I've always written. At the age of six or seven, I would get sheets of A4 paper and fold them in half, cut the edges to make a little eight-page booklet, break it up into squares and put in little stick men with little speech bubbles, and I'd have a spy story, a space story and a football story.

His eyes beheld beauty not in reality but in the printed word. Standing in the waiting-room, he realized that in his life he had accepted secondary experience -- the experience of reading someone else's thoughts -- over real life.

From this height the sleeping city seems like a child's construction, a model which has refused to be constrained by imagination. The volcanic plug might be black Plasticine, the castle balanced solidly atop it a skewed rendition of crenellated building bricks. The orange street lamps are crumpled toffee-wrappers glued to lollipop sticks.

My first novel was turned down by half a dozen publishers. And even after having published five or six books, I wasn't making enough money to live on, and was beginning to think I'd have to give up the dream of being a full-time writer.

It seemed to him a very Edinburgh thing. Welcoming, but not very.

The most difficult part of any crime novel is the plotting. It all begins simply enough, but soon you're dealing with a multitude of linked characters, strands, themes and red herrings - and you need to try to control these unruly elements and weave them into a pattern.

I've always written. At the age of six or seven, I would get sheets of A4 paper and fold them in half, cut the edges to make a little eight-page booklet, break it up into squares and put in little stick men with little speech bubbles, and I'd have a spy story, a space story and a football story.