Excerpt from Send to Darkness

No spoilers, you’ll need to buy the book – but here’s a tease:

You might think by the way that Helena Ryle spoke about me that I was a someone, except I wasn’t, not really. It was not fame I possessed but infamy, and even that, after two years, very much faded. People thought they knew me. I was one of those faces that stirred distant memories. Aren’t you that footballer, they might ask? Or was it you that…? And so on. Occasionally, they happened across the right story – oh yes, you’re the policeman, aren’t you, the brother? Even then, though they might look at me sideways, they made little of it – they expected to see something, some evil, horns or something, and instead, they found someone quite normal.

One man’s normal is another man’s weird, of course. It was different for me. I didn’t know what normal was anymore, and even if by now my story was one among millions, it was my story, and though I don’t like to admit to it, as fresh to me then as it was when it happened. It still burned in me, and because it did, it was not something I ever dwelt on. It was one reason why I didn’t stop to wonder why it was important to Helena Ryle, regardless of the clues that it offered to me.

My brother, Ray, was eight years older than me and shone so bright that I was lost in the shadows until everything changed. In his prime, Ray had been the pin-up boy of the force. When he turned it on, he was an oversized personality who was also – as the newspapers loved to proclaim – ‘police royalty’. Not just the son of the commish, Ray was also the decorated head of the drug squad and, to the tabloid audience, the cop they knew best. He was writ large, the police go-to man, the cop every punter related to and rooted for because they knew him and because he spoke their language. For a while, Ray was everywhere. He was a pugnacious, witty, almost comic-book version of what a 21st-century cop should be. None of it was false, but it was not altogether real either. Ray was more complex than that, and not just in the ways we soon learned. He was my brother, and I saw him as the public never did, felt the easy affection of an older brother for the younger, shared with him my exuberant hopes and witnessed the rare occasion when he was less certain or less boisterous.

To the broader world, to the media, to the public who wanted to know which nag ‘Razor’ had tipped for the Cup, and to the police PR department who egged him on, Ray was a commodity. He knew it and lapped it up. “Give ‘em a little of what they want,” he had once said to me with a smirk, “and there’s nothing they won’t give you back.”

Then it changed. There was a tip-off: Ray was dirty. From one day to the next, Ray went from folk hero to public enemy number one. It was a circus. The tabloids shrieked his name, and the talkback lines choked with outraged callers shocked that Ray had not lived up to the image they had thrust upon him. Ray was guilty of the one thing that could not be forgiven: he had betrayed the trust of the people – and the people’s proxy, the media.

Ray became Judas, and not even his death could appease the baying crowd. There was no satisfaction in that. Like a scorned lover, they were furious with their shame. They wanted answers. They wanted to hold him in the palm of their hand, and in their power, they wanted, should the law permit, to hang, draw and quarter the dastardly traitor. They got none of that. He’d played them for a mug and got away with it. Now, he was gone. But I remained.

None of you can understand what it was like. I wasn’t sure that I did. When the blood’s up, when tabloids scream headlines every day, and carnivorous reporters stake out home and work, the presumption of innocence is nothing more than a judicial precept. If I was not Judas, then at least I was Judas’ brother, was I not? I was guilty by association, if not in fact. At best, I confused people. I was the inconvenient reminder of their shame and cupidity. What I said or did or if I was guilty or innocent was beside the point. The point was they needed a living, breathing fall guy, and I was it.

There were TV cameras there the day I left. The sun blazed from a blue sky, and the cameras pointed at me. I stood where I was told, numbed by disbelief. There were speeches made and a presentation while I continued to play my compliant role. I was lauded for my service, praised for my accomplishments, commended for my sacrifice, and publicly consoled for the shame wrought upon the family name. You see, I was one of theirs, after all, officially, but the fine-sounding words did nothing to disguise their smug hypocrisy. As far as the world was concerned, I was innocent only because they couldn’t prove I was guilty, and that was that…

No rest for the wicked

A couple of weeks ago, I finished writing my second novel. I thought I might finish it sooner, but the closer I got to it, the further it seemed to get away from me.

I don’t know how it is for others, but I feel incomplete until I’ve put that final word on (virtual) paper. It’s a funny thing to explain, but until then, you’ve got all these words in you and a vision of something, and you feel as if you’re racing against time to get it out there, lest you get hit by a truck – or, more scarily, the inspiration, the vision, disappears. It feels like a kind of magic, and that’s great, but it’s scary, too, and until you get it all in the bottle, there’s no rest.

The sense of relief – and release – once you’ve got it on the page is immense. You type the final full stop, sit back in your chair, and think, “Phew, I did it.”

It’s a fleeting emotion because, almost immediately, you’re aware of all the flaws in the manuscript. By the time you’ve got to the end of writing a book, you generally know the things you should have done differently and need to change, on top of which you have a sneaking suspicion that it might all be crap anyway. You think you’ve finished, but you know there’s a lot more work to do – but at least now there’s a version outside your head.

Finishing a book is tough. I’ve only written the two, so I’m not sure I can apply the term ‘generally’ yet – but, so far, I know the ending well before I get to it. I may even know how to approach it, what the tone should be, and so on – I did in the first, not in the second.

With this book just finished, I fluffed around, uncertain how to get from where I was to where I needed to get. There are many different ways to write the same scenes, and when you consider the scenes are apt to variation, there’s a lot to figure out. That’s why it took me longer than I hoped to get it finished. I couldn’t get it right and spent a lot of time staring off into the middle distance. I’d ask myself: what does it mean? What am I trying to say? What is he thinking? She? How would they react?

All of that is accentuated by the fact that nothing comes after this. There’s a full stop at the end of this, which means it has to make complete sense in itself and that all the myriad loose ends need to be addressed – if not tied up – in the few pages remaining to you.

But anyway – I did it. And it’ll do until I come to the second draft.

For now, it goes in the bottom drawer. I’ll clear my head of it, and when I get around to it again, I’ll approach it with fresh eyes. More of that later.