A Quote by Laura Lippman
For me, crime fiction was an opportunity to sneak up on readers with social issues, something they won't go out of their way to seek.
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I think crime fiction is a great way to talk about social issues, whether 'To Kill A Mockingbird' or 'The Lovely Bones;' violence is a way to open up that information you want to get out to the reader.
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.
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.
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.
I get to use fiction as a way to work out my thinking and to delight readers in the process. I can't think of any deal that's better for me, and I'm always so grateful that readers have indulged me as I argue with myself in my stories.
Essentially, you know, one of the great advantages of working in science fiction is it does give you an opportunity to talk about interesting and somewhat controversial themes and social issues and in a way that doesn't really threaten the audience, because I'm not challenging their particular points of view.
Journalism allows its readers to witness history; fiction gives its readers an opportunity to live it.
Once you figure out something about the watershed, you'll find out where the schools are going to hell, and the kids aren't learning, and there is no money. Social issues, class issues, and environmental issues were all connected.
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.
Sneak out when things go good. It bothers me when people have good games and stand in front of their locker waiting for the media, then they have bad games and sneak out the back.
The built-in form is a window frame. You can use this genre [crime fiction] to go where you want to go, and explore what you want to explore. In some ways it gives you a lot of freedom because you have a framework readers are looking for.
Crime fiction is the fiction of social history. Societies get the crimes they deserve.
There's an overlap between social-realist fiction and crime fiction - a sweet spot there.
The Open Skies issue is something that's ongoing and we understand that there are issues in Australia that need to be sorted out. It's something that I think over time there's an opportunity for us and we'll work on that in a progressive way.
Fiction and non-fiction are only different techniques of story telling. For reasons I do not fully understand, fiction dances out of me. Non-fiction is wrenched out by the aching, broken world I wake up to every morning.
Reading Tomato Red-the first Daniel Woodrell novel I came upon-was a transformative experience. It expanded my sense of the possibilities not only of crime fiction, but of fiction itself-of language, of storytelling. Time and again, his work just dazzles and humbles me. God bless Busted Flush for these glorious reissues. It's a service to readers everywhere, and a great gift.
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