For those interested in the history of the James Bond movies, and what may have been, Jeremy Duns (author of the Paul Dark trilogy and Dead Drop) has expanded an article he wrote for The Sunday Telegraph and released it as an eBook.
In the mid-Sixties, the James Bond films became a global phenomenon as the world thrilled to their spectacular action sequences and cool gadgets. But the films nearly went in a very different direction, with a much darker treatment of Ian Fleming’s first novel by Hollywood’s most acclaimed screenwriter. In this short ebook, spy novelist and journalist Jeremy Duns unearths Ben Hecht’s drafts of Casino Royale. Rogue Royale is around 11,000 words long, and builds on a 3,400-word article originally published in The Sunday Telegraph in March 2011.
Just a heads up to real-life spy fans that Jeremy Duns’ latest book, entitled Dead Drop: The True Story of Oleg Penkovsky and the Cold War’s Most Dangerous Operation is now available in Hardback in the UK. Unlike the Paul Dark thrillers, Dead Drop is non-fiction, and looks at the life of Soviet double agent Oleg Penkovsky.
Here’s the official spiel:
In August 1960, a Soviet colonel called Oleg Penkovsky tried to make contact with the West. His first attempt was to approach two American students in Moscow. He handed them a bulky envelope and pleaded with them to deliver it to the American embassy. Inside was an offer to work as a ‘soldier-warrior’ for the free world. MI6 and the CIA ran Penkovsky jointly, in an operation that ran through the showdown over Berlin and the Cuban Missile Crisis. He provided crucial intelligence, including photographs of rocket manuals that helped Kennedy end the Cuba crisis and avert a war. Codenamed HERO, Penkovsky is widely seen as the most important spy of the Cold War, and the CIA-MI6 operation, run as the world stood on the brink of nuclear destruction, has never been bettered. But how exactly did the Russians detect Penkovsky, and why did they let him continue his contact with his handlers for months afterwards? Could it be that the whole Cuban Missile Crisis was part of a Soviet deception operation – and has another betrayal hidden in plain sight all these years? Thrilling, evocative and hugely controversial, Dead Drop blows apart the myths surrounding one of the Cold War’s greatest spy operations.
Author: Jeremy Duns Publisher: Simon & Schuster Published: August 2010
For the past few days, I have been looking at Geoffrey Household’s book Rogue Male. It is a testament to the strength of the novel, that its impact can still be felt in contemporary spy novels. Today, I am going to look at Free Country, the second novel in Jeremy Duns’ Paul Dark trilogy – the first novel being Free Agent which was published last year. Free Country is a novel that proudly continues the ‘manhunt’ tradition in which Rogue Male excels.
As the story begins, MI6 operative Paul Dark, who in Free Agent was revealed to be a Soviet double agent, has been promoted to deputy chief of the service and is giving an eulogy at the funeral service for the previous chief. The irony is that it is in fact Dark who shot down his chief in the opening chapters of the previous novel.
During his speech, a sniper opens fire, but misses his intended target, Dark, and instead kills the new section chief. Dark pursues the sniper on foot, both men darting through the streets of London. This is where the comparison with Household’s Rogue Male begins. Both books open with an assassination attempt by a sniper. But Free Country is told from the perspective of the victim, where Rogue Male is told from the viewpoint of the assassin. It’s almost as if Duns has chosen to twist Rogue Male inside out. The comparison doesn’t end there. Allow me to share with you a few of paragraphs. These first few are from Free Country (used with the permission of the author).
Page 16 – after a dance on the platform and carriages between the ‘hunted’ and the protagonist on a train:
I followed, but then the sniper did an extraordinary thing – he let go of the boy and ran down the ramp at the end of the platform and into the tunnel. For a moment I thought it was suicide, but then I remembered there was some space next to the tracks for the Underground staff to use. As I reached the end of the platform, I could see he was running down it…
…up ahead I could see the tunnel curving away towards Farringdon, but he couldn’t possibly have reached the bend already. Was he hiding somewhere in the tunnel waiting for me?
These next few paragraphs are from Rogue Male.
Page 62-63 – after a dance on the platform and carriages between the ‘hunter’ and the protagonist on a train:
Beyond the Aldwych station there seemed to be some fifty yards of straight tube, and then a curve, its walls faintly visible in a gleam of grey light. Where the tunnel goes, or if it ends in an old shaft after the curve, I didn’t have time to find out.
