Mark Billingham
Mark Billingham
Mark Philip David Billingham is an English novelist whose series of "Tom Thorne" crime novels are best-sellers in that particular genre. He is also a television screenwriter and has become a familiar face as an actor and comic...
NationalityEnglish
ProfessionNovelist
Date of Birth2 July 1961
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While the subject matter of my novels could not be further removed from the stuff I used to trot out at the Comedy Store, the delivery of the material employs many of the same techniques.
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The fact is that most crime novels contain a good many punchlines. They are just rather darker than the ones you might hear in a comedy club.
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I think there's as much violence, in a way, as a scene with two women having a cup of coffee in a Ruth Rendell novel - in terms of emotional violence and the violence you can inflict with language - as there is in the most graphic kind of serial killer/slasher novel you can think of.
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If something is crucial to the plot, then I'd better be sure I've got my facts straight. Readers of crime novels are smart and savvy, and they'll waste no time letting me know if there's a hole in my plot.
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Whether your audience is in a sweaty basement club or nestled in a favourite armchair, good money has been paid, and attention has got to be grabbed if you are not to be heckled off the stage or find your novel discarded in favour of the latest volume of 'Fifty Shades of Whatever.'
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It may sound surprising, but a joke and a crime novel work in very much the same way. The comedian/writer leads their audience along the garden path. The audience know what's coming, or at least they think they do until they get hit from a direction they were not expecting.
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I'd read one too many crime novels where the victim was just a name: body number one, dead woman number 12. I understood fear, and I wanted to create characters who made readers say, 'Please, don't hurt this guy.' That's the key to suspense. It's easy to disgust a reader. It's much harder to make them care.
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When a crime writer thinks up a delicious twist, it is a great moment. Time to relax and take the rest of the day off. I do think that it can be overdone, however.
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There have been some brilliant and very successful standalone books that work in themselves and also seem to refresh a series. Anyone who writes a series lives in fear of it becoming stale, so you do whatever you can to keep it fresh - although it does feel a bit nerve-racking to write outside of your comfort zone.
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Too much research can be the writer's enemy. You can spend days on end in the British Library or prowling the streets with a Dictaphone, and it's easy to convince yourself that you're working hard. Often, it can be an excuse not to work; a classic displacement activity.
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What I usually do is hoard money - I accumulate as much as possible in the fear of not having enough to pay tax.
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I discovered reading through libraries. I grew up in a house that wasn't brimming with books.
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Of course there's pressure, and it's still there with every book. Each one is harder to write than the last, basically because you're always trying to write a better book. You won't always succeed, of course, but that has to be what you're shooting for.
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I believe that if writers want their readers to care about a character, they have to care themselves. I have to root for a detective who screws up as much as Thorne does, who shares my birthday, my North London stomping ground, and my love of country music, both alt and cheesy.