A Quote by Daniel Woodrell

There's an overlap between social-realist fiction and crime fiction - a sweet spot there. — © Daniel Woodrell
There's an overlap between social-realist fiction and crime fiction - a sweet spot there.
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.
Crime fiction is the fiction of social history. Societies get the crimes they deserve.
I do think that science fiction ideas are best expressed through visual media like film and TV. Realist literature depicts things that we have seen in life, but science fiction is different: what it depicts exists only in the author's imagination. When it comes to science fiction, the written word is inadequate.
The difference between travel writing as fiction is the difference between recording what the eye sees and discovering what the imagination knows. Fiction is pure joy - how sad that I could not reinvent the trip as fiction.
I do read a lot, and I think in recent years the ratio between the amount of non-fiction and fiction has tipped quite considerably. I did read fiction as a teenager as well, mostly because I was forced to read fiction, of course, to go through high school.
The secret to a successful retirement is to find your retirement sweet spot. The sweet spot is where your passions, what you do best, and what people will pay you to do overlap.
I just really like the verve and muscle of good crime fiction, the narrative punch of it. The underlying principle of good crime fiction is an insistence on a kind of root democracy. I've always responded to that notion.
What they [critics of Lessing's switch to science fiction] didn't realize was that in science fiction is some of the best social fiction of our time.
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.
Genre fiction was looked at as a ghetto, but I wonder now if realist fiction, sealing itself off in the glum suburbs of a dysfunctional society, denying the use of imagination, was the ghetto.
I used to write fiction, non-fiction, fiction, non-fiction and have a clear pattern because I'd need a break from one style when going into the next book.
I've read crime fiction all my life. A thing that's bothered me about crime fiction is that it's generally about one or two people, but there's not much about society. I want to get away from that particular pattern: a lead, a supporting role and backdrop characters.
We're completely confused about the boundaries between fiction and non-fiction. To me, the moment you compose, you're fictionalising; the moment you remember, you're dreaming. It's ludicrous that we have to pretend that non-fiction has to be real in some absolute sense.
I like dramas because there's a big overlap between film and fiction, so I feel relatively qualified to talk about plot and characterisation and that sort of thing.
I've been writing since 1973. I've written nonfiction things of that nature, but I'm probably best known for crime fiction and, to some extent, horror fiction.
History buffs expect historical background in historical fiction. Mystery readers expect forensics and police procedure in crime fiction. Westerns - gasp - describe the West. Techno-thriller readers expect to learn something about technology from their fiction.
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