The Dying Place (41 page)

What is it particularly about Liverpool that made you choose it as a location?

Well, apart from the fact that as a child I grew up thinking anywhere outside of Merseyside was a foreign country – which meant Liverpool (and the Wirral) was the only place I knew about – it’s the only place I ever wanted to write about. It’s a city often overlooked for crime fiction. When I was going through my ‘read every crime book ever written’ phase, I searched for modern crime fiction set in Liverpool to read. Apart from Kevin Sampson, Margaret Murphy, and Martin Edwards, I really struggled to find anything contemporary set in what is one of the biggest cities in England. There is so much to Liverpool as a city – especially since the 2000s and all that they brought with it – that hasn’t been explored much in crime fiction. The growing middle class, the vast wave of youth unemployment, the diverse nature of its population … I could go on and on. It’s a city of absolute disparity. In a thirty-minute drive you can go from derelict housing and high crime rates, to gated communities and mansions, before going back to relative poverty. That kind of inconsistency fascinates me. The ‘haves’ and ‘have nots’ living so close together, the abundance of universities, the worst life expectancy rates in the country in some areas … all great fodder for crime novels.

Plus, Liverpool is the greatest city in the world. I’ve decided. Gave it a trophy and everything. So there.

Not that many crime novels are set there, why do you think that is?

I honestly don’t know. It’s not like we’re not overrun with talent within the city – there are numerous writers I could mention who are without book deals right now – it’s there all right. It’s a northern city which hasn’t really been tapped into in the same way as, say, the Scottish ones have been by the brilliance of McDermid, MacBride and Rankin. Manchester is similar, with only a few novels being set there despite its size (Leeds, Sheffield … I could go on). I wonder if the setting puts, say, a publisher, off from the beginning, believing it to be too parochial to be enjoyed by a wider audience. Or perhaps they’re just not as exciting as a major city such as London. I honestly have no clue. However, one only has to look at the accomplishments of, say, Peter Robinson, whose novels are set in a fictional place in Yorkshire, to see that northern settings can be successful with readers.

I would argue the setting is not always key for some/most readers. It’s what the writer does with it that counts.

You were a mature student, studying criminology and psychology at The University Of Liverpool, when you wrote your first two books. How did you find juggling this with your writing?

Writing the books wasn’t really a problem when combining it with studies. It was an escape if anything, a few hours away from textbooks which require a small forklift truck to carry around. The greater difficulty came when the other parts of being a writer came into play. Meetings, promotion, signings, dealing with emails etc. Those were far too much fun. Which is probably not a popular opinion with many writers! I loved doing all those things, so my studies possibly suffered as a result, as my attention is so insignificant it can’t deal with concentrating on too many things at once. Then I’d attend a lecture on
Offender Profiling
or something and my attention was grabbed once more. Psychology is a fascinating subject to study. Extraordinarily hard, but fascinating. Criminology was my favourite of the two, however. Much more relatable to crime writing.

What inspired you to write
The Dying Place
?

The idea came from a conversation with my dad. He’s often talked about getting together a group of ‘old boys’ in a van and sorting out the ‘scallies’ which he imagines lurk on every corner. The reality of course is much different (not to suggest that there aren’t problems with a disenfranchised youth within cities – just probably not to the extent certain media outlets would have you believe), which lends itself to my interest in disparity. The idea that things haven’t always been broadly similar across generations was one which struck a chord with me. There is also that suggestion that violence can ever be an answer for problems within society, which I’ve always wanted to explore further. So I wanted to take a group of so-called ‘old boys’ and put them in that situation where they could enact that type of justice they felt was lacking. And then watch things unravel. I made a decision early on that it would concern male violence, which means almost all of the victims are male. I wanted to write about something different than
Dead Gone
, which is very much a serial killer thriller, and look at something much more ‘ordinary’. Something which is a little more relatable.
The Dying Place
also allowed me to look at the frustration and exasperation of feeling out of control, which has always interested me.

