A Quote by Lee Child

British crime stories tend to be very internal, psychological, claustrophobic, very limited in terms of geography. — © Lee Child
British crime stories tend to be very internal, psychological, claustrophobic, very limited in terms of geography.
I think I was always writing books that had very clear scenic structures. I do tend to write in scenes. I do tend to have a fair amount of dialogue. And I do tend to use stories that don't sprawl all over the place, that have a very sharp focus in terms of how they unfold in time.
From the internal reality, by which I means the totality of psychological experiences, it [science] actually separates us. Art, for example, deals with many more aspects of this internal reality than does science, which confines itself deliberately and by convention to the study of one very limited class of experiences the experiences of sense.
The British were doing crime stories first, but the British thing is a very different thing. There, the stories are about restoring a break in the fabric of society. The American thing has never been worrying about breaks in the fabric of society, but about people doing their job, whether it's police procedurals or criminals or whatever.
Our company is very diversified, both in terms of geography and in terms of products.
Comedians have a tendency to have a limited range, they tend to do one thing and do it very well, but it's limited.
If you think in terms of major losses, because losses loom much larger than gains - that's a very well-established finding - you tend to be very risk-averse. When you think in terms of wealth, you tend to be much less risk-averse.
Because my writing time has always been very limited, I try to be very choosy about which stories I work on. There are many ideas that would make interesting stories - too many - so it's important to be ruthless and say no to most of them.
A couple of things are missing from Indigenous affairs. We tend to go and process, we tend to spend a lot of money for very limited outcomes, and we have got to change that.
No, I'm very patriotic. I'm very British and I'm very pro-British, but that in no way means you therefore exterminate anybody else you meet who doesn't come from Britain!
Our media, which is very open and report on really everything, tend to exaggerate the crime issue...This is why one gets the impression that we have much more crime than other countries.
My own writing has perhaps more of an American flavor than a British one, but that's because the stories I've so far written have needed it. 'Empire State,' 'Seven Wonders' and 'The Age Atomic' are all very place-centric, where the setting itself is almost a character. But there is a universality to story that isn't just limited to science fiction.
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.
When we start making distinctions between soul and spirit, we're in very, very murky waters. There is the whole issue of the English language, which has a rather limited vocabulary when it comes to psychological descriptions, not to speak of spiritual descriptions. We're good mythically - the English language is superb for myth. But we're not very good for psychology or spirituality.
Classical is a more refined and structured dance form. Folk is made for celebration. That's not a very competitive dance form. Though you can bring classical on stage, folk becomes limited. Like you would love to do bhangra and garba at parties, but when you see it on stage, it is very limited in terms of movements.
Even in terms of the technical stuff there's a very traditional British flavor that comes out. Our characters are influenced by our culture so there's definitely something unique about British wrestlers in the U.S.
The Maigret stories are all very different in terms of the content and the way that the stories are told. They're not what I would call formulaic.
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