I’ve been thinking about “voice” a great deal lately. I started off feeling that, in fiction, a strong voice is one with plenty of interiority, one that invites the reader deep into the protagonist’s head, where all the character’s dirty linen is hung. But then I considered one of my favourite crime writers: Michael Connelly, whose Harry Bosch novels have been thrilling me for the last twenty years and more. These are all police procedural stories, inspired by Connelly’s six years of...