Black Hat looked through the coach and saw that I wasn’t in it. The train pulled out, and when its roar had died away there was absolute silence. I hadn’t realised that Black Hat and I would be left alone a hundred feet under London. I lay flattened against a wall in the darkest section of the tunnel.
I can still hear them, and the sound of the steps and his scream and the hideous, because domestic, sound of sizzling. They echoed along that tunnel which leads lord knows where. A queer place for a soul to find itself adrift.
As you can plainly read, the scenarios are vastly different but drinking from the same well. Once again, it is almost as if Duns has reversed the scene – telling it from the view point of the assassin. But it is plain to see that Duns has an affection for Rogue Male and certain set-pieces within the story.
But back to Free Country: The Heads of the British Intelligence communities do not realise that Dark was the target for the assassin’s bullet, and believe it was a brazen attack by Soviet backed terror cell out of Italy called ‘Arte come Terrore’. Dark is sent to Rome to hunt down and kill the man responsible.
The story breathlessly twists and turns from one situation and once you believe that Dark has the situation in hand, Duns pulls another reversal and the story veers off in another unpredictable direction. After Rome, the story bounds to Sardinia, and then is derailed to Turin. There is also an insightful flashback to Istanbul, that not not only fleshes out a section a Dark’s history, but in turn also helps to move the story forward in the present (that present being 1969, when the story is set). There’s also a nice plot point that runs parallel to the defection of Burgess and Maclean.
In many ways, Free Country is a superior novel to Free Agent. I have to choose my words carefully here, because I don’t want to give the wrong impression about the first book in the trilogy, Free Agent. The fact is I thought Free Agent was very good, and the second half of the story rocketed along at tremendous pace. But Free Country, is a more consistent book. It starts at a cracking pace, and then never lets up, twisting and turning as it goes.
Duns, on his blog The Debrief, recently outlined how his writing had changed since writing Free Agent.
My methodology changed somewhat between writing my first and second novels: it became less structured. I wrote Free Agent in the evenings and weekends, handing in new chapters to a writing group as I went along. I wrote my second as a full-time author in a year. I was naturally worried that it wouldn’t be as good as my first, which took me seven years to write (albeit with a full-time job and no external deadline).
I would suggest being able to write Free Country, in what was virtually an uninterrupted block, as opposed to over seven years, where ideas and even points-of-view about life can change, has resulted in a noticeably more consistent novel. It is a more relaxed novel. Not relaxed in pace – no that’s cracking – but in Duns’ story telling. He seems more comfortable with the tale he is telling and the characters who inhabit it – and is not afraid to throw in a few subtle asides alluding to the pedigree of his story – whether that be a nod in the direction of Geoffrey Household’s Rogue Male – or references to a lucky chap, who was able to escape the English winter, by traipsing to Jamaica every year in May (Remind you of anyone?). These asides don’t intrude on the story, they are simply nuggets for the knowledgeable, and simply show how comfortable Duns is as he applies himself to his craft.
In closing, I’d recommend Free Country to all fans of fast paced thriller fiction. I must point out though, that there is quite a heavy back-story carried over from Free Agent, so I would suggest that you don’t launch into Free Country until you have read the first book – that done, then it’s full steam ahead. Once again, Jeremy Duns serves up a cracking espionage novel that can be enjoyed by both hardened spy novel fans, and those who are seeking a solid fast paced thriller.
August promises to be a big month for fans of spy fiction with the release of three highly anticipated spy novels. We’ve already seen the launch (on August 2nd) of Deadly Trust, from Australian author JJ Cooper. The book is the second book in the Jay Ryan series, following on from last year’s debut The Interrogator.
Deadly Trust sees Jay Ryan leaving the army and his life as an interrogator but he’s quickly dragged back into a murky world of secrets, lies and danger when a disgruntled scientist, backed by the Australian security industry, develops a weapon of mass destruction – a hybrid strain of Anthrax.
Next up is Jeremy Duns’Free Country, the second novel in the Paul Dark trilogy, following on from Free Agent. Those who have had their ears to the ground will have heard that the Dark trilogy was recently optioned by the BBC with plans to turn the stories into a television series.
Blackmailed into serving Moscow, double agent Paul Dark now finds himself a target for assassination. Desperate to escape his predicament, Dark gambles everything on one last throw of the dice, exposing his Soviet handler to the British. But before long, he finds he has no choice but to go on the run again, and the race is on to stop a deadly conspiracy that dates back to the early years of the Cold War.
