What surprised me most while writing ‘The Monogram Murders’ was that everything I needed seemed to arrive in my head exactly when I needed it.
Poets are like the decathletes of literature.
I’m snobby about books that aren’t crime fiction: if I start reading a literary novel and there’s no mystery emerging in the first few pages, I’m like, ‘Gah, this obviously isn’t a proper book. Why would I want to carry on reading it?’
Only Agatha Christie can write like Agatha Christie.
I can be jailed again at any time, it is very easy. They can say I am a criminal and just lock me up.
For me, a big part of writing psychological thrillers is choosing crimes committed for motives which would only apply to a particular person in a particular situation; a unique, one-off motive that is born out of someone’s particular range of psychological afflictions.
In the history of Wikileaks, nobody has claimed that the material being put out is not authentic.
I am trying to write novels for properly clever people, but I also want them to be proper novels that also stick in a person’s mind and have an atmosphere about them.
Poems are not read: they are reread. Reread the poem, then read between the lines, then look at it, then watch it, then peek at it: handle it like an object. Contemplate its shadows, angles and dimensions.
The thing that I’ve decided is, I don’t want to be invisible, but I’d like to be transparent. I want people to see what I’m thinking and see through me.