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.

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.

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.

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'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.

I always wanted to work at Take A Break magazine, you know, just to inject a little bit of politics into their stories. I applied for a job there after I'd done my law degree and didn't even get an interview. I only wrote Garnethill because I didn't get that job!

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.