An Interview with the Inimitable Tony Broadbent

By David Corbett

I first met Tony Broadbent at the Book Passage Mystery Writers Conference in Corte Madera, California. I wondered who this handsome, smart, dapper, witty, self-effacing, charming, utterly intimidating Brit could be.

I wanted to hate him—how could he be so goddamn brilliant—effortlessly so—at absolutely everything? But as I quickly learned, hating Tony Broadbent is just not an option. Fortunately, befriending him proved much easier than I’d imagined.

Tony’s the author of three of the most intriguing, suspenseful, and beautifully written thrillers I’ve ever read, all of which take place in post-war London:

The Smoke (named by Booklist as both one of the best first novels and one of the two best historical novels of 2002)

Spectres in the Smoke (Winner of the Bruce Alexander History Mystery Award, named by Booklist as one of the best spy novels of 2006, and named an IMBA “Killer Book” for November 2005)

Shadows in the Smoke (just published—distinctions pending)

(Note: As those of you acquainted with Tony’s work well know, “The Smoke” is a nickname for London.)

Not surprisingly, Tony’s work has garnered exceptional praise. For a full sampling, visit his website. But to give you a modest taste:

The Smoke takes its time concentrating on its main suspense story; after all, there are so many dark alleys and byways in London to explore (the great crumbling theaters, fry shops like The Victory Cafe, where customers can still get "a good nosh") that the novel is easily diverted from its spy-vs.-spy machinations. Not a problem. Jethro's illicit adventures are entertaining, but this is one of those mysteries whose distinctive sense of place lingers long after plot details have faded. —The Washington Post

Broadbent honors—with understated admiration and moments of high-quality local humor—the spirit of London's (postwar) inhabitants. Cary Grant could have played Jethro perfectly. —Chicago Tribune

Tony studied art in London—for a taste of his artwork, check out his covers (below), all of which he designed—then he worked as copywriter and creative director at some of the best advertising agencies in London, New York, and San Francisco, before opening his own agency. He's now a consulting brand strategist, planner, and ideator (whatever the hell that is) for clients in the U.S. and Europe.

So—let the Q&A commence:

David: Every time I hear you discuss your books, I’m impressed by the personal connection you have with the material, especially the setting: Post WW2 London. Victory seldom looked so harsh and hollow. And yet you bring the time and place to life in a way that testifies to an incredible vigor of spirit—and earthy wit. Could you speak for just a moment on why you chose this particular time in English history, why it affects you so deeply, and why it’s so important to you to convey it to readers with the richness of atmosphere and detail that you do?

Tony: Firstly—thanks very much—David—for the opportunity to hang out—as they say—with the Murderati.

The Jesuit credo: ‘Give me a boy till he’s seven and I’ll make you the man’ holds true for the country and times we’re born into. And if I can misquote Graham Greene—‘England very much made me.’ I was born mid-century—not long after the end of World War Two—an event that radically changed the political map of the world and its peoples and led to the Cold War. Those events of sixty plus years ago still directly influence events today.

The Second World War—and its aftermath—was very much a time of heroes; ordinary people caught up in extraordinary times. It's been hailed as "the Greatest Generation"—and quite rightly so in my opinion—and we continue to owe them a huge debt. They'd won the War, but then had to survive the peace.

In England, the government was forced to introduce severe austerity measures that went on well into the Fifties. Bread was rationed—and it hadn’t once been on ration during the war—as too were almost all consumables—foodstuffs, beer, clothing, furniture, motorcars, and petrol (gas). Meat was on ration until 1956. Sweets (chocolate and candy) came off ration in 1953 as ‘gift’ to the nation’s children to mark the coronation of Queen Elizabeth II—after which they put it back on ration for another three years. (Probably the reason why so many of my generation still have sweet-tooth cravings.) All of which led to a British mind-set that harked back more to the ‘Thirties’ than the future. And which—in many ways—gave rise to the ‘angry young men’ movement of late-Fifties British theatre and literature and film and—in all probability—the teenage yearning for and addiction to rock ‘n’ roll and ultimately the explosion of the ‘Swinging Sixties’. 

