This week on Crime Always Pays: Catherine O’Flynn’s WHAT WAS LOST, Declan Burke’s THE BIG O and Tana French’s THE LIKENESS reviewed; free copies of KO Dahl’s THE FOURTH MAN and THE MAN IN THE WINDOW; A GONZO NOIR gets its own blog; Andrew Taylor on the genesis of BLEEDING HEART SQUARE; KT McCaffrey on soundtracks and writing; Ed Lynskey Q&A’d; and – wait for it! – a first look at Will Hoyle’s BELLA MORTE!

The first question people tend to ask about A GONZO NOIR is, ‘Why waste a perfectly good novel publishing it to the internet?’

This presupposes that it is good, let alone perfectly good.

Actually, it doesn’t. What people really mean is, ‘Why publish a novel-length story for free when someone might pay you to publish it as a conventional novel?’

Well, there’s a lot of reasons.

The first is that I’ve always wanted to publish a novel to the web, because it’s there and because I… Continue

This week on Crime Always Pays: Andrew Taylor and Declan Burke report on Bristol’s Crime Fest 2008; free copies of Adrian McKinty’s THE BLOOMSDAY DEAD; Sebastian Faulks’ DEVIL MAY CARE reviewed; Paul Nagle’s new cover art for IRONIC; Adrian McKinty reconsiders the English detective; John Connolly asks the big philosophical question about crime fiction; Ruth Dudley Edwards wins the Last Laugh Award; and the latest instalment – wait for it! – of… Continue

This week on Crime Always Pays: reviews of Adrian McKinty’s THE BLOOMSDAY DEAD and Declan Burke’s THE BIG O; free copies of the Ken Bruen / Jason Starr collaboration THE MAX; a Q&A with Will Hoyle; the first three chapters of Declan Burke’s spanking new interweb novel A GONZO NOIR; a sneaky peek at the new cover for Paul Nagle’s IRONIC; exactly how many shortlists has Tana French made?; and – oh… Continue