Toward the end of the month, the first book in the Harry Tate series, Red Station, by Adrian Magson hits the shelves.
In Red Station, Harry Tate is a loyal operative for MI5, who does what he’s told, fighting the war against terrorism, drugs and high-level criminal gangs. When two civilians are shot dead during a drugs intercept, he agrees to take an immediate posting to a place called Red Station, to help the agency avoid embarrassing media questions. Red Station is remote and uncomfortable… and it’s a home for washed-out spooks.
What Harry doesn’t know is that the Russians are coming… and that he won’t be coming back.
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It is my honour to bring these three authors together for what I will call a ‘virtual symposium’ on spy novels. From my hollowed out volcano, I have grilled them on what makes a good spy novel and have had them analyse the changes, not just to spy stories, but publishing in general. Covering everything from the Cold War to post September 11 terrorism – and from audiobook to eBooks and digital downloads. Adrian, Jeremy and JJ provide unique insights into writing past and present, and share their thoughts on the state of the ‘spy novel’.
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David Foster: Welcome, gentlemen. In the current political and economic climate, what do you believe is more important in a good thriller – ‘realism and truth’ or ‘escapism’?
Jeremy Duns:I think escapism is always the aim of fiction, no matter what the climate – pure realism is for non-fiction. That said, I think fiction sometimes sheds more light on truth than documentary. But readers want to be taken into another world, and one more compelling than their immediate surroundings. Getting the facts right is important, but the story always comes first.
JJ Cooper: Escapism. That’s why I read anyway. A good level of realism goes a long way too otherwise we’d be published in the fantasy section. We write fiction so it doesn’t have to be the truth (although sometimes it turns out that way).
Adrian Magson: Escapism first, but a touch of realism never hurts. Readers like to escape into books whatever the climate, but many also like to identify in some way with the background or characters.
DF: Now almost ten years on, do you feel that the events of September 11 (and the subsequent ‘War on Terror’) are still a relevant backdrop, or topic for a modern spy thriller?
JJC: I recently attended ThrillerFest in New York where around 50 literary agents were ‘pitched’ during a three hour session by writers from around the globe seeking representation. The amount of times I heard the word ‘terrorist’ was amazing (I was there being a nosy author). It seemed to me that the agents were not very keen to hear that word. You could sit in the back of the room and note when the word was used during a pitch by the cringe of the agent – subtle but there nonetheless.
I listened to many of the pitches (always the spy) and a lot were the same story arc, and even settings (Iran was a popular setting this year). Unless you are an established author or can find a different twist to add to the ‘War on Terror’ backdrop, I’d say this is just about out of legs (especially for those trying to break into the industry). September 11 will always be referenced in novels, just shouldn’t be the focus any more.
AM: It’s certainly still relevant, if only because the threat of something similar is still very much with us, and the characters involved are working away behind the scenes on both sides. The way things happened was new in the delivery and scale, but the idea of one tribe, society, group, nation, being attacked by another goes all the way back through history. And what more realistic backdrop for spies to operate than the current one (as recent events have proved).
JD: I don’t really see that any subject becomes irrelevant for a novel. September 11 2001 was clearly a defining day in recent history, and it will be written about for many years to come.
I was at an event in England recently and someone asked Joseph Finder a variation of this question during a panel. He replied that it might take some time for the good fiction to emerge, pointing out that it wasn’t until ten or 15 years after the Vietnam war that the great books and films about it started to come out. I think in the first couple of years after September 11, there was a widespread feeling that thrillers were taboo – not just the idea of thrillers about that event, but all thrillers that featured terrorists or explosions. I remember people saying they never wanted to see another Arnold Schwarzenegger film again. But 24 premiered on November 6 2001, and that and other TV shows and films and novels soon started to address themes that were raised by the events of September 11. I think people have always looked to stories to work through current events and crises – in the Second World War, sales of thrillers went through the roof. People want to know more about it, to analyze it, but they also need reassurance. It’s a way of warding off the monsters under the bed.
DF: What about the ‘Cold War’? It’s twenty years since the Berlin Wall came down. Is there any life left in the Cold War for a good spy novel? Or as a genre convention, do you think it is tapped out?