And as with everyone else in postwar Britain, I was steeped from birth in the mythology of the times. So writing The Smoke novels not only gave me the opportunity to go back and explore the country—and the city—that made and formed me—it’s allowed me to appreciate it all the more.

As for that ‘postwar’ London of bombed-out broken buildings and bombsites—it was all still there—well into the Sixties. And when I was nipper—a very young kid—my father would take me up to London—for the fun of it. (He loved the city.) So I actually visited many of the areas I write about—Church Street and Petticoat Lane (street markets) in particular—and actually saw Jack Spot—‘Spottsy’—one of the Lords of The Underworld—on Church Street. And I suppose our ‘body memories’—the sights, sounds, and smells of time and place—never really leave us—not if we’ve truly loved them in the first place.

David: Each of the books explores a distinct aspect of post-war austerity, adversity, and survival. You’ve tackled the threat of Communism, the surprising rise of post-war fascism (and the ties between British Royals and the Nazis), the rise of organized crime amid the bombsites and ashes. Is there a historical arc intended in the books? Or are there at least certain historical or societal events or changes you find particularly compelling, and use for your stories?

Tony: The arc of The Smoke novels—publishers willing—stretches from the late Forties through to end of the Fifties. Postwar Britain seemed immeasurably grey and forever frozen in black and white—and not only because of newsreels and newspaper photographs of the period. The actor Terence Stamp—who grew up in postwar London’s East End—once said that it was only when The Beatles burst onto the scene in 1962 that the whole of England—London particularly—seemed to erupt into Technicolor.

So the stories—all of them based in ‘The Smoke’ (Cockney slang for London Town)—and most all of them steeped in London’s criminal underworld—take the reader from the wartime government directive of ’make do and mend’ all the way to the emergence of the consumer society. And along the way—as background—I touch upon various key UK events; everything from the surprising and very alarming resurgence of Fascism (in response to Clement Attlee’s 1945 Labour Government), the 1948 London Olympics, and the 1951 Festival of Britain, to Cold War espionage, the Deadly Fog of 1952, the Queen’s Coronation in 1953, and the Suez crisis of 1956.

David: You’re not just a master of setting and milieu. The other brilliant creation in the series is its hero, the cockney cat-burglar (or “creeper”) commandeered by MI-5, Jethro—Last Name Unknown. In him you’ve given us a completely British creation who nonetheless adheres to the Chandlerian diktat: He walks the mean streets but is not himself mean. Where in the smithy of your soul did you find him?

Tony: There's that old saw, to 'always write what you know about.' So I peopled The Smoke with people, places, and events I knew of or had heard of or read about. Jethro—the Cockney cat burglar and jewel thief—is based on the father of an old friend of mine­­­—who I never ever met—but who was an honest to goodness London cat burglar. And as my ‘old china’ (Cockney rhyming slang: old china = old china plate = mate) had a career in the London theatre, I put the two together—added a dash of one or two of my favorite British actors and—‘voila’—I came up with our Jethro.

I also cast my own dad as a character—cast a wonderful old teacher of mine as another—and based another key recurring character on a friend from my days at art college. Later, when I found out the father of a writer friend of mine had served in the OSS and then CIA during and after the War—I had him as one of the main characters in Spectres In The Smoke. The reason? They’re all heroes in my book—which is why I also have Ian Fleming and David Niven—two other particular heroes of mine—in major walk-on parts. Then I have them all meet up—back in London—back when they were all in their prime.

