In a recent conversation with Val McDermid, the author reflected on her unconventional journey to becoming a bestselling crime novelist.
Growing up in Fife, Scotland, during the 1960s and early 1970s, McDermid felt isolated due to a lack of visible LGBTQ+ representation and her struggles with understanding bisexuality. “There were no gay people in public sight; there were no gay actors, no gay musicians, and no gay writers,” she noted, highlighting her feelings of alienation.
Her aspiration to write was sparked by the “Chalet School” series, which featured a character who dreamed of becoming a writer. Realising that writers could earn money for their work fuelled her ambition.
McDermid’s journey took her to Oxford, where she experienced cultural shock, particularly with a literary syllabus that neglected Scottish literature. After graduating, she became a journalist in Plymouth, covering local stories while nurturing her novel-writing dreams in the evenings.
Her fascination with crime fiction began with Agatha Christie’s Murder at the Vicarage, found at her grandmother’s house. “I was captivated by Christie’s complex storytelling and suspense,” she recalled, even borrowing her mother’s library card to read more.
Inspired by Sarah Paretsky’s Indemnity Only, which featured a female private investigator, McDermid decided to write her own crime novel. Despite a UK market dominated by police procedurals, she introduced her character Lindsay Gordon in Quite Ugly One Morning, launching a trilogy that built her audience through word of mouth.
At the time, she was a full-time journalist at The Sunday People in Manchester, where only three out of 137 journalists were women. McDermid emphasised the importance of regular writing and adapting to challenges, drawing from her journalism experience to write under pressure.
A major turning point came with The Mermaid Singing, which introduced Tony Hill and Carol Jordan and was shortlisted for the Booker Prize. This success boosted her sales and helped her agent secure international deals. Transitioning to full-time writing, she navigated financial challenges, stressing the importance of persistence and support from friends and family.
Usually, McDermid relied on detailed planning, but after a writing block, she decided to follow a more intuitive method. As she isolated herself, by escaping in a town in Italy, she shared a one-lifetime experience: “I ended up writing 65,000 words in nine days, and it just about killed me.”
“Over the next two, three books, my method is something that Yale doctor calls driving at night, writing where you know, where you’re starting from, and what your destination is, but you don’t know the route; you just go ahead,” she explains.
Now an established author, McDermid prioritises supporting new writers through initiatives like the John Creasy Award and the Harrogate Crime Writing Festival’s New Blood panel. “I love discovering new talent and giving back to the community that has supported me,” she said.
McDermid’s unique perspective allows her to delve deeply into the psychological aspects of her characters. She often draws upon real-life events and her journalistic experiences to create narratives that feel both authentic and engaging. This melding of fact and fiction not only captivates readers but also prompts them to reflect on societal issues, making her work relatable.
Throughout her career, McDermid has not only written novels but has also engaged in various forms of media, including television adaptations and non-fiction works, whether through the lens of a journalist or the imaginative crime novelists. Her journey from the newsroom to the world of crime fiction illustrates a remarkable evolution of craft, reminding us that the art of storytelling is enriched by diverse experiences. As she continues to push the boundaries of the genre, McDermid remains an inspiration to aspiring writers and readers alike.