Thirty-three years later, author Marcus Goldman - still revelling in celebrity after the huge success of his debut novel - is battling writer's block and, with his publisher's deadline looming, panicking about the follow-up.

Looking for inspiration, he heads to the small town of Aurora, in New Hampshire, the seaside home of Harry Quebert, his former university English lecturer and mentor; Quebert, 66, became a literary star 33 years before, with the publication of his love story, .

Yet all Goldman discovers, after rummaging through Quebert's things, are old photos of his mentor with a young girl.

Then a few weeks later, workmen at Quebert's home dig up the skeleton of a teenage girl, and Quebert is arrested.

However, Goldman believes his friend is innocent and vows to uncover the truth.

Dicker's intricate novel - a book about Goldman writing a book, focusing on Quebert writing his book - serves up a tantalising mix of constantly weaving narratives, jumping back and forth between past and present, laced with fiendish puzzles, red herrings, dead bodies, and a heavy dollop of shock revelations; you'll be struggling to guess whodunnit right to the end.

Throughout Dicker's novel, Quebert's advice to Goldman about writing punctuates the chapters.

On one occasion he says: "… About half a second after finishing your book, after reading the last word, the reader should be overwhelmed by a particular feeling … he should look at the cover and smile a little sadly because he is already missing all the characters. A good book, Marcus, is a book you are sorry to have finished."

Quebert is only half right. We are left missing convincing characters in . Maybe it's his inexperience as a writer, but Dicker's stilted portrayals and often flat dialogue are the weak parts of his entertaining book.

It works in spite of the creaky characters; few - including Kellergan and her friendship with Quebert - come to life on the page.

Well-rounded, credible characters would have made this good book great.