A Quote by David Hewson

In the world of crime novels, the annual Audible Sounds of Crime awards are a pretty big deal, and I was thrilled to be shortlisted for my fifth novel in my bestselling Nic Costa series.
All novels are about crime. You'd be hard pressed to find any novel that does not have an element of crime. I don't see myself as a crime novelist, but there are crimes in my books. That's the nature of storytelling, if you want to reflect the real world.
That's why I love crime novels so much: When I write a crime novel, the conflict is built in.
Once I got interested in organized crime, and, specifically, Jewish organized crime, I got very interested in it. I have learned that, like my narrator Hannah, I'm a crime writer in my own peculiar way. Crime with a capital "C" is the subject that I'm stuck with - even Sway is about "crime" in a certain way. The nice thing about crime is that it enables you to deal with some big questioO
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.
'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.
My first book deal was for two Mark Genevich novels. I hadn't planned on writing a second Genevich novel, but I was contracted to do so, and so there I was being introduced as a crime writer.
The best crime stories are always about the crime and its consequences - you know, 'Crime And Punishment' is the classic. Where you have the crime, and its consequences are the story, but considering the crime and the consequences makes you think about the society in which the crime takes place, if you see what I mean.
I'm asked unendingly to become involved in series involving true crime and as it so happens the Netflix series that I'm working on is about a true crime.
The causes of crime are very complicated. But there is a very big literature, as you know, about single parenthood in crime, about race in crime, and about poverty in crime.
We are not prepared to consider special category status for certain groups of people serving sentences for crime. Crime is crime is crime, it is not political
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.
If you ask people if they enjoy crime novels, they'll say, 'Oh, my guilty pleasure is...' then name a really brilliant crime writer.
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.
Great, big, serious novels always get awards. If it's a battle between a great, big, serious novel and a funny novel, the funny novel is doomed.
I was a late bloomer. I was 38 when my first book was out and 43 when my first crime novel was out. I had a story that could only be told as a crime story. I think the genre is good; it deals with the fundamental questions of life and death. The problem is there are too many bad crime stories.
I think that crime is a good vehicle for looking at society in general because the nature of the crime novel means that you draw on a wide group of social possibilities.
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