So all the characters—Jethro especially—are amalgams of characters witnessed—real or imagined. I’m a child of my times and thus I’m very much a child of mass media—books, comic-books, pop-songs, radio, television, films. And so Jethro is a reflection of those times—and if not exactly a working class kitchen-sink hero—even though one reviewer likened him to a proto-Bond—he’s not a ‘clubland’ hero, either. I hope he’s someone you’d like to have a drink with—spend some time with —in a pub or on a long walk.

David: You’re justly praised for your command of cockney slang—and feel free to riff on that if you’d like—but I think your style in general is simply marvelous. I always sink in to your books because you draw me in so completely with the world you create through language. Your voice is unique and yet natural. You trained in the visual arts and in music—Little Known Fact: You design your own covers—where did you develop such an engaging prose style?

Tony: Thanks David—that’s very kind of you to say so. Language—voice—is very much a part of time and place and so as much as I can I try to follow the rhythms and patterns of London itself—very much a character in the stories—but I also then try to make it all very accessible—rather than merely a dry historical tract—by adding copious dashes of humor and—dare I say it—humanity.

I write in first person—and refer to the stories as it were told by Jethro as ‘Creeping Narratives—(in this case ‘creeping’ referring to the Cockney slang for burglary)—even so, the pacing is measured in that I only ever reveal what Jethro would actually know at any one time. So fast food it isn’t.

When I write—I always hear Jethro in the voice of Michael Caine—born and bred in London—and one of Britain’s finest film actors—and very much a man who oozes humanity and humor. Though the younger Murderati out there will perhaps know him best as Alfred the butler in the ‘Dark Knight Rises’ film trilogy starring Christian Bale as the caped crusader (Again—our heroes are ever important—regardless of how they might kit themselves out)—Caine has made some truly wonderful films over the years. All I have to do is read some lines of narrative in Caine’s (younger, Cockney) voice and I’m away and running, so to speak.

Cockney or Rhyming Slang evolved in the East End of London over hundreds of years—its natural habitat, the docks, the markets, the streets, the theatres, the taverns and pubs. It’s thought to have originated from the soldiers and seamen—and thieves—who frequented London’s vast docklands and the waves of immigrants—Russian, Jewish, French-Huguenots, Irish and Chinese amongst others—all of whom at one time or another have called the East End of the city, home.

Slang—usually defined as colloquial alternatives to standard language—is probably as old as human speech—and on the surface it might appear as being little more than linguistic playfulness—but Cockney Rhyming Slang and its sub-set, ‘back-slang’— “rouf”; “neves”; “yob”—was originally a ‘secret’ language that intentionally excluded the uninitiated and was as exclusive a London club as any to be found in Pall Mall or St James’s. Much the same could also be said for polari—the secret language of London’s gay community when homosexuality was strictly forbidden by law and subject to swingeing prison sentences.

David: What comes next for Jethro—and you?

Tony: The next book in the series is called Skylon In The Smoke—and follows hard on from events in Shadows In The Smoke. It sees the start of a major power shift in London’s Underworld—witnesses the Festival of Britain—and touches upon MI5 and the emerging dark and murky world of the postwar atomic spies. And all before Jethro even has a chance to put on his turtles (a little more Cockney rhyming slang: turtles = turtledoves = gloves) to go do a bit of burglary.

David: One last question. I mentioned music in a preceding question. You had something of a career in music as a youth in London, and you’ve written a book with a unique look into the Beatles. Could you share a little about either of these endeavors—or, happily, both?

Tony: Again it was more a function of the times—than true musical ambition or design. The Beatles opened up the door for many a lad in Britain in the Sixties. I just jumped through the opening with a guitar in my hand, along with almost everyone else I knew. And was lucky enough to witness—up close—the early days of some now legendary bands. Also, being in a rock’n’roll band and playing rhythm and blues was a great way to meet girls or 'birds' as they were called back then. All wonderfully captured in the words of the great Bob Dylan—“The times they are a’changing.”

