A Quote by Marcus Sakey

One of the things that I love about crime novels is that you can turn the volume all the way up. If I can make somebody blow their subway stop, I win. — © Marcus Sakey
One of the things that I love about crime novels is that you can turn the volume all the way up. If I can make somebody blow their subway stop, I win.
In everything I've written, the crime has always just been an occasion to write about other things. I don't have a picture of myself as writing crime novels. I like fairly strong narratives, but it's a way of getting a plot moving.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
I know a bit about selling books, and you need a good title - a catchy concoction with a little Cajun spice, something that will make folks stop in the aisles, turn away from the Grisham novels and the latest crazy diet fad, and pick up your masterpiece.
One of the things that I love about writing novels is that it really doesn't matter what next step you take as long as you're pursuing some intuition or instinct. Of course, then, intuitions or instincts don't make for great novels, but they often make for good first drafts.
I have more respect for somebody who's like, 'Yeah I like to party, so screw off,' then for Tara , who talks about not partying and ends up passed out underneath a Subway, not a subway station, but the actual sandwich shop - two days later.
Most people say when they get on screen, the most successful acts are people who are just themselves and turn the volume up. But in my situation, I gotta turn the volume down.
My mami and papi love my music. They're always listening to the radio waiting for one of my songs to come on. And when it does, they turn up the volume - and turn it back down when it's over.
I would say that my ability doesn't' have an off switch but instead is more of a volume dial. When going about everyday life I try and switch that noise to becoming background noise, but have taught myself when to turn the volume up, such as in readings.
I only come up with things when I am talking to myself, which I do constantly. The sidewalk and the subway are the best places for this. I speak at full volume and then laugh at myself if I like what I just said.
The roles I think about and can't stop thinking about - on the subway, when I'm riding my bike, when I'm running - are the things I connect to.
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.
That's why I love crime novels so much: When I write a crime novel, the conflict is built in.
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
When is conduct a crime, and when is a crime not a crime? When "Somebody Up There" - a monarch, a dictator, a Pope, a legislator - so decrees.
Some people never learn how to talk to kids. They turn up the volume and enunciate with extra care, as if talking to a partially deaf immigrant. They sound as if they're reading lines somebody else wrote for them, or as if what they're saying is really for the benefit of other adults listening and not just for the child. Kids sense that and turn off.
The kind of love my mum talks about is full of worry and work and forgiving people and putting up with things and stuff like that. It's not a lot of fun, that's for sure. If that really is love, the kind my mum talks about, then nobody can ever know if they love somebody, can they? It seems like what she's saying is, if you're pretty sure you love somebody, the way I was sure in those few weeks, then you can't love them, because that isn't what love is. Trying to understand what she means by love would do your head in.
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