The House of Silk_ The New Sherlock Holmes Novel - Anthony Horowitz [125]
It may well be that Sherlock Holmes is the reason why I have spent so much of my life writing crime fiction of my own and if there is one small boast that I occasionally make, it’s that I have probably written more fictional murders than any other writer. Ever. The crime figures can be quickly totted up.
I helped to create Midsomer Murders from the novels of Caroline Grahame (‘Agatha Christie on acid’) and they certainly have the highest body count on British Television. I wrote the first seven episodes which saw no fewer than nineteen fatalities including Elizabeth Spriggs (poisoned), Anna Massey (pushed out of a window) and Orlando Bloom (stabbed with a pitchfork). In the early days of MM, writers were encouraged to develop a bad habit in that whenever an advertising break approached, someone would be killed simply to make the story more interesting and to encourage the audience to keep watching. It could be argued that in the end this would turn the series into a parody of itself. For my part, I had to give up writing the show when I realised that there was hardly anybody left in Midsomer to murder.
Before MM, I adapted fourteen hours of Agatha Christie’s Poirot, which averaged at least one murder in the short stories, often two or three in the novels. A less successful original series of mine, Crime Traveller, had a detective travelling back in time to prevent murders and invariably feeling (it was a time paradox … if there hadn’t been a murder he would never have travelled back in time so the very fact that he had done so proved that it had to have happened). Eight hours, eight more deaths. Given that they were supposed to be a slice of UK life in the 21st Century, there were a surprising number of murders in the two five-part shows that I developed for ITV: Collision and Injustice.
And then there’s Foyle’s War, which has now run for ten years on ITV with Michael Kitchen superb as a reluctant detective investigating crimes during the Second World War. Perhaps this was the programme that brought me to the attention of the Doyle estate. More serious and low-key than Midsomer Murders, it was set in the past, very carefully researched and perhaps more in keeping with the book they had in mind. I wrote twenty-one two hour episodes and although we did our best to keep the body count down (my favourite episode, The French Drop, has no murder at all) the deaths still added up.
And that’s not counting my children’s books. The Alex Rider world is necessarily a violent one. I have produced over thirty horror stories. And then there are the less well known but surprisingly blood-splattered detective stories featuring the Diamond brothers. I Know What You Did Last Wednesday, contains seven violent deaths in just seventy-eight pages.
I’m often asked why readers have such a keen interest in murder. The short answer is that actually I think we don’t – but in fiction, whether it’s television or books – murder is a simple, very immediate way of focusing attention on a character. We may have no particular interest in a man who makes pizzas but the moment his wife is found with her head in the pizza oven, we’re forced to ask questions about him, to look behind their relationship, to search for the truth. In detective drama, the viewer and the detective have a very similar role. And what is it about the British that makes us so pre-eminent in this field? Well, I think the fictitious county of Midsomer provides part of the answer. As a race we’re very secretive. By and large we don’t display our emotions in the same way as, say, the Americans. We live behind net curtains. This is an atmosphere very conducive to murder and it reminds me that when I put together a document to explain the ethos