We had no idea—of course—of the true extent of any changes and absolutely no way of knowing the long term effects we might have on society or even on ourselves—but to be a teenager—back then—and share in the music—somehow made you feel you were connected to every other teenager in the world—language or culture didn’t seem to matter at all. It was the attitude—the hope—that ‘a way’ was opening for something really new—something that would be better for everyone. It truly seemed to be a magical time.

As I mentioned before—it’s all to do with the teenage yearning for meaning that for me—in my youth—was all part of the ‘pop’ culture explosion—in popular music, the arts, fashion—even sexuality—of the ‘Swinging Sixties’. A little of which I’ve tried to explore in the mystery novel I’ve just completed that revolves (at thirty-three-and-a-third) around the early days of The Beatles—and others—in the Liverpool, Hamburg and London of yesterday.

* * * * *

So, Murderateros—any questions for the Inimitable Mr. Broadbent--Art? Music? History? Cockney Slang?

* * * * *

Jukebox Hero of the Week: I asked Tony to name the hero for this post but he graciously declined, deferring to my judgment. And following along in that spirit of generoisty, I’ve chosen an hour-long concert by Elbow, a British act that whose lyrical genius and melodic inventiveness calls to mind that former UK vanguard Tony remembers so fondly above.

(Note: I owe my introduction to Elbow to frequent Murderati contributor Gordon Harries, who also introduced me to Richard Hawley, who makes a featured appearance on the following video, joing Elbow for “The Fix is In”):

Cover Quotes – Credible Praise or Irredeemable Corruption?

By David Corbett

First, some business to square away – I’m teaching a couple of courses I’d like everyone to know about. If you or someone you know would like to register, follow the links I provide below.

The first is an in-person weekend class and workshop at Book Passage in Corte Madera on December 1^st & 2^nd. The class is titled Character Spines and Story Lines, and will focus on how to integrate character with story to create focused, compelling, character-driven plots.

The second is a ten-week online course, beginning January 16^th, offered through the UCLA Extension Writers’ Program. It’s titled The Outer Limits of Inner Life: Building Consistent but Surprising Characters, and covers the art of characterization from conception of the character through development and execution on the page.

Also, Open Road Media and Mysterious Press have re-issued my third and fourth novels -- Blood of Paradise and Do They Know I'm Running, respectively -- in ebook format with, imho, killer new covers:

They've also created a swift little video for the rollout, in which I characteristically talk far too quickly about nothing much:

Follow the links to purchase the titles, and remember there are two days left of the special November promotion in which The Devil's Redhead (and 99 other stellar titles) are all available for $3.99 or less (TDR is a lean, mean $2.99).

* * * * *

Now, to our regularly schedule programming:

I had a lot to be grateful for this Thanksgiving. I got to meet my girlfriend Mette’s parents for the first time – they spend much of the year abroad, living for several months in Bergen, Norway, another several in Izmir, Turkey – and spent several restful days at a lakeside cottage in the Putnam Valley (not far from Sleepy Hollow), eating sumptuous meals, hiking in the woods, and listening to vinyl on our host’s knockout stereo (his record collection ranged from Bowie to Herbie Hancock to Fela to Sonny Boy Williamson to, well, you get the picture).

I also received from my editor at Penguin, Tara Singh, a jpeg for the finalized cover up my upcoming book, The Art of Character:

Oops. My apologies. I tried to post the cover, but I only have a pdf file,

and apparently I need a jpeg or similar file. I'm going to try something here -- let's see if it works. If not, sorry.

 

The cover was completed after I was able to scrabble together some blurbs from assorted friends, colleagues, comrades in arms. Given the rather ragged path to publication this poor little book has endured – I’m on my third editor, for example – I was given a very narrow time window (two weeks) to gather these quotes, which all but guaranteed that we’d come up short-handed.

All the writers I know are super-busy, and asking for a quote in such a short time frame was almost embarrassing. Many of the writers I asked simply couldn’t oblige, but luckily there were a significant, generous few who were able to take the time and respond.

