I’m often asked, “Why and how do you write about crime and detectives in the 19th century?” The answer, I think, lies in a combination of early influences and personal history.
As a youngster, authors like Arthur Conan Doyle, Robert Louis Stevenson, and Wilkie Collins had a profound impact on me. Add to that my father’s service with the Metropolitan Police, stationed at Leman Street—right in the heart of Jack the Ripper territory—and the fascination feels inevitable.
Classic crime and detective fiction are undeniably foundational for anyone crafting 19th-century detectives. I am no different. These stories shape narrative techniques, character development, and the atmospheric details that define the genre. They offer tools and inspiration, and have helped me create detectives who I hope are not only engaging but also firmly rooted in an era rich with cultural and social complexity.
Classic detective fiction often follows a structured formula: an initial crime, an investigation, and a resolution. This framework allows for subplots, red herrings, and mounting tension as detectives encounter obstacles. Stories explore societal pressures, personal conflicts, and moral dilemmas, which not only complicate the resolution but also keep readers invested in piecing together the clues. Setting a story in the 19th century demands that you evoke the essence of that time. Life moved at a different pace; time and distance had a unique, long-lost value. To feel authentic, a mystery must reflect these nuances, weaving them into its logic and evolution – and central to achieving this is character development.
One of the lasting influences of classic detective fiction is its archetypal characters. Sherlock Holmes, for instance, embodies the brilliant yet eccentric detective, solving intricate mysteries with logic and observation. In creating my own 19th-century detectives, Erroll Rait and Major Gask, I draw on such archetypes. I aim to blend investigative brilliance with distinctive quirks and rich backstories to craft characters with whom readers can engage. Anyone familiar with classical detectives will likely notice echoes of Holmes and Dr. Watson in Rait and Gask and, while Conan Doyle could have done more to round out Sherlock in my opinion, the dynamic between Holmes and Watson certainly enriches the narrative and draws readers into their world. It’s something I work hard to develop.
Another important consideration is language and dialogue. They play a crucial role in establishing the tone of a period. I draw inspiration from classic works, old newspapers, and reports to create authentic exchanges between characters. Attention to language, down to seemingly small details, is essential for transporting readers back in time. For example, in the 1860s, no one ate “lunch”; it was “dinner,” with the evening meal referred to as “supper.”
The 19th century was a period of immense change. The Industrial Revolution, scientific advancements, and evolving social norms reshaped the world, though it lacked the technological intensity of our time. This era also introduced foundational forensic and investigative techniques that have become staples of modern crime narratives. Incorporating these historical elements—whether it’s a hansom cab, a telegram, or early fingerprinting—lends authenticity to my stories. I strive to bring the period to life, often weaving in real historical figures to enhance realism and familiarity.
Finally, historical fiction should provide a window into our world today. My personal tagline reflects this belief: “Ignore history at your peril—because history does, indeed, repeat itself.” Detective fiction can serve as a lens through which to view the era, reflecting its societal values and challenges and in the process provide lessons to guide actions today.
To return to the original question: my motivation for writing in this genre is probably rooted in a love for simpler times, when intelligence and ingenuity, rather than modern technological marvels, solved mysteries. By standing on the shoulders of classical crime and detective novelists, I immerse myself in a world where the cleverness of the individual reigns supreme. You could say that consciously or unconsciously, I continue to draw on the timeless brilliance of those who came before me. Whether I have succeeded or not is up to you, the reader, to decide.
David Cairns, the Baron of Finavon (an ancient Scottish title) was, until recently, a technology entrepreneur. He is the author of The Helots’ Tale series – Downfall and Redemption, The Case of the Emigrant Niece (a finalist in the Readers’ Choice Book Award 2023), The Case of the Wandering Corpse and The Case of the Beth-El Stone, which are available from all good bookstores. www.CairnsofFinavon.com. X: @TheDavidCairns
