JW: When did you begin your career as a writer /editor of pulp writing, Maxim?
MJ: I never meant to specifically be involved in what you term ‘pulp’. From early childhood I was an avid reader and quickly found out that I actually wanted to write stories and all followed from there. My early tastes (and career) were for science fiction and fantasy, although I also read a lot of crime and I began publishing my first stories in magazines in France, where I was then living, from the age of 16. But because I was bilingual I read and was aware of what was being written in English and one day convinced a Paris publishing house to allow me to edit a volume of the latest in British SF, and that became my first anthology.
JW: Any favourite pulp writers?
MJ: Cornell Woolrich, Dashiell Hammett, Jim Thompson, David Goodis, Fritz Leiber, many of which I Iater had the opportunity to publish when I began work in publishing per se
JW: What makes a good crime/suspense novel?
MJ: If I knew, I would have written it. As it is I keep trying again and again and as soon as a new novel of mine is published, I realise I can do better and start another! It’s very much in the eye of the beholder, the right alchemical blend of locale, characters, plot and feelings.
JW: What did you think of the film version of Get Carter? Do crime novels tend to make good films, when adapted?
MJ: I’m a great fan of it (and actually director Mike Hodges is a good friend of mine; and I published his first novel a few years back). Although it differs greatly from the book which is equally good. Generally I prefer original scripts to book adaptations, but a few do stand out like Carter or Falling Angel or turn out even better in the case of The Godfather, which maybe points to the fact that mediocre books can make great movies while important ones do not, as they already occupy a level which even film at its best can’t reach.
JW: Are there any writers that you could tell would become a huge successes through their early writing?
MJ. Lots of new writers have impressed me immensely; even more so as for past 6 years I’ve been a judge for the Crime Writers’ Association First Novel Dagger so seen a lot of debuts, but as to predict who is going to be ‘big’, so much depends on marketing spend and promo publishers allow it and the unpredictable quirks of the book trade. Have spent most of my life in book publishing and all too aware that quality is not always the issue. Right now my two tips for the future are Chris Whitaker and Lou Berney but who knows if they will make it big.
JW: Do you have a new collection of stories that you are editing, Maxim?
MJ: Am currently editing the 3rd volume in what I hope will become a regular series of anthologies, each on a different mystery theme, for US publishers Mango. First one, Historical, has just been published. Next, Amateur Sleuths and Private Eyes is delivered and out in autumn and now working on 3rd, Impossible Crimes and Puzzling Deaths, for 2020. And my fairly major general crime anthology Invisible Blood appears in UK and USA next month, with stories from many of the biggest names in the genre, including a new Jack Reacher tale by Lee Child.
I had taken 4 years off editing anthologies as I was busy on a series of books outside the genre, eleven in all, most of which made the Sunday Times bestseller lists, albeit under a pseudonym.