AM: Again, nothing much has changed. The people, maybe, and which direction the threat is coming from. But what was the Cold War other than a quiet conflict? It’s what we have now, albeit hidden beneath multiple layers of diplomacy, commerce and culture, so in a way the Cold War has never entirely gone away.
JD:As I’m writing spy thrillers set during the Cold War, I obviously feel there’s plenty of life left in it! Again, it took a while for people to see it as a legitimate subject. When the Berlin Wall fell, there were a lot of newspaper editorials about the accompanying death of the spy novel. But, as you say, it’s been two decades since then, and of course the Cold War started earlier. It was a conflict that covered most of the globe, went on for several decades, and threatened the existence of our planet as never before, so I think it’s certainly a worthy subject for thrillers, and it will be for the foreseeable future. In the Sixties and Seventies, writers like Len Deighton, Jack Higgins and Frederick Forsyth turned to the Second World War for their subject matter. I think many writers of my generation may well turn to the Cold War. There’s a lot that wasn’t known at the time that is only just coming to light.
JJC: The ‘Cold War’ was like a big training ground for spies. Skills were honed and techniques developed. A lot of those lessons have no doubt been applied across the globe in current ‘information collection operations’. A lot of great novels have had the ‘Cold War setting’. I think now is the time to revisit the ‘Cold War’ theme – it’s like a sleeping giant just waiting to be awoken. It’ll happen eventually. Either revisit the era as a catalyst for modern day events or set your own modern-day ‘Cold War’. Doesn’t matter how many agreements, treaties, handshakes and smiles occur between countries – spying will always happen. Always has, always will.
DF: Recently we’ve had a very high profile espionage incident in the United States (London and Cyprus), with the arrest of ten alleged Russian spies. With all the media buzz and hype – do current affairs influence or provide inspiration for future stories (or colour one that you may be currently working on)?
JD: Yes, such stories provide inspiration, although perhaps that particular story is too implausible to be used in a thriller. But it really harks back to the Krogers and the Rosenbergs and so on, and is an amazing mix of low-tech, with invisible inks and bag swaps, and hi-tech, with code in Facebook photos and the use of wi-fi.
I think that incident brings home the fact that espionage is going on around us the whole time. I think most people have the feeling that spies don’t really exist, and it’s mainly invented by films and novels. People tend to forget that pretty much every embassy in the world is a spy headquarters, and that every government engages in it to one degree or other.
JJC: Anybody who believes spying is not that common should stick to reading fantasy novels. No doubt a lot more of these stories don’t hit the media. This incident does serve to assist writers when it comes to credibility of spy stories. It gives the public that ‘wow-this-shit-is-still-happening-now’ moment. Hopefully, some of them will then call into the thriller section of the book store next time they are there (and bypass the damn cookbook section).
For me, writing novels is about using experience and imagination. I don’t tend to watch much news but then again inspiration is everywhere and, as an ex-interrogator, I’ve enough imagination to get me through to the next book.
AM: This proves you can’t invent anything! And you only have to watch the media frenzy – and the level of interest from the public – to see that people love this stuff. So, logically, writers will be drawn to mirror or imagine similar events and possibilities. I know I do. The odd thing is, real events such as the ten Russian spies, and the one where British spies were allegedly filmed at work retrieving material from false rocks in Moscow (I almost bought one once, for hiding a spare key in the garden), seem almost bland compared with spy novels – but then, bland doesn’t work in fiction.
DF: In today’s marketplace there seems to be a great emphasis on the ‘pace’ of a story. Which do you feel is more important – ‘characters’, ‘plot’ or ‘pacing’?
JD:You can’t really have one without the other two and have an interesting book, and they are all intertwined. But in the thriller genre, you clearly have to thrill the reader, and that depends on pace. I think there’s not enough emphasis on it, and on what I would call ‘readability’. I don’t want anyone to struggle at any point in my novels, but to read them as fast as they can turn the pages, preferably with a trickle of cold sweat running down their spine. I think if I can do that, the plot and characters have already done their work – unfettered readability is the hardest thing to pull off.
JJC: Pace! You need well-developed characters and a good plot to get the reader through any novel – that’s a given. But, pace is where we can differ. I deliberately write short chapters – around 1,500 words. I’m writing with a particular market in mind. For a while I spent two hours a day on a train commuting to and from work. I’d be reading a good book and come to the end of a chapter. Before moving on I’d see how many stops and then have a mini-internal debate on whether I could finish the next chapter before getting off the train at my stop. Most times I didn’t turn that page and then lose my rhythm. So, I write for those taking public transport and dare them to turn the page – it’s only 7 pages till your next stop.
