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Index
Cover
Title Page
Copyright
Dedication
Contents
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
About the Author
Keep Reading …
About the Publisher
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