Questions and answers . . .

I’m in the process of preparing a media pack for the book launch and I’ve just sorted the Q&A section, which I thought I’d share here. Please let me know if there’s nything else you think I should include . . .

One of the front pages from the time

What inspired you to write A Garden of Bones?

I’d always hoped to one day write a book; it was a bucket-list thing I suppose, but nothing ever seemed quite right. Then, out of the blue, I was covering the Wycherley Murders, and in the months and weeks afterwards I started to get contacted by production companies wanting me to speak on true crime documentaries, and then the BBC who, at the time, were thinking about making a drama. At that point I think it dawned on me just what an incredible story it was and, apart from some of the police officers who had worked the investigation, I probably knew more about the case than anyone else.

Was it easy to write?

No. Like any book it was a process. I got a first draft out quite quickly but, as tends to happen with first drafts, it was nowhere near right. It was all told from my perspective and it didn’t get anywhere near enough to the centre of the story. So I went back to the drawing board. I went back and re-interviewed some of the officers involved to get under the skin of the police investigation to cover that side of things, and I realised that Susan Edwards needed her own voice, her own character. I needed to be able to take the reader into the house on the night of the killings, to France where the Edwards finally fled, and to St Pancras Station where they were eventually arrested. Then I meticulously plotted and re-plotted until I had the outline I was happy with, where the story could be told through three distinctive viewpoints, and where those viewpoints could thread and weave, and cross over. Although after all that, I think sitting down and writing it was the easy part.

How did you find the time to write it?

Again, with some difficulty. My day job involved some pretty crazy hours at the time and it was really a case of working on it at night and over weekends. I do recall not seeing anything on the television for over a year and often wasn’t getting to bed until one or two in the morning. But you just have to keep going. 

Andy Done Johnson

Why does the book take the style it takes?

I was adamant from the outset that I didn’t want to write a true crime book, at least not in a conventional form, and my original version was essentially a memoire, which couldn’t take the reader to the centre of the story. As it progressed it came closer and closer to reading like a novel, so I suppose in the end I just gave into it and wrote it as a novel. But the issue was that it involved a number of very real people, and I was only prepared to place them in the narrative as a matter of fact, or record. I didn’t want to take liberties with people’s lives or betray confidences, so for the sake of the narrative really, a few characters had to become fictional in order for me to properly tell the story.

Did you play any part in the Olivia Colman drama?

No, it is merely coincidence that the drama was announced at the same time that I was preparing to publish A Garden of Bones. A few years ago I did speak to another producer who was thinking about making a different drama about Susan and Christopher Edwards. I’m sworn to secrecy on that one, but I’m told it still may see the light of day. Although I can’t see how they could have written the Colman script without reading a lot of my reports from the time . . . so indirectly perhaps. After I found out about it I did send her a copy of the book though; not that I’ve had a reply from her agent.

Susan and Christopher Edwards

How did writing A Garden of Bones affect you?

In many ways the book is an extension of the case. I became obsessed with the Wycherley Murders . . . perhaps unhealthily so . . . at the time and then through the court case. I think I document this is quite a lot of detail in the chapters seen through the eyes of the journalist. But it didn’t really go away. I was being asked to relive it all by talking to production companies, describing what I did, being asked who I thought was the driving force behind the murders, going back to the Wycherley’s former house. So in the end I just had to write the book, just to set it down really and be able to move on.

Do you have plans to write anything else?

I’ve discovered through A Garden of Bones that I like to write fiction based on real events, using real people wherever I can . . . I think that’s where my future as a writer lies. I’m in the very early stages of another book, which hasn’t got a title yet but is about the murder of the Elizabethan playwright Christopher Marlowe. I like crime fiction that breaks boundaries, and I wondered how a murder would be investigated during a time before there was anything resembling a modern day police force. But there’s a way to go.

Just a bit of news . . .

I was contacted yesterday by a researcher who I dealt with hen they were making a documentary on the Wycherley Murders a few years back, in a true crime series called A Town and Country Murder. I spoke on it, alone with, as he was then, DCI Rob Griffin.

In a nutshell, the episode has been bought by Pick TV and is re-branded under their ‘Killer in Your Village’ brand – I’m guessing on the back of the Olivia Colman drama, so it looks like the case is set for even more publicity.

Here is a link to the original episode . . .

Not the best quality. Apologies.

Landscapers . . .

Can you imagine dragging two dead, bleeding bodies down a couple of flights of stairs, not long after you’ve just shot them.

Can you imagine digging a pit in the dead of night, throwing the corpses in and covering them with topsoil.

Can you imagine going to B&Q the following morning and buying a load of bedding plants to cover the burial scene.

Can you imagine spending the next seven years routinely going back to the burial site to keep it maintained, to keep it looking normal, to stop it from drawing attention.

Ironically, this very act did just that.

In the years following the Wycherley’s murders, the only thing that neighbours found odd was ‘the young couple’ – Susan and Chrisopher Edwards – turning up, from time to time to do the garden.

It’s one of the first things that I was told, and it has, ultimately, created the title for the new drama that will be made later this year.

Landscapers.

It goes a little too far, I would suggest.

In their evidence, Susan and Christopher claimed it was really an act of panic – they were faced with two dead bodies, they had to get rid of them to evade capture. They thought about hiding the Wycherleys’ remains in the attic, but they realised that they would smell, and neither of them had the physical strength to lug the remains of two dead adults over their heads, up a ladder and into a loft space.

But they could take them downwards . . . gravity would help.

So they had lumped them down the stairs; heads banding on step after step; William “as stiff as a board”, Patricis “loose and gurgling” . . . blood pouring out of her.

Susan and Christopher Edwards

It would ultimately be part of their story that would lead to their conviction.

Neither of the Edwards were big people.

Christopher was slight; Susan slighter . . . and the notion of them dragging these two, dead human forms down the stairs, through the lounge and into their, almost, final resting place, seemed almost impossible, when it was described during their prosecution.

But they did it.

I have questioned over the years, was this an act of desperation; was this an act of greed and necessity?

Was it both?

In many ways, and this is a key theme of the book; William and Patricia were victims of Susan and Christopher, but Susan was a victim of William, Christopher was a victim of William.

Patricia was more innocent . . . although guilty by her ‘blind eyes’ to her husband’s behaviour. Maybe she just wanted a quiet life. I don’t know.

Was Christopher a victim of Susan. That’s a tricky one. Possibly . . . I would say. 

But at what point, after you’ve been bullied and abused – physically, sexually and emotionally – do you become a criminal?

We live in a culture of victims and perpetrators; but the criminal justice system, the courts and the press, never really contemplate the victim . . . or whether they actually deserved the bullets that they got. 

William Wycherley was not a nice man. William Wycherley did terrible things. And yet in this black and white world of ‘goodies and baddies’, he is the victim in all of this all the same . . . the vulnerable daughter who he abused, the villain. And maybe we need to look at situations like this through differently-tinted spectacles.