Those who have read and liked Australian author Matthew Reilly’s novels would agree that pace is more important than plot and characters.
AM: I think good characters will certainly drive a story, but you need a plot for them to operate within. Otherwise it’s like having great actors but no screenplay. If the plot is one which demands a series of fast-moving events, and the characters are there to match, then pace will follow (if it doesn’t, your editor will soon let you know!)
DF: Do you believe there is an advantage in writing a series with re-occurring characters, rather than writing a stand-alone novel?
AM: Yes, I do – for both author and reader. The author doesn’t have to invent new (main) characters each time, but can develop them as they go along (which is more interesting to do), and the reader can become comfortable in knowing what to expect. We all feel at ease with a ‘favourite’, be it food, sports team, music, TV programme or fictional character – anything. It satisfies our expectations. And there’s nothing quite like opening the next in a favoured series to make us feel at home right from the off.
JD:I guess there are advantages and disadvantages to both. I’m writing a trilogy, so it’s not quite a series. The difficulty of continuing with a character over many books is that they all become slight variations of each other, but of course with stand-alones you have to get the reader interested in new characters each time out. I think if readers enjoy a novel they are often interested in the protagonist, and so will be intrigued by further stories featuring them.
JJC: As long as the writer can continue to have their main character/s evolve, then the series gains fans who love the character/s as well as the writer – Jack Reacher is probably as famous, if not more so, than his creator Lee Child. Do you ever read a stand-alone and wish it was a series because you loved the character/s as well as the writing? I may be a little biased though – I haven’t written a stand-alone novel yet!
DF: Research is always an important part of the preparation and writing of any novel. Do you think this is more important when dealing with espionage related topics?
JD:I don’t think it’s necessarily more important – if you were writing medical thrillers or courtroom dramas you’d need to do your homework as well – but I think it can be a more difficult subject to research, simply because it is based on secret information, and of course deception. If you read a memoir by a defector, for example, you have no idea what their agenda might be – they may be exaggerating their own importance or settling old scores. The book could also have been edited by their new masters to give a certain idea. So it’s a bit of a minefield, I find. Just the other day I discovered that something I had read in several places about Britain’s contingency plans in the event of nuclear war appeared to have been disinformation. I was reading a declassified file that showed this – but, of course, the file was declassified by a government, and might itself have been disinformation, or part of a wider operation designed to deceive.
JJC: It’s a shady world where only trained spies know what spies actually do – relatively small readership (but bigger than you think). If you get it right then someone may be knocking on your door. I’m still covered by our Secrecy Act – forever.
I can’t write about actual situations , methods or techniques unless I find them already posted somewhere on the internet (thank you Mr Internet Founder). Besides, if you spend all of your time researching then when are you going to find the time to write. If you are planning to get published in the fiction section, don’t sweat the details too much – just write. Your editor should let you know if something sounds a little far-fetched.
AM: Just as important as any other. There may be certain limits to what we can find out, unless we have an inside track, for example, but that holds true for almost any subject we care to write about. But again, as we recently discovered, making things up about spies and spying can almost lead us to go too far, if only because the reality is shown to be so ordinary. An area of our research which is difficult is that of the character. We probably have an easy answer as to what makes killers and crooks tick – they’re either greedy or plain nut-jobs (okay – simplistic, I know). But what makes a spy tick? What drives them? And the counter-spies? I think that’s the question which drives the fascination for the genre.
DF: One of the things I have noticed that has changed the most in spy novels over years, is the way in which technology has stripped away the whole ‘investigative’ aspect of a spy story. Is this necessarily a bad thing?
AM: Not really, because spy writers can now use the technology to drive the novel in ways they couldn’t do years ago (mobile phones, computers, eavesdropping methods, data transfer and so forth). Most of us have grown up with gadgets of one sort or another, and providing it doesn’t get too heavily-leaden with them, the use of what we have come to identify as the ordinary (you can buy all this stuff over the counter) brings an element of realism – or what our readers might imagine is real – to the story.
