The quay was deserted, glowing black. What light there was, from the distant street lamps and warehouse security lights, was creeping out onto the water with the steady drizzle.
In this one-hour conversation with Henry, Rankin discusses the influence of Edinburgh and music on his writing and the experience of ageing detective John Rebus over the last 30 years
University of East Anglia added a Masters in Crime Fiction to its Creative Writing programme, which launched in September 2015
The second edition of Noirwich took place in September. The full programme included Lee Child, Andy McNab, Anne Cleeves and Peter Robinson
At the very end of North Drive, Great Yarmouth, opposite the entrance to the Haven Holiday Camp, is the North Denes Coastal Watch lookout hut
The morally corrupt are always much more fun than the goody-two-shoes.
Listen to Henry on the Open Book programme with Mariella Frostrup
“My Criminal World is further proof of both his skill and the unending flexibility of the crime genre”
Writers have long emerged on the page in the genre’s long and bloody canon.
I like to think that each of my novels is something new and fresh and tasty – like a warm croissant.
OK Dashiell Hammett might have originated the hard-boiled prose style and changed the face of detective fiction forever, but Chandler added an Edwardian literariness, and the idea that the scene counted for more than the whole.
Firstly, you have to let the writing dictate, not the action. It's the characters that are the most important reason for people wanting to read a novel
‘While crime stories need clever convincing plots, they are also grappling with life and death. What could be more important?’
Lee Child, born Jim Grant, was introduced by Sutton to the rapturous applause of an auditorium packed high with dedicated fans of the Reacher franchise
Crime Fiction writers discuss the history of the genre, their favourite classics and their own work
The Man Booker prize shortlisted author of Snowdrops in conversation with Henry at the University of East Anglia
Whoa, there you are, tucking into a new novel (that is the reading of, not the writing) and you’re enjoying it.
Something strange happened to unreliable narrators in the mid-20th century: they became a little more reliably unreliable, and a lot nastier.