A Quote by Karin Slaughter
Crafting a piece of gripping, narrative true crime that engages the world is not that different from crafting a piece of crime fiction.
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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 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.
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.
'Fargo' becomes a metaphor for a type of true crime case where truth is stranger than fiction. So, there's no reason that there isn't another 10-hour true crime story that could be told in this region.
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
Novel writing, to me, is all about language: choosing your words, finding the characters within the words and just really agonizing over every word. It's really crafting this whole piece from nothing.
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.
There is a very conservative element of crime writers that don't recognise what I do is crime fiction.
I studied a truckload of true crime, praying for illumination, but most true crime relies on luridness and voyeurism for effect.
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.
I've read crime fiction all my life. A thing that's bothered me about crime fiction is that it's generally about one or two people, but there's not much about society. I want to get away from that particular pattern: a lead, a supporting role and backdrop characters.
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
I do, however, feel reasonably strongly the sense that the job of a piece of argumentative scholarly non-fiction is not the same as the job of a piece of fiction.
I'm Marie Lightfoot, or at least that's the name my publisher puts on the covers of the books I write about true crime. In classic 'true crime' fashion, my latest one is titled 'Anything to Be Together.'
There's nothing confessional about crafting and shaping a story out of a lived life. In fact, it's quite the opposite - the writer has to be able to transcend the life, to see it as if standing outside of it, in order to be able to make something of it. There's something enormously satisfying and gratifying about crafting something, taking all that chaos and giving it shape.
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