As you know, this past year there was a rather heated debate over the use of “sock puppets” to praise one’s own work and, in extreme cases, attack the work of others. Alexandra and Martyn both posted blogs here on the topic. And the resulting discussion all around the web brought into high relief the entire issue of garnering favorable opinion for one’s work – whether in the form of friends writing Amazon reviews, writing reviews oneself under pseudonyms, or good old-fashioned, genuine third-party praise.

Barry Eisler, in addressing the sock puppet phenomenon, put it in the context of acquiring blurbs, a system he considers “irredeemably corrupt.” I’m not quite as jaundiced as Barry, but I’m no fool. I realize that many cover quotes are written as personal favors or as a kind of quid pro quo for kindnesses or acts of generosity provided elsewhere. I also know they don't always reflect a genuine knowledge of the work. As Robert B. Parker famously remarked: "I'll blurb the book or read it, not both." (I'm paraphrasing.)

I think most people understand all this. Readers don’t take cover quotes as gospel any more than they read Yelp reviews without a certain reasonable skepticism. Ultimately, we evaluate several reviews and/or blurbs, "weigh the source," glimpse at the book ourselves, and form our own opinion.

That said, I was absolutely overwhelmed with the generosity, kindness, and respect my fellow writers showed my humble little book. My editor was frankly stunned – and ecstatic. Here’s a sample:

"David Corbett has written a wise, inspiring love letter to all the imaginary creatures inside our minds—so we might conjure them whole on the page. I predict that massively underscored copies of The Art of Character will rest close at hand on writers’ desks for many years to come."  —Cheryl Strayed, Best Selling Author of Wild

“I once made the mistake of writing a story with David Corbett. The man smoked me. He can delineate the character and personality of an accordion in three strokes. I didn't even know accordions had character. This act of generosity and wisdom from a very good writer will help anyone who is staring at a blank page, any day, any time. Highly recommended.”  —Luis Alberto Urrea, Pulitzer Finalist and Bestselling Author of The Hummingbird’s Daughter

“Corbett’s The Art of Character is no "how to" book or "writing by numbers" manual.  It is a writer’s bible that will lead to your character’s soul.”  —Elizabeth Brundage, Best Selling Author of A Stranger Like You

Indispensable. Few are the writer’s guides that are written as beautifully, cogently, and intelligently as a well-wrought novel. This is one of those books.”  —Megan Abbott, Edgar-Winning author of The End of Everything

"David Corbett's The Art of Character belongs on every writer's shelf beside Elizabeth George's Write Away and Stephen King's On Writing. An invaluable resource for both the novice and the experienced hand, it's as much fun to read as a great novel."  —Deborah Crombie, New York Times best-selling author of Water Like a Stone

"The topic of character development begins and ends with David Corbett’s The Art of Character. This is the book on the subject, destined to stand among the writings of John Gardner, Joseph Campbell, and the others of that select few whose work is fundamental to understanding the craft of storytelling."  —Craig Clevenger, author of The Contortionist’s Handbook and Dermaphoria

"David Corbett's The Art of Character offers a deep inquiry into the creation of character for the novice writer, with valuable nuggets of wisdom for the seasoned storyteller. If you are a writer, it should be on your desk."  —Jacqueline Winspear, National Best Selling Author of A Lesson in Secrets

“Clear-headed and confident, David Corbett takes us through the steps of characterization in a manner that resists formula while at the same time demystifying a process that has likely daunted every writer since Homer. “  —Robin Hemley, Award-Winning Author of Turning Life into Fiction

“David Corbett has combined his unique talents as a gifted writer and an extraordinary teacher to create a superb resource on character development. Deftly crafted and impeccably researched, The Art of Character is a thoughtful and insightful book that is immensely readable and practical.”  —Sheldon Siegel. New York Times Best Selling Author of Perfect Alibi

