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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.

I was never a fan of cozy mysteries of anything set in the countryside, you know.

I'm a city boy. I grew up in a big city, in Birmingham, and I want to write about a city. It's much richer tapestry for me than green fields. Fields and wild life make me feel ill. I don't like - I don't want to write about that stuff.

The problem with being a writer is that some readers tend to think that anything that comes out of a character's mouth is you talking.

When I began to write, I was surprised at how little London had been used in crime fiction. Places such as Edinburgh or Oxford or L.A. seemed to have stronger identities.

Part of the reason why Scandinavian crime has been so popular is the landscape. It is just so strong and alien. Although without taking anything away, you should probably also never discount the fact that blood does look particularly good against snow.

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.

Crime is the biggest genre in libraries and in bookshops, and it is hugely varied.

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.

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.'

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.

Having worked as both comedian and crime writer, the one thing I know is that both involve the delivery of a performance.

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.

I often wonder, with my hand on my heart, if 'The Dying Hours' was made into the biggest movie franchise in history, would I pick up my pen again? Wouldn't I be happier spending the rest of my life travelling around with my wife?

Whenever people ask where I get my sick and twisted ideas from, I reply, 'Just open your eyes.'

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!'

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.

There are a number of writers who believe it is their duty to throw as many curve balls at the reader as possible. To twist and twist again. These are the Chubby Checkers of crime fiction and, while I admire the craft, I think that it can actually work against genuine suspense.

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.

I could never gamble on stocks and shares because I saw my father get hurt that way - he lost quite a lot of money when the stock market collapsed in 2001.

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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