A Quote by Alastair Reynolds

I couldn't ever write a straight crime novel: there'd be an intrusion of weirdness at some point. — © Alastair Reynolds
I couldn't ever write a straight crime novel: there'd be an intrusion of weirdness at some point.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
The age of the book is not over. No way... But maybe the age of some books is over. People say to me sometimes 'Steve, are you ever going to write a straight novel, a serious novel' and by that they mean a novel about college professors who are having impotence problems or something like that. And I have to say those things just don't interest me. Why? I don't know. But it took me about twenty years to get over that question, and not be kind of ashamed about what I do, of the books I write.
It's an unusual way to write a crime novel, to have these lingering, fairly large story points, but it's something I knew I had to do if I wanted to write a sequel...but, you know, people still have to read and enjoy this book, or it's a moot point.
It seems to me that one of the things that happened with a lot of literary fiction in the 1980s and 1990s was that it became very concerned with the academy and less with how people live their lives. We got to a point where the crime novel stepped into the breach. It was also a time when the crime novel stopped being so metropolitan.
I am a master of fiction. I am also the greatest crime novelist who ever lived. I am to the crime novel in specific what Tolstoy is to the Russian novel and what Beethoven is to music.
That's why I love crime novels so much: When I write a crime novel, the conflict is built in.
I have no favourite genre or style but treat each novel with the same care, imagination and craftsmanship. It's as difficult to write a crime or a children's novel with a touch of style and grace as it is a literary novel.
'The Turnaround' isn't even really a crime novel. But you need conflict to make a novel, any kind of novel, and I don't know any other way to do it than crime.
Ever since I was in my teens I had plans at one point in my life to write a novel.
Ever since the '70s, Maj Sjowall and Per Wahloo were the godfathers of Scandinavian crime. They broke the crime novel in Scandinavia from the kiosks and into the serious bookstores.
A straight writer can write a gay novel and not worry about it, and a gay novelist can write about straight people.
My readers often tell me that what they admire about my books is my ability to write from so many points of view. My challenge to myself is whether I'll ever be able to write a novel just from one point of view. It seems impossible.
I think Melbourne is by far and away the most interesting place in Australia, and I thought if I ever wrote a novel or crime novel of any kind, I had to set it here.
I always wanted to write a book. Not a romance novel. Maybe a crime thriller. Something with action. Maybe that will happen some day.
Today the crime novelist has one advantage denied to writers of 'straight' or 'literary' novels. Unlike them he can range over all levels of society, for crime can easily breach the barriers that exist in our stratified society. Because of these barriers the modern literary novel, unlike its 19th-century predecessors, is often confined to the horizontal, dealing only with one class. But crime runs through society from top to bottom, and so the crime novelist can present a fuller picture of the way we live now.
I try to write about realistic people doing realistic things. Or as close as I can get, given that I'm trying to write a suspenseful crime novel.
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