A Quote by Ann Maxwell

Traditionally in crime fiction, women exist as a bedroom convenience or to screw up in order that the plot may progress. I wanted no part of that. — © Ann Maxwell
Traditionally in crime fiction, women exist as a bedroom convenience or to screw up in order that the plot may progress. I wanted no part of that.
I grew up reading crime fiction mysteries, true crime - a lot of true crime - and it is traditionally a male dominated field from the outside, but from the inside what we know, those of us who read it, is that women buy the most crime fiction, they are by far the biggest readers of true crime, and there's a voracious appetite among women for these stories, and I know I feel it - since I was quite small I wanted to go to those dark places.
Crime fiction makes money. It may be harder for writers to get published, but crime is doing better than most of what we like to call CanLit. It's elementary, plot-driven, character-rich story-telling at its best.
Fiction writers come up with some interesting metaphors when speaking of plot. Some say the plot is the highway and the characters are the automobiles. Others talk about stories that are "plot-driven," as if the plot were neither the highway nor the automobile, but the chauffeur. Others seem to have plot phobia and say they never plot. Still others turn up their noses at the very notion, as if there's something artificial, fraudulent, contrived.
I wanted to take part in the Women's Aid Real Man campaign because domestic violence affects so many women and children during their lifetime and I think it is important to stand up against what is often a hidden crime.
The most popular American fiction seems to be about successful people who win, and good crime fiction typically does not explore that world. But honestly, if all crime fiction was quality fiction, it would be taken more seriously.
Truth may be stranger than fiction on a plot and narrative basis, but fiction can investigate tone in a way that things based on a true story can't.
Life got very good - we went from living in a one-bedroom apartment to a five-bedroom mansion by the time I was in high school. I had everything I wanted growing up, though all I wanted was music stuff - drums, a PC, turntables.
I grew up reading crime fiction and, especially in the '80s, women were just there to be saved or screwed.
I like writing non-fiction - and when you pick a [non-fiction] subject, it saves you the hassle of coming up with a plot.
The great thing about fiction is that I don't have to settle on an answer to any troubling question, or even a solution. I hope that my stories serve as explorations and help show readers how and why real-life women don't always make the "correct" decisions in the face of economic and sexual troubles. We all screw up, but the women I write about don't have back-up plans or money in the back or resources to fix what they have broken.
Baseball is part of America's plot, part of America's mysterious, underlying design-the plot in which we all conspire and collude, the plot of the story of our national life.
General fiction is pretty much about ways that people get into problems and screw their lives up. Science fiction is about everything else.
Women belong in the bedroom and the kitchen, in that order.
The natural progress of the works of men is from rudeness to convenience, from convenience to elegance, and from elegance to nicety.
There is nothing - no program, no hobby, no vice, no crime - that does not 'create jobs'. Tsunamis, computer viruses and shooting convenience store clerks all 'create jobs'. So that claim misses the plot; it applies to all so is an argument in favor of none. Instead of an argument on the merits, it is an admission that one has no such arguments.
Perhaps the best definition of progress would be the continuing efforts of men and women to narrow the gap between the convenience of the powers that be and the unwritten charter.
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