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Contents

Cover

Title Page

Copyright

Dedication

Premise

Martin Edwards Introduction

Motives

G. K. Chesterton The Value of Detective Fiction

R. Austin Freeman The Art of the Detective Story

Ian Rankin Why Crime Fiction Is Good for You

James Runcie Why Do It?

Frances Fyfield The Moral Compass of the Crime Novel

Beginning

Peter James Motivation

Janet Laurence Getting Started

Freeman Wills Crofts Finding Ideas

Nicholas Blake Sources of Inspiration

Anthea Fraser Making Choices

Ann Granger Putting Murder on the Page

Natasha Cooper Intensity in Crime Writing

John Harvey Openings

Peter Robinson ‘Something Should Happen Now’: Narrative Hooks

People

Mark Billingham Character from Suspense

Bill James Cops and Criminals, Contrast and Comedy

Marjorie Eccles Making Characters Believable

June Thomson Characters, Relationships, and Settings

Places

P. D. James On the Suffolk Coast

Ann Cleeves Human Geography

Michael Ridpath Setting Stories in Unfamiliar Places

M.O.

Val McDermid Let the Story Be the Driver

Lindsey Davis Style

Kate Charles Choosing a Theme

Michael Jecks Pace

William Ryan Writing Scenes

Margery Allingham Dialogue, Rhythm, and Keeping to the Point

Patricia Moyes Listening and Dialogue

Cynthia Harrod-Eagles Writing Dialogue

Perspectives

Aline Templeton Getting a Perspective

Liza Cody What on Earth Is It Like to Be You?

Plots

Agatha Christie Plots

J. J. Connington Logic and Working Backwards

Mary Kelly All Will Be Revealed

Kate Ellis Structuring a Plot

Eric Ambler Voyages of Discovery

Andrew Taylor How to Change Your Murderer

Detectives

Priscilla Masters Amateur Detective or Professional?

Susan Moody Believable Amateurs

Michael Z. Lewin Private Eyes

Research

Ngaio Marsh Getting It Right

Desmond Bagley Keeping Up to Date

John Malcolm Amateurs and Expertise

Detection

Edmund Crispin Detective Stories and Virtuosity

John Dickson Carr Rules and Prejudices

Christianna Brand Classic Ingredients

Michael Innes Clues

Catherine Aird Snakes and Ladders

Sophie Hannah Optimal Subterfuge

Suspense

Robert Goddard Suspense

Julian Symons The Face in the Mirror

Jessica Mann The Suspense Novel

Celia Fremlin The Hours Before Dawn

Action

Lionel Davidson Inspiration, Perspiration, Realization

Tom Harper Adventure Fiction

Felix Francis Writing Action Scenes

Michael Gilbert Filling the Gaps

Michael Hartland Constructing a Thriller

Mick Herron The Cold War, Then and Now

History

Michael Pearce A Laying On of Hands

Imogen Robertson The Christmas Tree Theory of Historical Research

L. C. Tyler Historical Dialogue

Humour

Alexander McCall Smith Humour and Human Nature

Robert Barnard Characters and Caricature

Ruth Dudley Edwards Humour and Satire

In Short

Roy Vickers Let’s Pretend

H. R. F Keating Switch-overs in Short Stories

Fiction and Fact

Peter Lovesey Fictionalizing Characters and Crimes from Real Life

Anthony Berkeley Trial and Error

Partners in Crime

Dorothy L. Sayers Collaborative Writing

Adapting

Alison Joseph Writing for Radio

Simon Brett Adaptability

Challenges

Martyn Waites Impostor Syndrome

Suzette A. Hill Writing: a Painful Pleasure

David Stuart Davies Writer’s Block

Stella Duffy Improvising

Ending

Laura Wilson The End of the Beginning

Joanna Hines In My End

Publishing

David Roberts The Changing Face of Publishing

Antonia Hodgson What Editors Want

Russell James Traditional versus Self-Publishing

Jill Paton Walsh One Thing Leads to Another

Writing Lives

Reginald Hill The Writing Process

Paula Gosling Keeping Track

Jonathan Gash Reading for Pleasure

Janet Neel Don’t Give Up the Day Job

Bertie Denham Writing to Relax

Elly Griffiths Social Media and the Death of Nancy

John Le Carré The Joy of Writing

Len Deighton Different Books; Different Problems; Different Solutions

The Contributors: Biographical Notes

The Detection Club: Presidents

The Detection Club: Members

Index of Authors

Subject Index

Copyright and Acknowledgements

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