The London Book Fair closed the other week in a bullish mood with reports of some eye-watering deals for a number of thriller writers. It seems that the good times are back, judging by the number of publishers bidding at auctions for big titles and the frenetic activity in selling the rights for these books across the continent of Europe.
There was quite rightly a lot of attention on thrillers at the fair and one debut writer in particular appears to have hit the jackpot after giving up her job last summer to take the Faber Academy writing course.
Chloé Esposito looks set to become the next big thriller author after receiving over £2m in advances from UK publisher Michael Joseph and foreign rights sales, according to reports at the London Book Fair. There is also talk of Hollywood being interested in her Mad, Bad, and Dangerous to Know trilogy.
Pitched as “a heady mix of sex, lies, twists and murder,” it’s a story of sibling rivalry where the protagonist is described as “Bridget Jones gone bad.” There is apparently a nod in the direction of anti-heroes, Amy Dunne and Tom Ripley.
The first of the trilogy, Mad, is due to be published in June 2017 and looks set to become a hit like Gone Girl and The Girl on the Train.
Esposito says it is her first novel, although she had previously written “hundreds” of unfinished books. Her agent, Simon Trewin at WME, claims that it is “a thriller with a high concept,” and went on to describe it as the “American Psycho for the Gone Girl generation.”
No doubt this high concept thriller will lead to a round of similar novels reaching the market in the years to come, possibly adding another subgenre to thrillers.
In recent years, the domestic noir genre has grown in increasing popularity. Publishers and agents have been scouring female writers to come up with more domestic noir, which was grafted on the back of the classic detective genre by turning romantic women’s themes into darker stories.
Ian Rankin, the bestselling crime author who created the Rebus series, made the point recently that publishers are no longer just focused on publishing the next big book or author, but an entire genre. He claims that British writers are facing more competition than ever as publishers are turning their sights on finding the next success to Scandinavian noir.
More publishers are trawling their nets in foreign waters hoping to come up with a new cultural setting for crime readers to enjoy. Suddenly, there are more thrillers being stacked on the shelves of bookshops from around the world. This may be a good time to be a translator, but perhaps not a British thriller writer.
The majority of today’s crime novels are far from the roots of the classic thriller of the last century as they are filled with violence, horror, torture, misogyny, and sadomasochism.
Ann Cleeves, the crime writer, believes that publishers have encouraged such writing in a bid to keep up with the success of Scandinavian noir.
But she believes readers have tired of such genres, and supports her view with the recent trend towards traditional crime novels, citing the success of the British Library’s classic crime series, which reprints books from the 1930s with iconic covers from the golden age of thrillers.
While she admits that some of these books are beyond their sell-by date in entertainment value, publishers should be taking note what the readers are saying through their purchases.
That may be true, but given that Esposito’s new book promises “loads of sex and violence,” don’t expect any sea change soon.
Ian Rankin and Ann Cleeves will be speaking at Crimefest in Bristol, 19-22 May 2016. http://www.crimefest.com
Keep up to date with Tom Claver at www.tomclaver.co.uk