A Quote by Jacques Barzun
The danger that may really threaten (crime fiction) is that soon there will be more writers than readers.
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The danger that may really threaten (crime fiction) is that soon there will be more writers than readers
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.
I respond very well to rules. If there are certain parameters it's much easier to do something really good. Especially when readers know what those are. They know what to expect and then you have to wrong-foot them. That is the trick of crime fiction. And readers come to crime and graphic novels wanting to be entertained, or disgusted.
here are the top three global resources getting scarcer in the twenty-first century: ozone layer, rain forest, people eager to read the fiction of others. That's right, folks. For the first time in I believe written history, there are far more fiction writers on earth than fiction readers.
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.
To me, the solidarity of readers is far more important than the solidarity of writers, particularly since readers in fact find ways to connect over a book or books, whatever they may be.
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.
I know a lot of crime writers feel very underrated, like they're not taken seriously, and they want to be just thought of as writers rather than ghettoised as crime writers, but I love being thought of firmly as a crime writer.
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.
I really need to know where I'm going with fiction to write it in a way that at least I'm happy with. And I really think that a lot of fiction books end badly because terrific writers said, "I'll just figure it out" and plunge in, but have created so many problems that they are kind of impossible to solve. I mean, I'm talking really good writers do this and you can tell when they got to the end they either had to do something preposterous or they just don't really resolve things. So for fiction I spend a lot more time outlining and for humor I really don't do much of it.
Fiction needs writers and readers, and writers should cultivate both.
There is a very conservative element of crime writers that don't recognise what I do is crime fiction.
It is not in violence and crime that our greatest danger lies. These evils are so perfectly apparent that they very quickly arouse the moral power of the people for their suppression. A far more serious danger lurks in the shirking of those responsibilities of citizenship, where the evil may not be so noticeable but is more insidious and likely to be more devastating.
What crime writers are doing connects deeper into a cultural hunger. Crime is important. When you open up a book that has a body that's dead, that matters. It matters more than a certain level of suburban angst; it really does.
My influence is probably more from American crime writers than any Europeans. And I hardly read any Scandinavian crime before I started writing myself. I wasn't a great crime reader to begin with.
If writers learn more from their books than do readers, perhaps I may have begun to learn.
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