JD:No, I don’t think so. It’s just a different thing. I don’t think stories compete with each other quite in this way. I enjoy the hallmarks of spy fiction written during the Cold War, and a lot of the suspense in those novels comes from situations that would be redundant now: a protagonist needing to find a working public call box, for example, or desperately trying to find a map of a city. But technology creates other forms of suspense – the cell-phone has no signal or a GPS system malfunctions. I suspect the thriller-writers of the early 20th century would feel that new forms of technology stripped away crucial elements of the genre as well, but I think it’s more about finding what is suspenseful, whether you use technology or don’t.
JJC: Technology did strip away the art of HUMINT to some degree. We’ve realised the mistake of relying too heavily on technology in recent times. HUMINT collection assets were ‘gutted’ due to technological advances. We should have realised that technology ‘value adds’ to the art of HUMINT and not there to replace it.
DF: Moving on from technology in the story, to technology in how it’s presented – audiobooks were once considered an aid for the visually impaired, but now with the ‘iPod generation’ whole novels (or series for that matter) are able to be easily transported in someone’s pocket. What’s your opinion on audiobooks?
JD:I have nothing against them, but I don’t listen to them myself, because they seem to take too long. I prefer reading at my own pace, with my own interpretation. But a lot of people like them, and I’m happy to have sold the rights to them!
JJC: Only ever listened to one audiobook, sorry. And, thank you very much Chris Ryan for ensuring I never listen to another. I want to hear my voice and that of the authors’ as I’m reading. We’re slowly moving toward generation ‘lazy’ so maybe the market for audiobooks will increase.
AM: Personally, I find I get too distracted after a while – but that’s just me. I love short audio stories, however, because I can listen to them at the gym for the short time I’m there before I fall off the treadmill or need a lung transplant. Maybe I should apply myself more to audio books (and train for longer). For other people, though, I think they’re great.
DF: Continuing with technology – and as it seems rather topical with many authors at the moment, you probably guessed the next question – What’s your opinion on eBooks and digital downloads?
JD: I think there may be more resistance to them among readers than there was for music, but that before too long there will be an ‘iPod moment’, where it becomes much more mainstream than it is now. A lot of people resisted MP3s because they wanted the cover art for their CDs, the lyrics sheet, and the sound quality. But the sound quality improved, the price of players came down, they could store more music, and I don’t think that many people who use their iPods miss the cover art or lyrics sheets of their CDs any more. I think people love physical books more than they did CDs or cassettes or even vinyl, but I think we are moving in the same sort of direction. Still, I think it’s great that people still love reading.
JJC: Although I haven’t got an e-reader yet – I will soon. My book collection is just huge and I’d love to have them all stored on an e-reader, especially for travelling. Kinda makes it hard for an author to do book signings for an e-publication (although I did sign the back of and iPad at ThrillerFest).
AM: I’m absolutely all for it, but with one proviso: authors shouldn’t lose out. Whatever exposure we can get is great, and all the channels we have now can only help increase our audience. But we’re in the early days and there are some potential problems if publishers don’t play fair. A digital novel is the same content as a paper one – but the delivery is not. It’s not as expensive, it doesn’t need storing in a warehouse, and can be delivered without a truck and driver. Sure there will be initial costs for publishers, but these will come down rapidly as the audience grows and the delivery platforms increase.
DF: As a genre, do you think that spy novels and old fashioned thrillers are being squeezed out of the market place by Vampires, Witches and Wizards?
AM: Not at all. Nudged slightly to one side, maybe, in air-time, market coverage and advertising, but not for long. There are already signs that some readers are turning off wizards and vamps, and going for zombies and other creatures instead. But like all trends, they come and go. Not everyone likes spy novels… but there always has been a hard core of readers out there who do. The fact is, when spy novels seemed out of favour a while back, we found other characters and scenarios which were similar enough to suit us just fine. (I use to love westerns – Louis L’Amour, Zane Grey, etc – because to me, they were simply sleuths or spies on horseback).
JD: I think the market is big enough for us all. Vampires are the big thing at the moment, but plenty of people still enjoy this type of thriller. Dan Brown is writing conspiracy thrillers, after all. I think people love a good story, no matter the genre.
JJC: No. As long as something is dragging the punters in the bookstore, than eventually someone will find my lone copy in there. The more books that sell regardless of genre, the better off all of us are in terms of writers and readers alike.
DF: What are you reading right now? Are there any authors (living or dead) that you would name as influences?
