Delaying and withholding tactics, red herrings, partial and doubtful outcomes are stock in trade for fiction writers, especially crime writers.
I didn’t feel that there was much goodness in me.
A curious thing happened: the terrains of England began to impinge on my consciousness, altering, then effacing, the world outside the library window… I was wrapped in a pleasurable dreaminess. I was in a better place. If true life existed elsewhere, then I had almost found it.
I wanted to be taken out of myself.
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.
To be a writer, you must be a reader, yet as many as 30 per cent of my writing students were not readers.
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.
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.
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.
