Adrian McKinty Quotes
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I think the poetry that came out of Belfast, and especially the Queen's University set, in the 1970s and '80s - you know, Paul Muldoon and Seamus Heaney, Derek Mahon and Ciaran Carson - that was probably the finest body of work since the Gaelic renaissance, up there with the work of Yeats and Synge and Lady Gregory.
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A locked-room problem lies at the heart of my new novel, 'In The Morning I'll Be Gone,' in which an RUC detective has to find out whether a publican's daughter who fell off a table in a bar that was locked from the inside was in fact murdered.
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Our daughter's name Arwynn comes from Arwen in 'Lord of the Rings' because my wife and I met for the first time in the Eagle and Child pub in Oxford where J. R. R. Tolkien and C. S. Lewis used to go to read out their stories to one another.
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The Ned Kelly is definitely the coolest of all the crime fiction awards, and if you think about it, it's the only one that's given for an entire continent.
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Irish fathers still have certain responsibilities, and by the time my two daughters turned seven, they could swim, ride a bike, sing at least one part of a Woody Guthrie song, and recite all of W. B. Yeats's 'The Song of Wandering Aengus.'
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With a few notable exceptions, literary fiction in the U.K. is dominated by an upper and upper middle-class clique who usually have a tin ear for the demotic and who portray working-class characters with, at best, a benevolent condescension.
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I love the trilogy form. I like the idea that you can establish a character in book one. And then in the second part, you can take the characters down to their darkest point. And then in the third part, you have total freedom either to give them redemption - or just to kill them.
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Building on the work of George Macdonald, William Morris and Edward Plunkett, what became known as high fantasy was more or less invented by J. R. R. Tolkien.
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I've always been a secret locked-room fanatic. I read my first one when I was about ten or 11, Agatha Christie's 'Murder on the Orient Express,' with David Niven and Peter Ustinov on the cover.
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I did the same thing as every Irish person who comes to New York. I arrived on a Wednesday, and by Saturday night, I was pulling pints at a pub in the Bronx.
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'The Man in the High Castle' is still the best what-if-the-Axis-had-won novel.
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A specific editor in a specific place likes the book, and you're in. A different editor on a different day goes, 'Oh, this isn't for me', or doesn't even look at it, and that's it.
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Crime fiction, especially noir and hardboiled, is the literature of the proletariat.
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People in the North are really taciturn and reticent, and they don't really like to talk about the past.
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If you haven't read 'In The Morning I'll Be Gone', I reckon it's a pretty good place to start if you're new to me and my books.
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I met my wife in Oxford, fell in love with her, and followed her to New York. I was an illegal there for the first few years, until we got married, so I ended up doing lots of interesting jobs, some for a few days, some for a few months.
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Sometimes the fantasy writers set their novels in an ancient Earth, sometimes a parallel Earth, or, quite often, they offered no explanation at all as to the temporal and geographic location.
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I used to get a lift to school every day with a man who was a major in the British Army.
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I had a few stories and longer pieces published, but my first proper novel came in 2003, called 'Dead I Well May Be.'
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On my Wikipedia page, it used to say I was born in Belfast, Ireland, then it said Belfast, Northern Ireland, and then it said Belfast, U.K. So there was a little war going on about where Belfast is located.
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When a locked-room mystery doesn't work, the solution makes you groan, and the book gets hurled across the room.
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I was knocked down and dragged by a police Land Rover in a hit-and-run.
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I've never been a believer in the word-count thing. I write slowly and tinker with the words and the word order, and I throw a lot of stuff out.
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Because of England's lack of social mobility, unless they make truly heroic efforts, writers who are privately educated and then go on to Oxbridge or an institution like the BBC will generally embarrass themselves when they attempt to have a go at working- or lower middle-class characters.