Crimewave's mission is nothing less than the total re-creation of crime fiction. We don't do cosy, we don't do hardboiled, we don't do noir...what we do is something entirely different to whatever you've read before.
People who have never read crime are about to discover a new universe of fiction in which morality is real but fluid, in which story is central but skewed, in which the traditions of the genre are neither dumped nor subverted, but rather viewed through fresh eyes from a new hill. Meanwhile, lifelong crime fans will be reminded why they turned to crime in the first place: for solidly-made, honest-to-life stories that are only the starting point for a new fiction in which writers make a contract with the reader to provide real plots with real conclusions, not mere vignettes but who then exploit loopholes and sub-clauses to turn your expectations inside out. Self-indulgent arty-fartiness is out, and so is lazy conservatism; craftsmanship is in, as the only platform strong enough to launch illimitable imagination.
In short, Crimewave is a celebration of what crime fiction can be, when it stops apologising for itself, censoring itself, limiting itself, feeling sorry for itself. Our writers are in love with crime fiction's history, and fiercely proud of its future.
Marion Arnott won the prestigious CWA/Macallan Short-Story Dagger in 2001; Simon Avery was shortlisted.
Martin Edwards is the creator of the Harry Devlin series of crime novels.
Steve Rasnic Tem, Mat Coward. Shelley Costa and the others are widely recognised as masters of the short story form.