Mark Billingham

Mark Billingham
Mark Philip David Billingham is an English novelist whose series of "Tom Thorne" crime novels are best-sellers in that particular genre. He is also a television screenwriter and has become a familiar face as an actor and comic...
NationalityEnglish
ProfessionNovelist
Date of Birth2 July 1961
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Too much research can be the writer's enemy. You can spend days on end in the British Library or prowling the streets with a Dictaphone, and it's easy to convince yourself that you're working hard. Often, it can be an excuse not to work; a classic displacement activity.
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Life isn’t fair. Fair is somewhere you go to ride the dodgems and win a goldfish. (from Rush of Blood)
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London now has its own John Grisham.
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If you're looking for an author who can deliver high-octane thrills every time and a character who is NOT to be messed with, you've found them. Zoë Sharp and Charlie Fox both kick ass.
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While the subject matter of my novels could not be further removed from the stuff I used to trot out at the Comedy Store, the delivery of the material employs many of the same techniques.
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When you think of a great twist or a red herring or a way of misdirecting the reader, it is good, but you know that they are just tricks at the end of the day, and the way to keep interest is to write characters that people care about.
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Whether you do stand-up comedy or write a story, you have a duty to deliver. As a comedian, you walk out on stage, and you have a minute to hook them, or they'll start booing. As a writer, it's very similar. A reader doesn't have time to say, 'I'll give him 50 pages, as it's not very good yet, but I hope it'll get better.'
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Whenever people ask where I get my sick and twisted ideas from, I reply, 'Just open your eyes.'
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There are a number of writers who believe it is their duty to throw as many curve balls at the reader as possible. To twist and twist again. These are the Chubby Checkers of crime fiction and, while I admire the craft, I think that it can actually work against genuine suspense.
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The problem with being a writer is that some readers tend to think that anything that comes out of a character's mouth is you talking.
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When I began to write, I was surprised at how little London had been used in crime fiction. Places such as Edinburgh or Oxford or L.A. seemed to have stronger identities.
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The fact is that most crime novels contain a good many punchlines. They are just rather darker than the ones you might hear in a comedy club.
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When a crime writer thinks up a delicious twist, it is a great moment. Time to relax and take the rest of the day off. I do think that it can be overdone, however.