Ethelred Tressider is a writer, churning out detective novels year after year. Actually, he’s also churning out historical mysteries and romantic fiction under two other pseudonyms, but life seems to be in a rut. Much to the disgust of his agent, Elsie Thirkettle, Ethelred is determined to break out of his routine and write the great literary novel that he knows is inside him, but fate is conspiring to have other ideas…

When Ethelred’s ex-wife Geraldine disappears, suspicion falls on Ethelred, despite they have not spoken in years. Her car was found abandoned near his home and a copy of one of his books was in the car. What was she doing in the area? And where has she gone? When a body is found, it looks as if Ethelred might be in the frame for her murder. Unluckily for him, Elsie is on the case…

So I’ve had a run of books that have been perfectly enjoyable but didn’t have that certain sparkle. The certain oomph that the books of my favourite authors have, so I thought that I perhaps should give me reading a shot in the arm and reach out to an old favourite. And for absolutely no reason at all, I chose this one.

You may know L C Tyler (aka Len) as the author of the Herring series (of which this is the first) or the John Grey historical series. Alternatively, if you’ve been to Bodies In The Library, he’s been involved in some very entertaining panels. Even more specifically, if you were at Alibis In The Archive 2023, he played a pivotal role in the team that came third in the quiz on the opening night, along another writing buddy, Dolores Gordon-Smith and, um, me. And he’s the writer of some of the funniest chapters in detective fiction that I’ve ever read. Hand on heart, I should admit that Len is a friend of mine, but I only got to meet him at Bodies because I’d already written about how much I loved his book, so you can definitely consider these reviews impartial…

This isn’t a book that I see mentioned that much when people talk about modern mystery novels worth reading, because this is, in my opinion, a bloody masterpiece. I remember Len telling me how this was expected to be a standalone novel, and reading it with this in mind, there are clear signs of that.

Ethelred begins the narration of the book, and his voice is amusingly self-deprecating, reflecting on the nature of being a writer and the tropes of detective fiction all tied into the developing situation about the murder of his ex-wife. And then after a while Elsie starts making her voice known, despite, by her own admission, the ideal of dual narration is a terrible plot device. It’s not, despite her expertise as an agent, as it works really well. Elsie is such a contrast to Ethelred – she’s a little softer that I remember her being, especially what she writes in the final chapter*. However, she’s still a acerbic ball of energy that propels the plot along and never lets Ethelred forget the situation that he’s in. Elsie is such a fantastic character – so funny, but with some real depth when she lets her guard down.

And moreover, Len litters the story with hints as to what’s happened, all the while telling you what he’s doing as Ethelred discusses some of the tricks that writers use (and the tricks that they shouldn’t). There’s one particular section that is written in a way that reminded me so much of a certain John Dickson Carr – no, it’s not a locked room, but it’s the sort of thing that he did on occasion.

As I might have implied already, this is such a wonderful read, and the good news is that there are eight more following it – but do read this one first. It’s been a few years since we last saw Ethelred and Elsie in action, but who knows? But that’s not going to stop me working my way back through the books and enjoying myself immensely in the process.

*Yes, I know given that what we find out in Book Two that this can be excused. But I’ll say no more…