BLOODY-MINDED
Award-winning Scottish crime writer STUART MACBRIDE talks to CRAIG SISTERSON about profane policeman, futuristic thrillers and the advantages of peer pressure
When Stuart MacBride sat down to write what would become his first
published novel, Cold Granite, he
decided to try something different with his main character, DS Logan McRae. “Traditionally
you have this pairing in detective fiction of the larger-than-life central
character – the Morse, the Rebus, the Holmes – and this sidekick that’s a
normal man,” says MacBride. “I thought I’d do it the other way around. So Logan wasn’t created to be
this big hero: he’s not particularly strong, because of what’s happened in the
past; he screws up about as much as he gets right - he was just meant to be
this very human character.”
Instead it is the richly-drawn, eclectic,
supporting cast that are larger-than-life. DI Steel, the hard-living,
profanity-spewing lesbian; DI Insch, the bombastic, sweet-popping walking coronary;
Colin Miller, the greasy yet layered tabloid reporter; WPC “Ball Breaker”
Watson. And importantly, each is penned with a degree of complexity and depth
that ensures they don’t become mere over-the-top caricatures - helping MacBride
win fans amongst readers, critics, and librarians, alike - leading to his series
winning the prestigious CWA Dagger in the Library in 2007.
The
bearded write-ist
MacBride’s reversal of the traditional
hero-sidekick dynamic should come as no surprise, because he’s always done
things a little differently. In fact, despite having five acclaimed novels
under his belt, and a sixth, Halfhead,
being released in Australia
this month, he doesn’t even consider himself a ‘writer’.
‘Writer’ sounds all grand and intellectual,
while ‘author’ sounds all artistic and worthy, he’s famous for saying. He prefers
the term ‘write-ist’, being a person “making it up as they go along, and hoping
like hell they don’t get found out”. MacBride laughs easily and often,
sprinkling our conversation with such self-deprecation. There’s no pretension
here.
Perhaps that’s because of the unusual beginnings
to his ‘write-ist’ career. MacBride didn’t like creative writing during his
school years, but then during his mid 20s, he stumbled across the inspiration
to put pen to page - peer pressure. “I had a couple of friends writing fantasy
novels, and they said it was a good hobby and good fun, and I should give it a
shot,” he chuckles. “I think sheer bloody-mindedness took over.” Five
manuscripts, and many years later, he eventually ‘broke through’ with Cold Granite, his first attempt at “a straight
serial killer novel” – one that scooped the Barry Award for best crime debut.
Before
the peer pressure
While MacBride wasn’t enamoured with
creative writing while growing up, he did love reading. “The first books I ever
took out of the library myself were the Hardy Boys books,” he recalls. “And I’d
get one out and say ‘yes, yes Mum, I’ll go to bed and put out the light’, and
then I’d read by torchlight until 3 o’clock in the morning, so I could take it
back the next day and get out the next one in the series.”
MacBride was born in Dumbarton, near Glasgow , but his family moved to Aberdeen when he was a toddler. He later shifted
to Edinburgh for university, but soon quit to
work on the offshore oil rigs that fed Aberdeen
industry. Then came working in graphic design, then various IT jobs; a process
he describes as drifting down through the career spiral.
“I became a project manager, which really
was the most appalling career move I ever made,” he says. “It was the most
awful job. I’ve cleaned toilets offshore, and that was a better job than being
a project manager.” It was during this period that the peer pressure arose and
MacBride began his hobby writing. “When I was writing Cold Granite, a lot of that comes from sitting in meetings with
people thinking ‘I really would like to kill you’ and then going home and
writing,” he laughs.
Darkly
funny
That combination of death and humour threads
throughout MacBride’s books; police camaraderie is built on mercilessly taking
the piss, and gallows humour eases tension at gruesome crime scenes. It takes a
talented writer to have you chuckling a few pages after someone’s had their
eyes gouged out, but MacBride manages it. “All though my life I’ve always
worked in big teams,” he says. “And all I did with writing the police officers,
was I thought they’d behave in just the same way… you’re people, you’re going
to make fun of each other, make jokes in poor humour, you could say politely.”
Not that MacBride is known for politeness
in his writing. Instead he chooses to be more authentic; a steady drizzle of
curse words sprinkles the pages, turning into a veritable flood whenever DI
Steel is around. “I don’t know a single person who if they hit their thumb with
a hammer, would go ‘oh darn’,” he says.
Put simply; reality rules. MacBride later
heard from a retired police officer from Ontario, who’d read his books, who
confessed that being a police officer was exactly like that – full of ribbing
and off-colour jokes.
Writing
Aberdeen
That same drive for authenticity stretches
to the hometown setting. “Most of the places are real,” he says. MacBride has
been praised for his accurate portrayals of Aberdonian language and locales, and
his website includes photos of real settings used in his debut. He’s also
cultivated close relationships with Aberdonian police, and a senior technician
at the local morgue. “I’m trying to make books that are as realistic as
possible - which sounds daft because if they were I’d be saying the northeast
of Scotland was littered with dead bodies, but yeah, you know what I mean,” he
laughs.
That authenticity included addressing, in Blind Eye, the growing influx of Polish
immigrants shifting to ‘the Granite City ’ for
oil industry jobs; a surge that’s tested Aberdeen ’s
reputation as a secular and tolerant city. We started having [ethnic tensions]
in Aberdeen
that we’d never really had before,” says MacBride. Some locals spread
misinformation about immigrants, who were in fact happy to interact. “I should
say it’s not widespread,” says MacBride. “But there were these tensions that certain
people were stirring up.”
Future
crime
In contrast, MacBride’s newest novel is far
less concerned with authenticity. Halfhead
does involve a vicious serial killer, but it’s set in a Glasgow of the future; a future of
overcrowded super high-rise slums, militaristic police, and a new method for
dealing with criminals. Serious offenders suffer half-heading; lobotomized and
their lower jaw removed, they’re put to work as mindless drones cleaning public
areas. However one murderous half-head ‘wakes up’ after six years, and sets out
for revenge. She’s pursued by William Hunter, Assistant Director of the
‘Network’, who discovers his investigation is linked to a conspiracy to fuel
violence amongst the underclass.
MacBride actually wrote the original
manuscript for Halfhead prior to Cold Granite. At the time, after
winning a local science fiction short story competition he’d entered as a
laugh, he’d focused on futuristic thrillers. The manuscript got some publisher
attention, but it wasn’t until his agent suggested he try “a straight serial
killer novel” that MacBride made the leap to published ‘write-ist’.
But he shuns the ‘sci-fi’ label some place
on his new book. “If you write a crime novel and set it in Ancient Greece, it’s
historical crime fiction. You do a bank heist in Victorian times, it’s
historical crime fiction. All the way up to today, it’s ‘something’ crime
fiction. Set it even five years in the future, and ‘woah, it’s science
fiction’.”
Instead, MacBride sees Halfhead as an extension of his crime writing, just in a new
setting. “It’s a thriller,” he says. “Serial killers, explosions, automatic
weapons – it’s just set say 70 years in the future... let’s call it a new
future crime thriller.”
After all, he is a crime ‘write-ist’.
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This feature interview with Stuart MacBride was originally published in print in the October 2009 issue of Good Reading magazine, a great books-focused magazine in Australia, and is published here online for the first time.
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