Crime fiction is the fiction of social history. Societies get the crimes they deserve.
Crime is a very hard genre to feminise. If you have a female protagonist she is going to be looking after her mum when she gets older; she is going to be worried about her brother and sister; she will be making a living while bringing up kids.
To have a very strong opinion all the time is corrosive to a person's intellect. It becomes your default position.
None of us know what is going to sell or what people want to read.
I think the negative traits are what makes us love other human beings, the foibles and the flaws.
I'd read so much right-wing crime fiction where they find the evidence and shoot the bad guy - I thought there must be another approach.
In my heart Im just a lucky waitress.
I respond very well to rules. If there are certain parameters it's much easier to do something really good. Especially when readers know what those are. They know what to expect and then you have to wrong-foot them. That is the trick of crime fiction. And readers come to crime and graphic novels wanting to be entertained, or disgusted.
In the 'Garnethill' trilogy, people always forget that Maureen O'Donnell's dad was a journalist and she did art history at uni and her brother did law, but no-one ever thinks they're middle-class - they're just working class because they speak with accents.
Journalism is a Darwinian process.
I have two children. They are more fun than anything in the world, and it's more immediate fun than the hard slog of writing.
People are interested in crime fiction when they're quite distanced from crime. People in Darfur are not reading murder mysteries.
There's a real emphasis on being witty in Scotland, even in crime novels.
I love Mikhail Bulgakov. He is very original and takes the story to unexpected places. I didn't realise political writing could be so funny.
Novelisation doesn't imply the truth. Readers are sophisticated enough to know that.
I hate it when I'm reading a comic, and the dialogue looks like stickers stuck on top to explain what's going on. For me the best is when your eye goes in a certain point and moves through the composition and then springs out on the dialogue, or gets confused in the image and then goes to the dialogue for an explanation.
If you went for a job interview in a Glasgow law firm, they used to ask you what school you went to. And that was a way of finding out what religion you were.
My upbringing was middle-class but my parents' families were both working-class so I had this odd combination of working-class background but in a privileged position.
I'm terrified to get married. I'm not getting married till my gay friends can.
I came from this very traditional background and I benefited hugely from feminism. I felt privileged going to university and doing a PhD. Most people of my background don't get to do that.
Because I write a book a year, I always want to do one other project every year that's stimulating in a different way. It means you can be working but not using up your prose juice, you know?
I just got an honorary degree from Glasgow University, and I had to wear around very painful shoes so that I didn't laugh all the way through the ceremony because I felt like an outlaw.
In prose, leaps of logic can be made while the protagonist thinks about things and arrives at conclusions. Even with voiceover, there's no real way of having an inner voice without it taking over the entire story.
I'm always represented as a bit of a class warrior - a bit Down With Men and Down With Middle-Class People. Whereas I'm actually very fond of men and am middle-class. I even went to boarding school in Perthshire.
There's always these giant baffling books, like 'The Da Vinci Code.' People say it's not as well written as 'Midnight's Children.' Why aren't people reading 'Midnight's Children?' Nobody knows why these phenomenons happen but they're great.
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