Liane Moriarty’s latest novel is a darkly comedic tale about a trivia night death, writes Shandelle Battersby.

Sarah Waters’ new novel explores what happens when an ‘unruly passion’ in the form of two lodgers enters a house. She talks to Linda Herrick.

Oh, to write like Alan Bennett. The consummate modulations of mood and structure. The utterly English urbanity and self-deprecation.

Martin Amis is a child of the 20th century, both literally and by literary preoccupation. He was born in the aftermath of World War II and grew up in the shadow of the unholy trinity of great ideologies — fascism, communism and capitalism.

A bestselling author who sells books by the million, Jennifer Weiner is on an almighty mission to get ‘chick lit’ the serious attention she believes it is due.

When author Johnny Wray was a lad at school in the 1920s, his form master was most disparaging of his writing, describing it as: “Conglomerations of facts occasioned by heterogeneous concatenations of stupid irrelevancies.”

In keeping with the almost impermeable wall that prevents a healthy transtasman book trade, Helen Garner is relatively unknown in New Zealand.

I'd love to meet John Crace. The Guardian columnist is acerbic, focused, appallingly funny.

This is a very strange book. It's about Neil Gaiman, so it can probably afford to be.

Gerard Woodward’s family gave him plenty of material to write about, but it took years to work out how, he tells Linda Herrick.

Sebastian Barry’s latest novel is a narrative of disintegration and self-destruction, written in the most lyrical of language.

The $100 million movie of Cloud Atlas bombed, but that didn’t halt the rising star of its author, David Mitchell, regarded by many as the greatest of his generation. now he is tweeting his latest work, writes Hermione Hoby.