Yesterday I began a journey through my published novels, a journey that will take you up to my latest thriller published by Darkstroke. This latest one is called The Girl From The Killing Streets.

I explained that writing this latest novel demanded every skill I had learned in my career as a writer. I doubt if I could have written it sooner. It was Highly Commended in the 2019 Yeovil Literary Prize competition.

This account of my writing career, isn’t written in chronological sequence.  I am grouping my books for convenience. I told you yesterday about my three aviation novels. I have written other books along the route towards Killing Streets. I was born in Cornwall, but half my life has been spent in the beautiful county of Dorset. My Hampton Warlock Trilogy tells the stories of three different families who live in a fictitious Dorset village which I call, not surprisingly, Hampton Warlock. The name is adapted from the real village of Witchampton. Keen-eyed lovers of Dorset will recognise the descriptions of the location as coming from the real village of Worth Matravers. When the original publisher went bust, these books were quickly taken on by Cloudberry and republished under different titles.

The Long Road to Sunrise (Republished as The Legacy of Shame)

The Hadleigh family of Hampton Warlock learn about a child lost in the Amazon rainforest.

King’s Priory (Republished as The Legacy of Secrets)

Colin Portesham searches for secrets hidden in King’s Priory, his parents’ home in Hampton Warlock. He discovers what happened to his grandfather, a WW2 fighter pilot.

The Gallows on Warlock Hill (Republished as The Legacy of Conflict)

Rose Greenwood unearths family secrets going back to the civil war. Her discoveries reveal conflicts in Dorset and Ireland.

The Girl From The Killing Streets is my new thriller from Darkstroke. It is a truly dark read, one that demands a painful journey of discovery for the key characters. Writing it demanded everything I had learned from my personal history as a novelist.

I have been writing seriously for the past twenty years. An insight into me, the writer, may help to know my books. I’ll begin with my trilogy of aviation thrillers.

If you want to write about aviation, you need to know about aviation. My working life was spent as an air traffic controller. I had an insight into the workings of aviation at airfields and at air traffic control centres. I worked at numerous locations around the UK and was the Belfast aerodrome controller on duty the day troops were airlifted into Northern Ireland in August 1969. In the late 1970s I was an area controller at the Scottish Air Traffic Control Centre in Prestwick. I wrote most of my books with a degree of inside knowledge.

PRESTWICK

Four hundred frightened passengers

Two badly crippled aircraft

And nowhere to land

HEATHROW

Thousands of passengers

Hundreds of aircraft

One plan to end it all

DEAD RECKONING

Three unarmed aircraft

One dangerous mission

And no hope of return

An Amazon reviewer wrote about Prestwick: “I read every aviation related book that I can get my hands on and this one I can safely say had me totally hooked. Excellent piece of work and the degree of technical accuracy could come only from a professional.”

In my previous post I aimed to explain why I wrote The Girl From The Killing Streets. This morning let me try to amplify that.

I am no longer in what is often described as “the full bloom of youth.” One day I will not be here. I will be a part of the past. History. Maybe that is why two thoughts so often occupy my mind these days. Firstly, what have I learned from the experience of being here? And, secondly, what will I leave behind for future generations?

It was an eye-opening thought when it first occurred to me: what will I take with me when I leave this life? Only one thing, I decided. I will take with me only what I have learned from the experience of being here. Everything else will be left behind. From that I deduced that ‘learning’ has been a major part of my purpose in this life. Not classroom learning. My task has been my personal develoment through ‘experiential’ learning. In other words, learning from my various life experiences. So, I ask myself, what have I learned? Well, some of that experiential learning went into my books.

