Human Remains - By Elizabeth Haynes Page 0,159

beginning of enlightenment, the very source of knowledge. There is so much still to do.

Acknowledgements

I would like to thank everyone in the extended Myriad Editions family, not just for this book, but for the love and support you have all shown to me over the past few years. It might seem simplistic to describe Myriad as a family, but that’s how it feels: everyone connected with the organisation, and their families too, are a part of the enterprise. There is a real sense of belonging, and I am incredibly fortunate to be in on it. Thank you all. There are two members of the Myriad family, however, whom I would like to thank in particular: my wonderful editor, Vicky Blunden, and my genius copy-editor, Linda McQueen. They made this book so much better. Thank you.

Many individuals provided me with very specific help and advice with particular aspects of Human Remains, and so I would like to express my thanks to: Caroline Luxford-Noyes, for a long conversation in which she described to me how a person’s life might end in hospital; Dean Edwards, for the details surrounding a disciplinary investigation; Freddie Elspass-Collins for his expertise concerning the Coroner’s Office; Fi Gutsell for insight into the life of a reporter on a local newspaper, and Sarah Hockley for putting us in touch in the first place; Niki Baier, David Baier and Liz Dyer for assistance with regard to funeral arrangements; David Holmes, Ernie Pratt, Paul Pope and Wayne Totterdell who generously shared their experiences of attending scenes; and Mike Silverman, whose description of decomposition odours over a CWA lunch in Brighton proved too tempting to resist.

In particular I would like to thank Mitch Humphrys and Lisa Cutts, for checking the entire manuscript for procedural issues, and for being so kind and supportive with your comments all the way through the writing and editing process.

As well as Mitch and Lisa, I would like to thank those who also read early drafts of Human Remains and provided me with fresh perspectives, pointed out crucial omissions and inconsistencies, and yet still managed to make me feel that I’d written something quite good: Alison Arnold from Text Publishing, Rob Hope, and my genius husband David who has developed a real knack for spotting opportunities I’ve missed. Thank you.

Many of my friends kindly provided listening ears and I’m sorry not to mention you all – but in particular, thanks are due to Samantha Bowles and Katie Totterdell who had to endure every last whinge. Bless you both.

I would also like to thank Paul Moscrop and Lindsay Brown, for allowing me to use their names, and for not being too concerned about how they were used!

Over the past year I’ve been lucky to have met a number of book groups, as part of the Big Book Group tour, via Skype, and by having been invited into people’s homes. I wanted to say thank you very much to everyone I’ve met, for your enthusiasm, and your kindness in making me feel so welcome and special.

Last and best thanks and love to those who have put up with the most – my family. I love you all.

AFTERWORD:

Interview with Elizabeth Haynes

Extract from Revenge of the Tide

What was the starting point for Human Remains?

As an analyst working for Kent Police, I did receive a copy of the Chief Constable’s report every morning, and with some degree of regularity this would include bodies found in a state of decomposition. There was never (to my knowledge) an alarming increase in the numbers, but I found myself wondering what I would do if I did notice something like this – and who or what might be the cause. The thought of that made me shiver, which is always the best sort of starting point for a novel.

How much did you draw on your own experience working as a police analyst in the writing of this book?

I’ve always felt the role of analysts within law enforcement has been sadly overlooked by fiction writers, and I thought it was time to redress the balance. However, it’s harder than it might seem to convey the excitement that we analysts sometimes feel over a particularly enlightening spreadsheet – it makes us sound really geeky and dull. But I’ve always found beauty in patterns, and it’s the perfect sort of puzzle, where something random and nebulous suddenly clears, the various pieces slide into focus and you realise that what you have is evidence about the circumstances of a crime. Everyone

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