- Norwegian By Night by Derek B. Miller
- The Honey Guide by Richard Crompton
- City of Blood by M.D. Villier
- The Missing File by D.A. Mishani
- The Silent Wife by A.S.A. Harrison
- Burial Rites by Hannah Kent
- The Scent of Death by Andrew Taylor
- Rubbernecker by Belinda Bauer
- Ratlines by Stuart Neville
- The Twelfth Department by William Ryan
- Ghostman by Roger Hobbs
- Laidlaw by William McIlvanney
From serial killers to tartan noir, Laura Wilson rounds up her pick of the crop. The best crime and thrillers of 2013 – at The Guardian.
»In my mind The Big O is set in very specific locations in and around my hometown of Sligo, but I was deliberate in not giving the story a particular setting because I was trying to suggest that crimes and their consequences are universal – i.e., that story could have taken place in any mid-sized town anywhere around the world.
»Generally though I think the curious thing about the crime fiction genre is how much freedom there is within it. While readers have some pre-conceptions about what they expect from a crime novel the whole point of the genre is that they want to be surprised – so I think there’s a bit of flexibility in there for writers.«
Let’s talk about crime fiction: William Ryan (his new novel The Twelfth Department will be published in May 2013) in conversation with Declan Burke (latest novel The Big O out as an e-book). Read the fourth instalment of a interesting series of conversations at Shotsmag.
»Exploring difficult themes within the framework of historical fiction certainly gives me some distance. I based a scene in The Devil’s Ribbon on a shell attack in Kabul where I saw three people decapitated and where I was only maybe a metre or two from where an RPG landed. I transferred that image and those feelings of shock and despair into Hatton’s mind and world.«
D. E. Meredith
»Rules are almost always an individual’s personal preference at a particular moment in time. I don’t mind if Elmore Leonard chooses to carry every piece of dialogue with “said”, because it works for his style of writing – but he’s wrong when he says it’s an invisible word.«
A fine converstation: D. E. Meredith and William Ryan talking about historical crime fiction, settings and writing rules. Read more at the Shotsmag Blog.