GARRY DISHER

To be a writer, you must be a reader, yet as many as 30 per cent of my writing students were not readers.

A good writer can set a thriller anywhere and make it convincing: the trick is to evoke the setting in such a way that it highlights the crime or unsettles the reader.

I didn’t feel that there was much goodness in me.

A curious thing happened: the terrains of England began to impinge on my consciousness, altering, then effacing, the world outside the library window… I was wrapped in a pleasurable dreaminess. I was in a better place. If true life existed elsewhere, then I had almost found it.

Chopper Read attended a writing school I gave for inmates at Risdon Prison in Hobart many years ago. Even if I hadn't known about his hacked-off ears and his criminal history, I'd have found him powerful and compelling.

I grew up in a house full of books, and we belonged to the Country Lending Service - each month the State Library would send us a parcel of books by train.

At one level, an award is an endorsement, a confirmation, but I always find myself looking askance at awards and good reviews, as though another Garry Disher had earned them.

From my years of teaching creative writing, I know that new writers take the setting for granted, as simply a place to set the action, but setting is a vital element in fiction writing and deserves serious treatment.

Delaying and withholding tactics, red herrings, partial and doubtful outcomes are stock in trade for fiction writers, especially crime writers.

I have no favourite genre or style but treat each novel with the same care, imagination and craftsmanship. It's as difficult to write a crime or a children's novel with a touch of style and grace as it is a literary novel.

At one level, an award is an endorsement, a confirmation, but I always find myself looking askance at awards and good reviews, as though another Garry Disher had earned them.

From my years of teaching creative writing, I know that new writers take the setting for granted, as simply a place to set the action, but setting is a vital element in fiction writing and deserves serious treatment.

I have no favourite genre or style but treat each novel with the same care, imagination and craftsmanship. It's as difficult to write a crime or a children's novel with a touch of style and grace as it is a literary novel.

Chopper Read attended a writing school I gave for inmates at Risdon Prison in Hobart many years ago. Even if I hadn't known about his hacked-off ears and his criminal history, I'd have found him powerful and compelling.

I grew up in a house full of books, and we belonged to the Country Lending Service - each month the State Library would send us a parcel of books by train.

A good writer can set a thriller anywhere and make it convincing: the trick is to evoke the setting in such a way that it highlights the crime or unsettles the reader.

Delaying and withholding tactics, red herrings, partial and doubtful outcomes are stock in trade for fiction writers, especially crime writers.

To be a writer, you must be a reader, yet as many as 30 per cent of my writing students were not readers.

A curious thing happened: the terrains of England began to impinge on my consciousness, altering, then effacing, the world outside the library window… I was wrapped in a pleasurable dreaminess. I was in a better place. If true life existed elsewhere, then I had almost found it.

I didn’t feel that there was much goodness in me.

I wanted to be taken out of myself.