This year, I avoided the poetry bashing workshops at the Sydney Writers’ Festival and attended a couple of interesting panel talks, one of whichâSecrets from the Crime SceneâI reviewed, and I thought I’d share it here.
Crime, it seems, pays handsomely for crime writers, not necessarily in hard cash but in endless material on the peculiar machinations of the criminal psyche. And mid-morning on this glare-bright winterâs day at the 2015 Sydney Writersâ Festival, The Theatre Bar at the End of the Wharf is packed to the raw, high rafters with an eclectic audience, from school-goers to retirees, dying to know more about what the panel facilitator, Tom Wright, refers to as âlife as they imagine it might actually be led away from their fairly safe existencesâ.
Competing with the hiss of the venueâs overworked espresso machine, the conversation nevertheless flows easily amongst the Secrets from the Crime Scene panel: Kate McClymont, Fairfax investigative journalist, known most recently for He Who Must Be Obeid, an exposĂ© on Sydney businessman Eddie Obeidâs corrupt dealings; Sarah Hopkins, criminal lawyer and fiction-crime author, her most recent novel being This Picture of You; and Michael Robotham, Australian journalist turned successful international crime writer, his latest book being Life or Death.
Kate, with her permanently quizzical left eyebrow, is an expert on the depths of Sydneyâs criminal undercurrents, from the murderous mentality of organised crime and bikie gangs to the sociopathic undertow of white-collar crime. The audience roars when she says, âOne of the things I really love about Sydneyâs criminals is they are so stupidâ. And vain: one of her regular informants, who was jailed for abducting Terry Falconer (subsequently murdered), whined to her that the actor portraying him in TVâs Underbelly: Badness âmakes me look like a gay porn starâ.
Michael says his books âtap into everyday fearsâ and that he often has to tone âdown the truth to make it palatable, because people will not believe it in a book of fictionâ, even though âtruth always, always proves to be strangerâ. Tom remarks on the frequent prescience in Michaelâs novels as is exemplified by the story Michael tells of The Wreckage, a novel that was based on the idea âthat $250billion of drug cartel money was laundered through major western banks, because during the Global Financial Crisis, banks were so short of funds, they waived all money-laundering laws simply to stay afloatâ. The novel was reviewed by an incredulous Joe Nocera, financial writer for The New York Times, who said that no major Western bank would launder money for a drug cartel; it simply wouldnât happen. With a larrikin air of perpetual amusement, Michael says that now every time thereâs a factual report of such events, he sends Joe a tweet: âSay it ainât so, Joe, say it ainât soâ.
Sarah, who has the demeanour of a meditating monk, rather than someone professionally mired in the mess of criminality and the constipated bureaucracy of social institutions, is more serious than the other panellists, but no less interesting. Through her creative writing, she questions who in our society gets to define what a crime is and the fact that, until recently, âcriminal law wouldnât reach its arm into the homeâ because âa crime, traditionally, has been about transgressions in the public realmâ. As Tom notes, her books are now very much focused on the notion that âthe place where your body and mental health is most likely to be at risk is in the homeâ, an unsettling thought.
In response to a question from the audience, Sarah says sheâs never been threatened by a reader, but Michaelâs tells of his stalker and many âangry emailsâ from Americans who objected to this line in an early novel: âsomething didnât quite look right, like seeing Bill Gates in board-shorts or George W. Bush in the White Houseâ. And then there is the intrepid Kate, who has had her fair share of legal action and life-threatening phone calls in the middle of the night.
Crime writingâitâs a dangerous but thrilling life.

Tom Wright, Michael Robotham, Kate McClymont, Sarah Hopkins