The crime genre's always been regarded very well by the literary end of the book world, whereas horror, although it had that spell in the late eighties, by and large, it's sort of ghetto-ized, and considered to be exploited literature.

Brighton has two universities. It's got a massive young, middle-class community, and the largest gay community in the UK. The result of which is a huge recreational drug market. It's the favoured place to live in the UK for first division criminals.

There's a difference between what I call a dumb ghost and a smart ghost. The smart ghost is Hamlet's father - you know, he says, "Get revenge, my son!" That's incredibly rare. It's much more the grey lady in the same place everyday, moving across the floor.

What Brighton's got is a major sea port on either side, good for importing drugs, great for exporting cash, stolen cars, stolen antiques. It's got the largest number of antique shops in the UK, so it's a great place to fence stolen goods. It's got tremendous communication: you've got the sea ports, you've got the channel tunnel, you've got Gatwick Airport 25 minutes away, and London's 50 minutes away by train. So all these escape routes... Which is what villains like.

Every novel starts with a theme, and I am constantly looking for big ideas.

A news junkie, I read, daily, the 'Times/Sunday Times,' the 'Guardian/Observer,' 'Mail,' and the 'Argus' - both to keep up with crime in Brighton, where I set my novels, and because I think it is vital to support local papers - they provide a unique accountability for councils, emergency services and so much else, and are dangerously undervalued.

Almost every officer is going to put their life on the line at some point in their career.