Craig Robertson

Taking the writing on the road
Craig Robertson

As any crime writer or criminal will tell you, the trick of getting away with it is not to get too greedy and never, ever, return to the scene of the crime. Quit while you’re ahead.

That’s maybe what we should have done after organising the first Bloody Scotland festival in Stirling in 2012. It had been bold and reckless yet somehow we pulled it off. We built it and they came, crime writers and readers in their thousands, and no one got hurt. It was a small but beautiful miracle.

Did we return to the scene of the crime? Well of course we did.

Greedy for more of the same, we did it all again in September. The 700-seater Albert Halls were sold out for both Jo Nesbo and Lee Child, and there were huge audiences for the likes of William McIlvanney, Colin Bateman, Arne Dahl, Denise Mina, Christopher Brookmyre and Mark Billingham,

My own Bloody Scotland experience was a mixed bag. I say mixed, I mean weird. The ever-excellent Chris Carter and I had a full house for our discussion about serial killers.

I also had the dubious pleasure of moderating the formidable pairing of Val McDermid and Stuart MacBride. I say moderating, I mean being hopelessly out of control. Keeping those two in order was like trying to catch flies with chopsticks.

Finally, I was part of our Killer Cookbook event to help raise money for Dundee University’s ground-breaking new morgue. A gang of crime writers have supplied recipes for the book and this was our chance to cook them for an unsuspecting audience. Sadly, I was banned from making human black pudding with scallops and apples. Health and safety gone mad, I tell you.

We should have been satisfied with getting away with it for another year but no. Instead we decided to take the show on the road as part of Book Week Scotland which ran from November 25 to December1.

Bloody Scotland on Tour featured eight events and 24 crime writers and saw us roll into Edinburgh, Dundee, Orkney, Lasswade, Stirling, Glasgow and St Andrews. (If you’re counting, we went to Stirling twice).

Taking a festival on tour is something of a weird concept to start with. The idea is usually that people come to you and get the chance to see a bunch of their favourite writers in one place, with one event after another.
This was more like taking the band on the road again. You know… groupies, roadies, trashing hotel rooms and throwing pianos into swimming pools from twenty floors up. Except without the roadies, room trashing or piano throwing.

It’s really all about the groupies. Or readers as they’re more usually known.

Despite the wonders of social media that let an author tweet a pearl of wisdom, or what they had for lunch, to a few thousand readers with a single click, it doesn’t replace meeting real people. It’s part of a writer’s job to get out there, meet the public and sell a few books.

It’s healthy for us too. By the nature of it, our working day means being locked up on our own and it’s too easy to lose sight of what we’re doing and why. Meeting readers and explaining why your protagonist is so messed up or what you were trying to say with that ending, is a useful part of the process.

It helps that readers are a very friendly bunch and are willing to come out in all weathers to listen to and meet authors. There’s nothing quite like someone telling you they loved your last book to brighten up a wet Wednesday night in Wick. (We weren’t actually in Wick on the Wednesday, we were in Kirkwall on Orkney but the alliteration is much more difficult.)

There’s a real appetite out there for crime fiction and I think there’s probably a morbid fascination for readers to see the kind of people that dream up such brutally violent scenes. The disappointing truth is that most crime writers are actually normal and nice. It’s those chick-lit authors you have to watch out for…

So, have we learned our lesson or will we return to the scene of the crime yet again? Of course we will. Some of the very biggest names in the business will be in Stirling from September 19 next year and I can’t wait. I could tell you who they are but, of course, I’d have to kill you.

Craig Robertson's latest novel, Witness the Dead, is available now!