Mark Billingham

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.

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.

My dad was a terrible father. Dreadful. But he had a very difficult childhood. He was fostered - he never knew who his father was. So he had a very different attitude to family and kids. I don't have any issues. I'm not suffering some secret angst.

I've often said the reader knows every bit as much about Thorne as I do. When I created him for 'Sleepyhead,' I was determined he should be a character who would develop, book by book, change and grow as we all do, and who - crucially - would be unpredictable.

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.

I've never read an ebook. Print every time.

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.

You throw the kitchen sink at your early books. You put everything in there. It's like when you meet a new girlfriend or boyfriend, you tell them all your best stories. By the time you have been married for 10 years, they are crying, 'Shut up!'

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.

I find traveling anywhere very stressful. If I ever have to go on tour, I tend to find it all a bit too stressful. I am too much of a control freak with traveling, and nothing is ever on time. The one thing I can't stand is being late.

As crime writers, we put these characters, year after year, book after book, through the most horrendous trauma, dealing with grief and death and loss and violence. We can't pretend that these things don't affect these characters; they have to. If they don't, then you're essentially writing cartoons.

We didn't have all the distractions that young people have today. We didn't have these incredible computer games and social networks to engage with. I understand that. But once young readers do discover reading, when they discover a book which they fall in love with, it really unleashes something new in their imagination.