A Quote by George Pelecanos

'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. — © George Pelecanos
'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.
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.
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.
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.
A novel means a new way of doing a story. If you go back the origins of a novel, 'Clarissa' - that's not a novel; it's just a bunch of letters. But it isn't! Because it's organised in a particular way! A novel is what you make of it.
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.
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.
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.
The contemporary crime novel is, at its best, a novel of character. That's where the suspense comes from.
When a novel is based on an actual crime, it should do much more than loosely fictionalize it. The novel must stand alone as a work of art that justifies using the story for its own purposes.
The Chicago Way is a wonderful first novel. Michael Harvey has studied the masters and put his own unique touch on the crime novel. This book harkens the arrival of a major new voice.
The process of writing a novel is getting to know more about the novel until you know everything about it. And it's been described as a kind of dreamlike state where you're letting the novel make its own shape, and you're putting into it the pleasure of creation, which is intoxicating.
To read a novel requires a certain kind of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel really.
Any show that has 'party non-invite' as its central conflict drums up the operatic high drama of a good Russian novel. It's the 'Real Housewives' Crime and Punishment:' first the horror of a non-invitation, and then the shattering aftermath.
Remember that a good football novel has to have the same ingredients as any other good novel: drama, convincing and interesting characters, a strong story-line, and some kind of magic in the writing.
I found my first novel difficult. I don't want to make it sound like it's any more difficult than driving a cab or going to any other job, but there are so many opportunities for self-doubt, that you just kind of need to soldier on.
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