JD: At the moment I’m reading a lot of research for my third novel, but I just finished Operation Mincemeat by Ben Macintyre, which I thoroughly enjoyed. I’m influenced by a lot of writers, but Len Deighton and Elleston Trevor are perhaps the biggest.
JJC: Lisa Unger’s latest, Fragile. I was fortunate enough to receive an advance copy. She is such a talented writer and great person – brilliant book. Do yourself a favour and grab a copy when they hit the shelves.
I would say both Lisa and Lee Child have been an influence in my writing. I love their work and was fortunate to have both read and blurb for my debut novel. Now that’s a thrill!
AM: My earliest influence was Leslie Charteris, followed by the American harder core writers such as Hank Janson, Mickey Spillane and so forth. But I always loved the spy genre, from John Buchan through Berkely Mather to the modern day. Oddly enough, I never got to grips much with Ian Fleming for some reason (although I’m a firm Bond film fan), but preferred John Gardner, Peter O’Donell, Gavin Lyall and Adam Diment.
I’m just reading Bolt Action by Charlie Charters. More to do with terrorism than spies, but it’s all in the same ballpark for me – and it’s a very good read.
DF: What was the book that most influenced your life — and why?
JD:That’s a tough question! I think it might be The Quiller Memorandum by Adam Hall, which was one of Elleston Trevor’s pseudonyms. I picked it up in a second-hand bookshop in Antwerp about ten years ago. I’d read some spy fiction before, and liked it, but that book gripped me. I started buying up the rest of the series, and was stunned by how good they were. They started me thinking I would like to try my hand at writing a spy thriller myself, and seeing as I am now doing that for a living, I think it’s fair to say it influenced my life in a very big way.
JJC: Hope this doesn’t come across as ‘too’ egotistical, but my first novel, The Interrogator is the book that has most influenced my life. It was all about the journey. I didn’t intend to get an agent or get published when I sat down and typed the first words. The book was purely for me and the learning process was steep, yet fulfilling.
AM: I wish I could give you one title – but I can’t. There have been so many, all of which made me think ‘I want to be a writer’. And as a writer, you can’t ask for a better life influence than that.
DF: Gentlemen, I want to thank you very much for your time. It’s been an absolute pleasure putting this panel together, and hearing your insightful and varied thoughts on spy fiction. I wish you every success with your novels, and I am eagerly looking forward to reading your books – as I am sure many other readers are too.
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JJ Cooper is an Australia writer who spent seventeen years in the Australian Army. He spent two tours of duty in East Timor and one tour in the Middle East in 2003. Since leaving the military he has spent his time writing.
JJ Cooper is happily married, with 3 children, two boys and a girl. With his passion for writing he enjoys every moment spent at home writing, surrounded by the people he loves.
Deadly Trust was published on the 2nd August by Bantam. It is available from Random House and QBD.
The Interrogator is now also available in the US from Amazon.com
Jeremy Duns was born in 1973 and grew up mainly in Africa and Asia. He read English literature at St. Catherine’s College, Oxford, after which he worked as a journalist in Brussels for seven years. Free Agent was a Daily Telegraph Thriller of the Year 2009, and has been praised by William Boyd, Eric Van Lustbader, Gayle Lynds, Charles Cumming, Jeff Abbott, David Morrell and Christopher Reich.
Free Country was published on the 5th August by Simon & Schuster. It is available from Amazon UK.
Jeremy’s first book Free Agent was released in paperback in the US last month. It is available from Amazon.com
Adrian Magson is a freelance writer and lives in England. The author of five books in the Riley Gavin/Frank Palmer series, he has recently completed two new books which are the start of two new series: ‘Red Station’ is the first in a contemporary spy series featuring Harry Tate, an MI5 officer. ‘Death on the Marais’ is the first in the Inspector Lucas Rocco series set in France in the 60s.
Red Station will be published on the 26th August by Severn House Publishers Ltd. It is available for pre-order from Amazon UK.
Of course there is much more too. If you haven’t headed across to The Debrief yet, take the time soon. You won’t regret it. Jeremy’s articles are well researched — unlike my opinionated ramblings — and reveal some fascinating insights into factual, literary and cinematic espionage.
