A Quote by John Connolly

There is a very conservative element of crime writers that don't recognise what I do is crime fiction. — © John Connolly
There is a very conservative element of crime writers that don't recognise what I do is crime fiction.
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.
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.
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.
Most crime fiction, no matter how 'hard-boiled' or bloodily forensic, is essentially sentimental, for most crime writers are disappointed romantics.
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.
The number of laws is constantly growing in all countries and, owing to this, what is called crime is very often not a crime at all, for it contains no element of violence or harm.
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.
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.
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.
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.
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.
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
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 think I'm part of a generation of crime writers all of whom woke up independently and recoiled with horror at the fact that we'd chosen this very conservative genre.
Delaying and withholding tactics, red herrings, partial and doubtful outcomes are stock in trade for fiction writers, especially crime writers.
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.
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