 "It is rare to find the deep philosophical questions of literature (and life) met with such straight-forward and inspiring instruction. But David Corbett is that writer, and The Art of Character is that book."  -—Robert Mailer Anderson, author "Boonville"

“This fine book is about as thorough an examination of character and what it means in all sorts of imaginative writing as you're likely to find anywhere.”  —Robert Bausch, Prize-Winning Author of Out of Season

Yes, they all could be lying, or exaggerating, or simply doing me a good turn. But I think, when readers look inside the cover, they’ll be able to determine for themselves whether the praise was warranted or not. In the meantime, I’m basking in the glow – and feeling very fortunate indeed.

So, Muderateros – how do you appraise the value of cover quotes on a book you’re thinking of buying? Do you agree with Barry Eisler that the system is so ridden with underhandedness as to be worthless? Or does the opinion of a writer you admire still carry weight?

* * * * *

Jukebox Hero of the Week: I mentioned that I got to listen to Fela this weekend at my lakeside hideaway. For those of you unacquainted with this African megastar-hero’s work, this is an excellent introduction – “Zombie,” from 1976:

Getting By With a Little Help From My Friends

By Louise Ure


By all rights, I should be telling you today about the fabulous (but grueling) Book Passage Mystery Conference that just concluded Sunday night. It really was grand, with some terrifically talented writers in attendance, and not all of them were on the faculty. This was a group with strong, solid writing skills who came to figure out how to hone their work and how to sell it.

But there will be lots of other folks blogging about the conference this week and filling in the details on their favorite panels and presentations. (Mine would have to include “The Definition of Murder,” by Dylan Schaffer, the defensive attorney representing the BART police officer who killed an unarmed man in Oakland on New Year’s Eve, and the crime fiction primer David Corbett offered based on a murder case presented by FBI Supervisory Special Agent George Fong.)

But the thing – the person -- that’s uppermost in my mind is Patty Smiley.

 

Patty and I met at the very first convention I ever attended, Left Coast Crime in Monterey, back in the Spring of 2004. Patty was my role model. We both came out of the business world before our writing days, we were with the same publishing house and we had the same editor. Only Patty did it one year before I did, so she taught me all the ropes.

Here we are, five years and seven books later (four for her, three for me), and we finally find quality time to catch up again as Patty joined the faculty at the Book Passage event. I picked her up at the airport and it didn’t take even one freeway exit to get into it.

“How are you?” she asked. And she meant it.

We’ve become inured to the casually asked “How’s it going?" from supermarket bag stuffers, telemarketers and the neighbors we pass on the way to the bus. It’s a polite thing to say, but they don’t really want an answer. Heaven help you if you really reply, listing all the aches and pains of your incipient lumbago or detail your worries about your mounting credit card debt. They’d run for the hills, thinking, “Who was that crazy person? I was just saying ‘hello.’”

Not Patty. When she asks how you are, she wants to know. And then she listens.

So I unloaded. Every disappointment, fear, concern, ailment and wound that has been crawling around my feet and up my legs like slithery snakes for the last few months. All of it, gushing out, in a lava-hot tirade of angst.

It’s a forgotten art form, listening. We half commit to hearing a response, all the while waiting for that bon mot – that half split-second -- when we can jump in with our own take on the subject. After all, it’s not a conversation unless it’s equal time, right?

Not Patty. The only time she speaks is to ask for more detail. None of that “I know how you feel, I’ve got the same kind of problem with my in-laws. Let’s talk about me.”

And then she does something remarkable. She weighs all the words and offers practical, reasoned, rational, objective suggestions. Nothing heavy-handed. Nothing condemning. Just “here are some things you might think about doing.”

I’ve only had a few people in my life like that. My sister. Judy Greber. I hope they know what a featherbed of support they’ve been.

But today I also have Patty Smiley, and I want to thank her.

Tell me ‘Rati? Who is the wise counselor in your life? Who really listens after they ask, “How are you?”