Free Agent is the first in Jeremy Duns’ planned trilogy of novels featuring Paul Dark. Free Agent is to be followed be Free Country and then Free World. And I must say this novel gets the series off to a flying start. The first jolt comes within the opening pages after you’ve been lulled into a false sense of security. It’s the obligatory briefing scene, where the secret agent receives his mission instructions from his superior. Often in this type of scene in other spy books, you get the crusty old handler tossing off a few barbs at his petulant underling – but you know deep down there is almost a father and son relationship going on. Well, Free Agent continues that time honoured tradition but then turns it on its head when Dark pulls a Luger pistol and shoots his chief right between the eyes.Whoa! Where do you go from here!
The story then flashes back to the aftermath of the Second World War, and Dark is involved in an operation to track down Nazi war criminals. It is here, where the seeds of Dark’s traitorous actions are sown, and slowly a picture of the man starts to emerge. Is Dark a villain? Well that’s hard to answer. He has just shot his chief, so the short answer is yes. But as you read the book, Dark never really seems like a villain. You ride along with the character, through his numerous scrapes – from out of the frying pan and into the fire, as it were, but you still keep hoping he’ll muddle his way through. Duns has walked a fine literary tightrope, creating a character who it would have been easy to despise – and as such create little sympathy or interest from the reader. The fact that Duns has been able to create a universe where the reader actually follows with interest – and dare I say it – cheers for the villain is quite an impressive feat.
As the story progresses to Nigeria, Duns also proves adept at painting an atmospheric picture. The heat, mosquitoes and the sweat are almost palpable – from the time Dark hits the tarmac in Lagos, through being captured by drug addled Biafran soldiers, till he finally reaches his finally destination this is one hot sweaty book.
Without giving away too much of the plot, and spoiling the story, some of my favourite passages are a gun battle and car chase through the streets of Lagos – yeah, I am a sucker for a good action sequence – and the passage where, well actually it’s the last one hundred pages of the book. Up until this point the book has been good, but here it lifts up a notch. From the point where Dark catches a plane flight to Udi, until the last pages of the book where the last few final twists are revealed, I dare anyone to put down this book while reading.
Jeremy Duns is no stranger to the world of spy fiction. You can read his articles about past masters of the spy genre in The Sunday Times or listen to his opinion on Len Deighton on BBC4 radio. The problem with this – and I can be guilty of this too – is that it is easy to suggest that Duns’ writing (or certain passages) mimics those of the masters of the spy genre. I have already read comparisons of Duns to LeCarre and Deighton – and while I am sure Duns would be very pleased to see his name grouped in such exclusive company, I think it undermines his achievement as a writer. This is not a ‘cut and paste’ book. Sure, people who have read a great many spy books will be able to spot certain references – maybe even homages – to the past, but Free Agent is a cohesive piece of story telling that stands on its own.
Another side effect of Duns’ knowledge and reputation in the field of spy-lit, is that many people seem to expect that Free Agent is a ‘hard-core’ novel of espionage. It is not – it is a rattling good thriller that just happens to be set in the world of espionage. Is there a difference? Yes there is. Hard core spy novels attempt to demystify the world of espionage. They strip away the gloss and show spying as a dirty business. Whereas in a thriller, a series of events happen that build upon each other – they build and build until they reach (hopefully) a shattering climax. The reader gets breathlessly propelled through the story. Free Agent belongs to that latter tradition. In Free Agent you will not find any long-winded passages detailing ‘tradecraft’, and due to the book being set in the sixties, you will not find any tiresome techno-babble about weapons and machinery. This is a story that drags you along at breakneck pace.
It’s that last point that I believe is the most salient. As a reviewer, I am a guy who writes about spy films and books, and so, of course I am going to love Duns’ book. But because I believe that Free Agent is a good thriller, rather than an espionage book, I would suggest that this book has broad appeal and can be picked up and enjoyed by everyone – you don’t have to be a spy geek like me to enjoy this book. When I interviewed Duns last months, he remarked:
‘I write for as broad an audience as I can. I want people who don’t usually read thrillers to read my work, and hope that pretty much anyone over the age of fourteen or so could enjoy Free Agent.’
When I interviewed Jeremy, I hadn’t read his book, and his comment was sort of lost on me. As an author, of course you want everyone to read your book, and would say something to that effect. But in fact, he has delivered what he said – a thriller for people who don’t usually read thrillers. I would say that he has succeeded admirably.
Free Agent is released in the United States this week.
To read my interview with Free Agent author, Jeremy Duns, click here.