Acknowledgements

As ever, this book would not have been possible without the support of so many, many people. I would like to show my appreciation and say a massive thank you to the following people:

Nick Quantrill, for his endless backing and friendship. My turn to visit the KC next season. Eva Dolan, for her constant encouragement and for all the great ideas. Steve Mosby, for being a continual source of inspiration and faith. Helen FitzGerald, for just generally being awesome and a better writer than most could ever hope to be. Mark Billingham, for
that
quote and for also sharing an incident outside an Indian restaurant in the middle of London (who knew people called dogs Luca?!). Characterisation, characterisation, characterisation. Stav Sherez, for the rack conversation and also for all the support with
Dead Gone
. Pete Sortwell, for the late night laughs and tears over all the things we could never work out. Tracey Edges, for being a fantastic supporter of
Dead Gone
in the early days of release.

Neil White, Linda Moore, Liz Barnsley, Col Bury, Paul D. Brazill, Susi Holliday, Mark Wright, Anne McLauchlan, James Everington, Mel Sherratt, Mark Edwards, and Jan Russell, for all the online support. You make it worth the procrastination of just checking Facebook and Twitter one more time.

All the readers who contacted me after reading
Dead Gone
. Hands down my favourite part of the process is hearing from people who read and enjoyed the book. Thank you.

My agent Phil Patterson, for being not only an incredible source of knowledge on anything and everything, but also one of the funniest, most random people I’ve ever had the pleasure of knowing. This book doesn’t exist without you, Sir. Thank you for continuing to change my life for the better.

My editor at Avon, Sammia Hamer, for being not only a great believer in me and my writing, but also a friend I hope to have for a long, long time. You always made things better. I, and everyone who enjoys the violent and gory parts of my books (which you always, always wanted more of!), will miss your input. I promise not to let you down. Good luck in the new job. You’ll be as awesome as ever.

Katy Loftus for taking over editing duties and adding even more to the process. You’re going to be a huge success story at Avon. I know these things.

Everyone at Avon and HarperCollins for their support during these first two books. Although sad to move on, I’m extremely grateful for all that you have done in the past couple of years. You all rock.

Keshini Naidoo, for being a fantastic copyeditor. You contributed so much to this book. And bobble is probably too colloquial … you’re right.

Uncle John ‘Murphy’ Kirkham and Gina Kirkham, for, well … everything.

My parents Alan Veste (I am the one who knocks!), Tracy Veste (and I turned around and said …), Sue Kirkham (Orlando soon!), John Brisk (I’m going to need a new bookshelf soon, big man), Carole Woodland (all right, you’re not
that
posh really), and Alan Woodland (one more whisky?). Yes, I collect parents like Panini stickers. Thank you for always being there if needed.

My siblings were promised an actual naming in the acknowledgements this time around, so here goes … deep breath … Beverley, Chrissie, Colin, Mike, Jemma, Daniel, Natalie, Alex, Alice, Joshua, Santino, and Vincenzo. I’m incredibly lucky to have the most amazing brothers and sisters anyone could ever wish for.

The Hales/ Carnabys/ Robertsons, Perry, Cath, Andrea, and Jay. Your determination in making me a household name in Newcastle knows no bounds. Thank you.

Peter Veste (and Brian!), Izzybella Veste, Joanne Johnson, and Andy Veste, for … you know. You made the whole
thing
bearable.
Vi amo tutti.

Finally, my wife Emma Veste and daughters Abigail and Megan, for always being there for me. Abs and Migs – Daddy did it again. Promise not to visit every shop in a thirty mile radius to look at the book on the shelves. Just the twenty this time. Emma – I promise to finally get my driving licence. Although I know you’ll still want to drive me everywhere. Your love and grounding is all I ever need and is more appreciated than you’ll ever know.

About the Author

Luca Veste is a writer of Italian and Scouse heritage, is married with two young daughters, and is himself one of nine children. He is currently studying Psychology and Criminology at University in Liverpool.

Luca is the editor of the Spinetingler Award-nominated charity anthology
Off The Record
, and co-editor of
True Brit Grit
, another anthology of short stories for charity. He has also written short stories for numerous other publications.

A former civil servant, actor, singer, and guitarist, (although he still picks it up now and again), he now divides his time between home life, University work and writing.

He can be found at
www.lucaveste.com
and on Twitter
@LucaVeste
.

By the same author

Dead Gone

About the Publisher

Australia

HarperCollins Publishers (Australia) Pty. Ltd.

Level 13, 201 Elizabeth Street

Sydney, NSW 2000, Australia

http://www.harpercollins.com.au

Canada

HarperCollins Canada

2 Bloor Street East – 20th Floor