Authors: Luca Veste

DEAD GONE (42 page)

Back to the release of Thomas Harris’s ‘Red Dragon’, this epitomised the growing public interest/concern into serial murderers. The novel was released at just the right time, capturing the imagination of the public in a much similar way as Jack the Ripper had done over ninety years previous. Of course the difference here is one is fictional and one is not. Does the mythologising of the Jack the Ripper case say something about how a public interest in murder, and in particular the randomness of some serial murders, manifests itself in the fiction they read? In British crime fiction, from the excellent creation of ‘Stuart Nicklin’ in Mark Billingham’s ‘Scaredy Cat’ and ‘Death Message’ to Val McDermid’s ‘Jacko Vance’ the most popular serial killer creations have their basis on the 1980s classification. However, over time more strands have been explored within the serial killer novel. When done well, this can work, with the likes of Dexter Morgan from the Jeff Lindsay novels and his ‘code’ – only killing those who have done wrong – and also, with writers such as Lauren Beukes, Steve Mosby, and John Connolly utilising other genres in their work. There’s also characters such as Lee Child’s ‘Reacher’, who is for all intents and purposes a serial killer, but is never treated as such by readers in the main.

The appetite for serial killer novels is arguably rooted in a deeper sense of security in the fictional. It’s long been suggested that readers use fiction to live out their own fears vicariously, knowing in the vast majority of cases the ‘hero’ will prosper. The motivating factors of fictional serial killers are laid bare, in a final act of good vs evil, before all is made right in the world. Most are often resolved to a satisfactory conclusion, providing a sense of balance to what is often not the case in reality, with serial killers often not providing explanations for their actions leaving psychologists and criminologists to provide answers based on the best evidence available. For example, the most prolific serial murderer in the UK is Harold Shipman, with over two hundred victims linked to him. However, was Shipman a power/control orientated type, or did he murder for financial gain (which would place him in the hedonistic type), or did he hear voices, such as a visionary type would? It’s impossible to know. Do our fictional serial killers ever match up to the nightmare of the very real serial killers of Henry Lee Lucas, John Wayne Gacy, or Dennis Nilsen? Or is there protection found between the pages of a novel – the reader safe in the knowledge that it will
probably
never happen to them …?

Acknowledgements

Without the support of so many, this book would not have been possible. I owe my eternal gratitude and thanks to the following people.

To Eva, Nick, and Helen, who were always just an email or phone call away, and consistently provided excellent advice and guidance. Similarly, Steve, Stav, and Neil, who inspired much of what appears between these pages. Charlie Williams, who dared me to write a story and then told me to keep going. To early readers Vicky Newham and Linda Moore, who afforded their time to me and were a great help.

Thank you to my agent Philip Patterson, who changed my life (and this book) with one conversation, and has continued to give unwavering support since then. Also to Isabella and Luke at Marjacq for all their hard work. My incredible editor at Avon, Sammia Rafique, who has gone above and beyond my wildest expectations with her drive and tenacity for the book. Thanks also to Keshini Naidoo, and everyone at Avon and HarperCollins.

To SallyAnn and John and Gina Kirkham, for all the policing advice. All mistakes are my own, and probably intentional. To all the writers who contributed to the various charity anthologies I’ve been involved with, and also all those who have given their support via Facebook and Twitter. Col Bury who published my very first short story – who says scousers and mancs can’t get along?

My family, who have constantly been a source of both support and inspiration. My parents Alan and Tracy Veste, Sue Kirkham and John Brisk, and Carole and Alan Woodland (it was a group effort). My grandparents, and all eight of my brothers and sisters (I’ll name you all in the next book!). Perry and Cath Hale, Mike and Jemma, Peter and Izzybella Veste.

Finally to my wife Emma, who has been ridiculously supportive of me,
ti amo bella,
and to Abigail and Megan, who put up with daddy’s grumpy moods in the morning, following late night writing.

About the Author

Luca Veste is a writer of Italian and Scouse heritage, currently living on the wrong side of the River Mersey. He is married with two young daughters, and is himself one of nine children.

He is currently a mature student, studying Psychology and Criminology in Liverpool.

He is the editor of the Spinetingler Award nominated charity anthology series
Off The Record
, which raises money for children’s literacy charities. He also has short stories in numerous publications.

A former civil servant, actor, and musician, he now divides his time between home life, University work and writing.

To find out more about Luca visit his website
www.lucaveste.com
or find him on both Facebook and Twitter
@lucaveste
.

Copyright

Published by Avon, an imprint of

HarperCollins
Publishers Ltd
77–85 Fulham Palace Road
Hammersmith, London W6 8JB

www.harpercollins.co.uk

First published in Great Britain by HarperCollins 2013

Cover image: photo of hatch © Glock/Alamy

Cover design: Clarkevanmeurs Design

Luca Veste asserts the moral right to be identified as the author of this work.

A catalogue copy of this book is available from the British Library.

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins

Source ISBN: 9780007525577

Ebook Edition © October 2013 ISBN: 9780007525553

Version: 2013-12-13

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