Singing The Sadness by Reginald Hill (Thomas Dunne Books 1999)

Joe did not spend a lot of time bemoaning the fact that God, who could easily have created him six foot six, rippling with muscles and coruscating with charisma, had opted instead for five foot five, a sagging waist, and social invisibility except maybe in a convention of white supremacists. What did gripe him a bit was there was no consistency. Man who could spend twenty minutes trying to catch the waiter's eye in a half-empty restaurant ought to be able to slip out of a crowded hospital ward without attracting attention, but the long eye of the law was not to be denied.

'Joe, where are you rushing off to?' said Prince, taking his elbow as he stepped into the corridor.

Be Cool by Elmore Leonard (Delacorte Press 1999)

You see Get Leo?

Again, a pause and Linda saying, Wait a minute. You're Chili Palmer? You are you were on Charlie Rose at least a half hour. He got you to admit your name's Ernest, and I recognize your voice. I've read all about you the interviews, the ones that asked if it's true you were a gangster in Florida? Or was it Brooklyn?

Both.

I loved Get Leo, I saw it twice. The only thing that bothered me, just a little. The guy's too short to be what he is?

Well, that, yeah. But you know going in Michael Weir's short. What was it bothered you?

He's so sure of himself. I can't stand guys who think they know everything. What other movies have you done?

He listened to his voice come on after a pause. I did Get Lost next. Admitting it.

When she says, I still haven't seen it.

He tells her. A sequel has to be better'n the original or it's not gonna work.

Whatever Love Means by David Baddiel (Abacus 1999)

'What about you? Still at the paper?'

'Not really. I'm a features editor at Jack.' That figures, thought Vic. Jack was a late addition to the FHM, Loaded, Maxim, aren't-we-the-naughty-ones magazine market, it specialised in covering topics too shallow for its competitors. On the odd occasion Vic had read one of them (not often: Vic hated stuff that aspired to, but wasn't, pornography), he'd recognised more than one byline from his days of contact with the music press, men who in their twenties would've been politically incorrect to be rebellious, and who now had to be politically incorrect to be rebellious, instead of realising that the dignified thing to do is stop being rebellious. 'Although I still do odd bits and pieces for the. Can I help it if I still bloody love rock and roll?

It was at that point that Vic remembered just how cunty Chris Moore was. He wasn't just a cunt. He was off the cuntometer.

Now's The Time by John Harvey (Slow Dancer Press 1999)

Music has always been important for Charlie, you fancy - as background and as entertainment, as a way of easing a stressful life, papering over emptiness, and more positively, helping him to measure and assess emotion, helping him to understand. And where it had begun for him, this musical affiliation, this need? A tailoring uncle, returned from the States with a pile of chipped and scratched 78s and Charlie, in his early teens, open-minded and keen-eared, set loose amongst them. Bing Crosby. The Ink Spots. Sinatra. Dick Haymes. The Mills Brothers. Ella Fitzgerald's 'A-Tisket, A-Tasket' and 'Stone Cold Dead in the Market'. Teddy Wilson and his Orchestra with Billie Holiday (vocal refrain).

(John Harvey writing about his creation, Charlie Resnick, in the chapter entitled, 'Coda'.)