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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Whether you do stand-up comedy or write a story, you have a duty to deliver. As a comedian, you walk out on stage, and you have a minute to hook them, or they'll start booing. As a writer, it's very similar. A reader doesn't have time to say, 'I'll give him 50 pages, as it's not very good yet, but I hope it'll get better.'
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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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I do have a touch of OCD, and I used to obsess about research. But I'm better than I was. Gone are the days when I would drive to a set of traffic lights to find out if you could turn left. I finally realised it didn't matter. A book will not stand or fall on whether or not there's a branch of Starbucks in Brixton.
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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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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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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.
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I bought an insurance policy covering the inheritance tax my kids will have to pay when we die, which I thought was a good bit of forward thinking. And I always know I'm going to have enough for tax because I make sure I keep it back in my business account.
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I am trying to give the best performance possible in 400 pages. I want readers to be scared; I want them to be moved. Entertainment doesn't necessarily mean something trivial, but it does mean people wanting to get to the end of a book.
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Ian Rankin's Rebus is the king of modern British crime fiction. He is dour, determined, and constantly falls foul of his seniors. For all this, we root for him. He is eminently loveable, a quixotic hero moving through the darker half of a Jekyll and Hyde Edinburgh.