A Quote by Jo Nesbo

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.
Scandinavian crime fiction has become a great success all across the world and rightfully so. Sjowall and Wahloo ushered in a whole generation of Swedish crime writers, many of whom are now available in English.
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.
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.
During the Great Depression, levels of crime actually dropped. During the 1920s, when life was free and easy, so was crime. During the 1930s, when the entire American economy fell into a government-owned alligator moat, crime was nearly non-existent. During the 1950s and 1960s, when the economy was excellent, crime rose again.
We have judicial system in Sudan. Anyone who committed a war crime, anti-human crime, or any other crime will be locked up.
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.
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
A majority of the crime in the downtown is property crime. There have been a few larcenies and burglaries, but robberies and assaults are not common in the downtown. There isn't usually any violent crime.
I'm always interested in what classic crime writers got into when they stepped away from the genre stuff they were known for. That's why 'Mildred Pierce' is like noir without any real crime.
We don't have storm troopers that just knock on the door of every American citizen. We don't do that for any crime. But when we have evidence that a particular person has committed a crime, we send law enforcement to apprehend them.
Drunkenness is not only the cause of crime, but it is crime; and if any encourage drunkenness for the sake of the profit derived from the sale of drink, they are guilty of a form of moral assassination as criminal as any that has ever been practiced by the braves of any country or of any age.
Before 'Veronica Mars,' I was not, and probably am still not, much of a crime reader. My mom left out a copy of 'Helter Skelter' when I was 10, and I secretly read it, and then I spent all my teenage years afraid of hippies. I kept away from crime books for, like, ten years.
Ever since the '70s, Maj Sjowall and Per Wahloo were the godfathers of Scandinavian crime. They broke the crime novel in Scandinavia from the kiosks and into the serious bookstores.
'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.
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
Why is thinking about crime or imagining crime so goddamn central to pop culture? It doesn't matter whether it's American TV or British TV. And there's entire sections of bookstores devoted to crime.
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