Interesting piece in the Telegraph this week about the apparent increase in explicit violence in crime fiction. I read a fair sprinkling of the genre, and know that I have learned my limits in what I choose to read, and to watch. Reading words leaves less of an imprint on my brain than seeing and hearing images on a screen: and it’s easier to skip pages than it is to block both sight and sound. I skipped many pages in the Stig Larsson trilogy, although by the third book I was skipping to avoid badly edited tedium, wondering if it had in fact been edited at all.
Most of the time I prefer my books and films to infer, and avoid excessive violence. Against children the mere inference of violence is too much for me: I even have to avoid some of the NSPCC ads on TV. Violence and cruelty against adults, female and male, are difficult, and even more troubling is the trend towards female victims, where the violence tips over into sadism that makes the reader complicit. Not good. I have no doubt violent scenes in books sell copies – why else would there be such a plethora in these times when sales seem to count more than anything else? I want to sell copies, of course I do, but not if it means writing something I really wouldn’t want to read myself.
One of the beauties of self-publishing is that the author can be under no external pressure as they make choices about content, style and everything else. Instinctively, and without any evidence, I picture the editor of a publishing house whispering in the author’s ear how a bit more explicit sex or violence would catch more readers’ attention, and probably media attention too, cajoling and tempting the writer to go against their own better judgement. Maybe that’s just my ‘don’t even think about trying to push me around’ mindset. Maybe it would never be like that, but for me it’s hypothetical anyway. My editor Charlotte is a fine professional and an old friend who knows there would be little point in pushing me to do anything I wasn’t happy about.
My interest in writing crime fiction for the next book, number four, remains strong, and I’m gradually resolving some of these issues in my head. There are bound to be bad and violent people and actions, or there would be no crime in the crime fiction. But I want to make both content and style more subtle if I can, without sacrificing the grip of the story. I just hope crime fiction readers who pick up a book of mine aren’t so jaded that they lose interest unless the details are laid out, full and frontal and covered in gore.