Photo credit: Ian Wylie

Mari Hannah

Agent: Conrad Williams

Multi-award-winning author/screenwriter Mari Hannah is the creator of the Kate Daniels series of police procedurals, the Ryan & O'Neil and Stone & Oliver series. She has written 13 books since 2010 and her work has been sold around the world and translated into other languages.  

Both Mari and her partner have experience of working in the criminal justice system; her partner is a former murder detective. Mari’s career as a Probation Officer was cut short following an assault on duty. She then transitioned to writing.

Mari won a place on the BBC’s North East Voices Drama Development Scheme after pitching her original crime series. Through this, her first Kate Daniels novel THE MURDER WALL was developed, which won her the Polari First Book Prize.

She went on to win the CWA Dagger in the Library 2017. In 2019, she was Programming Chair of Theakston Old Peculier Crime Writing Festival, the biggest of its type in the world.

She is represented by Oli Munson of AM Heath for her literary work and her books have been published by Pan Macmillan and Orion fiction.

Awards:

2020: WITHOUT A TRACE - Capital Crime’s Crime Book of the Year

2019: DIVA Wordsmith of the Year

2017: Crime Writers’ Association Dagger in the Library

2013: THE MURDER WALL - Polari First Book Prize

2010: SETTLED BLOOD - Northern Writers' Award

Visit Mari’s website

In development:

THE DCI KATE DANIELS SERIES (Sprout Pictures)

Books:

Blake Friedmann represents all media/film/tv rights in Mari’s books and original screenwriting projects. For any literary enquiries contact Oli Munson at AM Heath.

The DCI Kate Daniels Series

  • THE MURDER WALL (2010)

  • SETTLED BLOOD (2012)

  • DEADLY DECEIT (2013)

  • MONUMENT TO MURDER/FATAL GAMES (2013)

  • KILLING FOR KEEPS (2014)

  • GALLOWS A DROP (2016)

  • WITHOUT A TRACE (2020)

  • HER LAST REQUEST (2021)

The Ryan and O’Neil Thrillers

  • THE SILENT ROOM (2015)

  • THE DEATH MESSENGER (2019)

The Stone and Oliver Series

  • THE LOST (2018)

  • THE INSIDER (2018)

  • THE SCANDAL (2019)

Praise for Mari:

  • The Times: ‘Hannah is especially good at portraying the emotional interactions and office politics of a fraught police force’

  • Peter James: ‘Brutal and engaging. Mari Hannah writes with a sharp eye and a dark heart.’

  • The Independent: ‘ satisfyingly dark and tense’

  • Val McDermid: ‘Nobody understands the many faces of cops better than Mari Hannah.’

  • The Daily Mail on THE SILENT ROOM: ‘Taut storytelling and razor-sharp dialogue - not to mention Hannah's use of the Northumberland countryside - make this a novel not to be missed.’

  • Lee Child: ‘Involving, sophisticated, intelligent and suspenseful - everything a good crime thriller should be.’

  • The Times: Marcel Berlins lists DCI Kate Daniels as one of two Northerners to join the roster of top literary detectives.

  • Time Out on THE MURDER WALL: ‘Hannah’s debut is heavy on the atmosphere as well as the specifics of a creepily icky criminal.’

  • Mike Craven: ‘Mari Hannah is in the uppermost echelon of British crime writers’

  • Lancashire Evening Post on KILLING FOR KEEPS:Brutal, shockingly realistic and satisfyingly unpredictable, this is a thrilling, chilling tale with a formidable star player and charismatic location, ideally suited to the small screen. Move over DCI Jane Tennison, there’s a new kid on the block.’

  • Steve Cavanagh: ‘Hannah has a rare gift. She can write compelling, page-turning suspense with the very best, but she adds heart to every page. Kate Daniels is a character to cherish, and Mari is a writer as the very top of her game.

  • Bridlington Free Press: ‘Edgy, stubborn, intensely private, fiercely loyal, a born maverick but still remarkably sensitive to the emotions of the bereaved, the enigmatic Daniels has a promising future both as a police chief and as a literary leading lady.’

  • North East Life on THE MURDER WALL:Insightful, well observed and sharply written-one of the finest debut crime novels for years. It's crying out to be dramatised.’