When it comes to writing noir fiction, I have found that the most bizarre characters and plotlines are ones you just couldn’t invent.
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I’m more jumble sale in a village hall than high end fusion cookery but there you have it. I’m not really a crime writer. Not a proper horror writer either. I’m a hybrid.
The latest episode of the National Centre for Writing podcast features Val McDermid and Elodie Harper, both interviewed at last year's Noirwich festival. Both of…
I grew up in Coltishall, in the not-much-of-owt between Norwich and the Broads. It’s ten miles from the city, which seems like nothing now, but to a child in the late 70s it might as well have been another planet.
Did I ever imagine that I would co-write a musical? Not in a million years. I’m a crime writer, not a musical theatre librettist – or at least that’s what I thought.
In the ancient woodland near my village, there’s a two-thousand-year-old tree where a woman once lived with her eight children, placing her babies in the boughs, and apparently originating the Rock-a-Bye Baby song.
Every writer is different, so different things will suit different people. There is no right or wrong way. It’s really about what works for you.
Fiona Barton on uncovering the fascinating facts that inspire the best crime fiction.
Nicola Upson, author of 'An Expert in Murder', shares her five top tips for historical crime writers.
Every writer exists somewhere on the planning spectrum, with some working out every tiny detail before putting pen to paper...