Bestselling Scottish crime writer, famous for the DI Fenchurch novels, set in gritty East London, and the two interconnected police procedural series featuring Edinburgh detectives Scott Cullen and Craig Hunter.
Ed James writes crime-fiction novels. His Scott Cullen series features a young Edinburgh Detective investigating crimes from the bottom rung of the career ladder he’s desperate to climb. Set four hundred miles south on the gritty streets of East London, his DI Fenchurch series features a detective with little to lose. His next series takes place thousands of miles west, with FBI Special Agent Max Carter investigating child abductions in Seattle and the US Pacific Northwest.
Formerly an IT project manager, Ed began writing on planes, trains and automobiles to fill his weekly commute to London. He now writes full-time and lives in the Scottish Borders, with his girlfriend and a menagerie of rescued animals.
City of the Dead
The first Cullen and Bain novella, “City of the Dead”, where two cops at each other’s throats investigate a dead body on strange turf — Glasgow.
It’s available to preorder now in ebook.
A new novel, a new location.
THREE MISSING PEOPLE… ONE TWISTED PREDATOR.
‘Chilling, highly original, and highly recommended.’ Caz Frear, SWEET LITTLE LIES
‘Just when your heart rate is getting back to normal, SENSELESS smacks you in the face with another twist’ JENNY BLACKHURST, No.1 bestselling author
It’s available to preorder now in ebook and audiobook.
The Black Isle
In 2020, Bookouture will publish three of Ed’s thrillers set in Seattle and the Pacific Northwest, starring FBI Special Agent Max Carter. Book 1 (Title TBA) will be published on 21st January 2020.
Series. Standalones. All bestsellers.
I’m going to publish “Ghost in the Machine” by the 14th February 2012, but here is an advance of the book cover:
It was created in GIMP (http://www.gimp.org/) from a photo I took in Dunfermline Abbey last April on my iPhone 4. I will crop it if and when I need to.
The main typeface is migraine, available for free from stereotype (http://www.stereo-type.net/).
Other than the fact that I wrote it in Microsoft Word (I own Office 2007), I could have written and published it using entirely open source software if I’d used LibreOffice or OpenOffice.
I use Notepad++ (http://notepad-plus-plus.org/) for my notes – simple txt files are the best bet in my experience and this blows away anything else – when I used Excel I went down some rabbit holes of OCD! In fact, that’s a blog post all of its own.
I am just about to finish the latest draft – three scenes left to edit. Then I want to review the last third of the book. Then my girlfriend will review it and I’ll do another edit based on that feedback but three weeks to go and it will be published. Finally.
Three years ago to the day, I started writing Ghost in the Machine.
Funnily enough, I’d picked up the hardback of Iain M Banks’ The Algebraist, only to discover on the train that it was Mark Billingham’s Scaredy Cat – hardbacks all look the same without the dust jackets. I romped through it in days and thought “I can do this.”. I’d written two novels previously – one to be forgotten about, one I’ll revisit soon – but writing police fiction really interested me. I’d loved Ian Rankin’s Rebus series for years and the idea of creating my own… Well.
I started it on New Year’s Day 2009. I finished draft one in March. I was ill. I wrote another draft and submitted it to agencies in August. I had interest from one – a swift third draft in November. And rejection in February.
August 2010 saw a replan but no work. At this time I’d written and finished Devil in the Detail, a very good sequel to a novel no-one wanted to publish. I was busy with work.
June this year saw me dust it off again. I got though 55,000 words of the edit but got fed up. Working 12 hour days doesn’t leave a lot of time for writing.
August saw me redraft Devil, and then try to redraft Ghost as a novella. Again, fed up hit again.
As per my most recent post, I picked it up again last week.
As of 1.22am on 01-Jan-12, I’ve completed draft five.
All that remains is two proof edits and then I’m done with it. A monkey off my back – up on kindle.
With writing, momentum is everything.
Bloody hell, I can’t make my mind up.
I spent a month turning Ghost in the Machine into a novella (at a plot level) and kind of burnt out with it – I was really busy with work at the time and was a bit frazzled.
I never quite got Devil in the Detail finished or published – it’s definitely a sequel and to turn it into a prequel would mean adding a load of exposition and world-building.
Anyway, I was out with my copper mate for some drinks just before Christmas (we were at uni together, it’s not like I’ve latched on to him). He was surprised that I had given up on it as he’d enjoyed the previous draft. It’s easy to see the failings in your work – lack of credible baddie, too long – and hard to recognise the good things. He said its realistic – DCs do the graft, it’s bloody hard to get promoted – and the plot was unique and original.
Enthused, I’ve taken a look at where I’d got to. The novel was actually more complete than I thought – 55k – and the novella had a good solid villain and tight ending. I’ve managed to weld the two together reasonably easily – its amazing how little you have to change in terms of word count to change a lot in terms of plot.
Got 15 scenes to write of which five are redrafts then a couple of proofs and then publish it.
So I’m a massive Smiths fan.
Just recently got “The Sound of the Smiths” double CD edition. It is incredible. The problem with the Smiths has generally been sound quality, from the 80s CD editions through to 2007’s “The Very Best of” – totally disowned by the band; it features a truly horrible version of “the boy with a thorn in his side” which has a ridiculously loud clonk park.
There’s a lot of noise about digital remastering – and the VBO is testament – but this sounds absolutely incredible. The bass and the drums – often weak and limp in previous releases – are now thick and driving, elevating Andy Rourke and Mike Joyce to the upper echelons of the rhythm section world (the Stone Roses, Led Zep, The Verve, The Who, Nirvana to name but a few). The guitars are sparkling, losing the tinniness and harshness from previous releases. And Morrissey is as dominant as ever.
If you’re a fan, get yourself a copy. Or wait for the release of the new box set…