Last weekend was the annual CrimeFest convention, held as always at the Marriot Royal Hotel in Bristol. This year was the tenth anniversary, which meant some of the most popular authors from the last decade turned out to help celebrate. These included Lee Child, Jeffery Deaver, Martina Cole, Peter James, and Simon Brett, as well as a host of other crime and thriller writers of all sub-genres.
I thoroughly enjoy events like CrimeFest, not simply for the opportunity to appear on panels, but for the general mixing and conversations you get to have with other writers, editors, bloggers, reviewers, publishers and, of course, with the most important section of those present, the readers.
As I was getting out of a lift in the hotel, someone made the comment that they were “just a reader.” I was quick to correct them. “Oh no, you’re never JUST a reader!” They’re our reason for being. Without readers, after all, us scribblers would be left muttering to ourselves in an empty room.
Fortunately, there were no empty rooms last weekend. It was standing room only in many of the panels, including the ‘Kiss Kiss, Bang Bang’ classic thrillers panel, but I suspect that was largely because Lee Child was on it, along with reviewer Jake Kerridge in the moderator’s chair, CJ Carver, Mike Ripley and myself. The panel title was taken from Mike Ripley’s latest book,
After this panel, I was fortunate enough to be approached by celebrated biographer and fiction author, Sally Cline, who is writing a book about female thriller authors. She wants to include me in her latest work, which is hugely flattering. Had I not been there and she had not heard me speak, it’s doubtful our paths would have crossed.
The bookroom, which at CrimeFest was run by Edouard Gallais and Adam Weeks from Waterstones at Bristol Galleries, is a valuable opportunity to see tables full of crime and thriller novels all laid out side by side. I always find this incredibly useful to look at the different styles of cover design and read the jacket copy descriptions.
Plus I brought home a few, too, to keep me occupied, including Lee Child’s latest, the first in the Marc Portman series by Adrian Magson, and an extra copy of the CrimeFest anthology, Ten Year Stretch. As so many of the contributors to the anthology were attending the event, the organisers had a group signing for all those who wanted to grab signatures. (I’ve always said I’ll sign anything except a blank cheque or a confession.)
Not only do they write a wide selection of books, from straight thriller to cosy village mystery, and cross-genre to alternative history (rhyming not intended) but they were all knowledgeable and informative about the indie publishing route they’d taken. Ian has started his own company, Book Reality, and Debbie particularly mentioned the Alliance of Independent Authors for their expertise and assistance.
I talked to another author a couple of days after CrimeFest, who had not attended as they hadn’t been able to get a panel. “You missed a treat,” I said. Writing is a solitary occupation most of the time, and the chance to get together, to compare notes, to catch up on the latest trends in both publishing and marketing, is invaluable. Not to mention the thrill of meeting and talking to readers. What’s not to like?
This week’s Word of the Week is egregious meaning outstandingly bad, although it used to be a compliment, as the word also has an archaic meaning of something that is remarkably good, coming from the Latin egregius meaning preeminent, excellent, extraordinary. The literal translation is ‘Rising above the flock’ from the phrase ex grege. Ex meaning ‘out of’ and grege, from grex ‘herd, flock’. In a legal context, egregious refers to actions or conduct that is wrong beyond any reasonable measure.