Then I turn my thoughts to what I will leave behind for future generations. As a former air traffic controller, I have very little to pass on. But as a writer, there is a lot I can leave behind when I eventually leave this life. When I write a novel I aim to do more than relate a story. I aim to make the reader think. No more so than in my latest book, The Girl From The Killing Streets. Outside of Northern Ireland, most people have only an edited view of The Troubles, based on what they read in their newspapers or saw on their televisions. As for the younger generation, how can they possibly fully understand what it was really like in Northern Ireland in those harrowing days? I cannot take anyone physically back to that time but, as a writer, I can help them understand how it felt. And, when I am gone from this life, the fruits of that exercise will remain… in my writing, in the words I leave behind. People will still be able to read my book and gain some understanding of what it felt like. If they can learn about the past through my writing, and make sure it never happens again, my work as a writer will have been of value.

That’s a comforting thought.

THE GIRL FROM THE KILLING STREETS

My revealing novel 

I learned more about the Peninsular Wars from reading Bernard Cornwell’s Sharpe novels than I learned in school history lessons. I learned more than the bare facts; the dates and places. I learned what it was like to be there in the heat of battle. I learned what it felt like. A novelist is well-placed to show the reader those emotions. There’s nothing new in it. Through the medium of a novel, Dickens showed us what it felt like to be a penniless orphan.

Why am I telling you this? Because historians try to give an accurate account of the past, but their output often comes across as too academic. So many history books are devoid of that important element: the collection of sentiments, hopes and frustrations felt by the people who were there at the time.

I lived and worked in Northern Ireland in the early 1970s, at the height of the Troubles. I remember more than simply what happened. There are many detailed accounts of that already in the public domain. I now live in England and people ask me what it felt like to live in Northern Ireland in those distant days. Their questions go beyond what happened. I find it difficult to explain in a conversation, in a way that fully captures the feel of the moment. However, I am a novelist, so I had a solution in my writing.

My way around the problem was to write a novel that encapsulates the essence of what it felt like. As Bernard Cornwell did with his Sharpe books, I have used fiction as a means of bringing out the feelings of reality. Fiction in place of reality? Ironically, it seems to work.

The Girl From The Killing Streets is a crime story, but it is more than that. It is a story set against one fateful day in the lives of the people of Belfast. Bloody Friday, 21^st July 1972.

The story begins eight years later when a young woman is incarcerated in Armagh Gaol for two murders committed on Bloody Friday. A journalist interviews her and comes away with the clear impression that her story does not ring true. So he interviews others who were in Belfast that day in 1972 and puts together a totally different story of what happened. It is a story of family intrigue, family secrets and dangerous relationships. It is also a story of how people felt when their city was blown apart.

The Girl From The Killing Streets is published by Darkstroke. With bookshops now closed, it can be ordered in paperback or ebook from Amazon. Follow this link:

http://mybook.to/killingstreets

www.thenovelsofdavidhough.com

“This book is a thriller from start to finish I was hooked. Well written from an expert storyteller.”

Amazon review

A remarkably dark and stylish thriller. The next best thing to being there.

Della Galton. Novelist and creative writing tutor

Worrying news on the coronavirus front. Denmark in lockdown as well as Italy. No travel between US and EU. Meanwhile we live in a block of sixty apartments, all occupied by older people. Will we find ourselves cocooned? We wait and see.

What do I do when I’m not writing fiction? Answer: I’m writing non-fiction. “A Lifetime of Memories” is selling nicely. One reviewer wrote that he bought that book and a similar one for an older relative. He preferred mine and discarded the other. I also write stories for my grandsons, but they are not for publication.

As a writer I have a keen interest in how other writers create their stories. I’m sure I’m not alone in that. We can learn so much from each other. When people ask me where my stories come from I tell them the seeds are all around us in our own lives. The ideas can come from things we see, things we hear or experiences we have been through. The idea for THE GIRL FROM THE KILLING STREETS came from my distant past. Back in the 1970s I was living and working in Northern Ireland. It was an experience I never forgot and I long wanted to write about that time and place. It took a long time to get round to it, but the novel will be published soon.

https://www.amazon.co.uk/dp/B085RFN4MM/ref=sr_1_3?crid=1T9JBMMLHTUXN&keywords=david+hough&qid=1583919000&s=books&sprefix=david+hough%2Cstripbooks%2C151&sr=1-3