The Dying Place
Page 33
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
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