Delaying and withholding tactics, red herrings, partial and doubtful outcomes are stock in trade for fiction writers, especially crime writers.

I grew up in a house full of books, and we belonged to the Country Lending Service - each month the State Library would send us a parcel of books by train.

To be a writer, you must be a reader, yet as many as 30 per cent of my writing students were not readers.

A good writer can set a thriller anywhere and make it convincing: the trick is to evoke the setting in such a way that it highlights the crime or unsettles the reader.

From my years of teaching creative writing, I know that new writers take the setting for granted, as simply a place to set the action, but setting is a vital element in fiction writing and deserves serious treatment.

Delaying and withholding tactics, red herrings, partial and doubtful outcomes are stock in trade for fiction writers, especially crime writers.

At one level, an award is an endorsement, a confirmation, but I always find myself looking askance at awards and good reviews, as though another Garry Disher had earned them.