You wouldn't think you could kill an ocean, would you? But we'll do it one day. That's how negligent we are.

His eyes beheld beauty not in reality but in the printed word. Standing in the waiting-room, he realized that in his life he had accepted secondary experience -- the experience of reading someone else's thoughts -- over real life.

Rebus was eating breakfast in the canteen and wishing there was more caffeine in the coffee, or more coffee in the coffee come to that.

You need a great idea, but then you've got to carry it through. If you get it right, you're going to be a critical success. But not everyone who works hard gets it right, or has the success they deserve: there's an element of luck.

My first novel was turned down by half a dozen publishers. And even after having published five or six books, I wasn't making enough money to live on, and was beginning to think I'd have to give up the dream of being a full-time writer.

It seemed to him a very Edinburgh thing. Welcoming, but not very.

A good album should be more than the sum of its parts.

Witches never existed, except in people’s minds. All there was in the olden days was women and some men who believed in herbal cures and in folklore and in the wish to fly. Witches? We’re all witches in one way or another. Witches was the invention of mankind, son. We’re all witches beneath the skin.

I took the first James Kelman novel, 'The Bus Conductor Hines', home to my dad. I thought, 'My dad will like this it's written in Scots.' But my dad said: 'I can't read that.' He was reading James Bond and John le Carre. That was part of what attracted me to crime - the idea of getting a wide audience.

I think writers have to be proactive: they've got to use new technology and social media. Yes, it's hard to get noticed by traditional publishers, but there's a great deal of opportunity out there if you've got the right story.

I've always written. At the age of six or seven, I would get sheets of A4 paper and fold them in half, cut the edges to make a little eight-page booklet, break it up into squares and put in little stick men with little speech bubbles, and I'd have a spy story, a space story and a football story.

No matter how many awards you've won or how many sales you've got, come the next book it's still a blank sheet of paper and you're still panicking like hell that you've got nothing new to say.

I'm interested in Scotland now and then, how it's changed. I want to get the reader to think about that by thinking about something from the past. How has society changed, how has policing changed, have we changed philosophically, psychologically, culturally, spiritually?

I still think most writers are just kids who refuse to grow up. We're still playing imaginary games, with our imaginary friends.

I wrote my first short story for a competition and won second prize. Another competition came up and I won first prize. The first story was published in a newspaper. The second went out on radio.

From this height the sleeping city seems like a child's construction, a model which has refused to be constrained by imagination. The volcanic plug might be black Plasticine, the castle balanced solidly atop it a skewed rendition of crenellated building bricks. The orange street lamps are crumpled toffee-wrappers glued to lollipop sticks.