A Quote by Philip Kerr
The fascination for me writing about crime in Berlin was the idea that there was this much bigger crime taking place in the background, a fantastically epochal moment in history which is just going on. That just sort of makes the whole thing have a greater resonance.
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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.
There is a fascination about crime, which is understandable, but hardly anyone talks about the families of victims of violent crime and the devastation that is beyond the victim alone.
Good writers know that crime is an entre into telling a greater story about character. Good crime writing holds up a mirror to the readers and reflects in a darker light the world in which they live.
About 25 years ago, I started out as a reporter covering politics. And that sort of just evolved into organized crime, because organized crime and politics were the same thing in Boston.
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
If crime is going down, you shouldn't be increasing resources for crime prevention. Or you should be taking note of what has worked and concentrate the crime-prevention methods on policies that have a track record of success.
You could perhaps better tell the story of a place by writing of a tiny village as a sort of prism into the bigger issues the culture was facing. It struck me as a better way to learn about a place, or at least a different way, than just going to interview the president. So I have often tried to tell the story of a place through people there. But I'm just amazed.
I love humor in writing, so I've written to the thing that's funny, there's the joke, but then I just kept going. I started thinking about all the bikes I've had stolen, and that got me thinking about crime, and that got me thinking about the city I'm in.
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 that I'm going to write a bigger thing, and then I end up writing about people, and the bigger thing recedes into the background, and hope that it's still there.
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.
suicide is a crime - the only crime that, if successful, guarantees that the perpetrator will not be punished for it. This makes it the most serious crime of all.
It is a strange thing that true crime has now got entertainment value. I don't know why people love shows about crime so much.
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.
To achieve the intimacy between performer and audience in storytelling, I feel like I have to let the audience in on my emotional state, not just, "Here's a story I'm going to tell by rote, and you're just going to listen to it, because I'm such a wonderfully entertaining fellow." It's the idea of sharing enough of myself that it's not just all about, "Look at me, look at me." There's an element to it of, "You understand what I'm talking about, right? You've been in this place that I've been in," which makes it a richer experience.
There's this old line the wise folks in Washington have that "it's not the crime, but the cover-up." But only fools believe that. It's always about the crime. The whole point of the cover-up is that a full revelation of the underlying crime is not survivable.
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