A Quote by Sarah Weinman

Sue Grafton's 'A Is for Alibi', the 1982 novel that introduced the world to private detective Kinsey Millhone, wasn't seen as the pioneering achievement we now know it to be.
By the end of 1982, the game changed. Muller published her second Sharon McCone novel, Sue Grafton introduced Kinsey Millhone in 'A Is for Alibi', and the floor was now open - whether some liked it or not - for more women to claim the tropes of private eye fiction for their own.
The quality I appreciated most about Grafton was her loyalty. She stuck with 'Kinsey Millhone' and the alphabet series conceit for her entire career but did not allow herself to stagnate as a writer. Kinsey's first-person narrative gradually made room for other, third-person perspectives.
Mysteries include so many things: the noir novel, espionage novel, private eye novels, thrillers, police procedurals. But the pure detective story is where there's a detective and a criminal who's committed a murder and leaves clues for the detective and the careful reader to find.
Now [Sue Grafton] loves writer's block, seeing it as a message from the psyche that the narrative is headed in the wrong direction.
Kinsey Millhone is a female Sam Spade; a thorough professional, a loner, clear-headed and unsentimental.
For the record, I'd like to say that I'm a big fan of forgiveness as long as I have a chance to get even first" Kinsey Millhone, V is for Vengeance
There are many who find a good alibi far more attractive than an achievement. For an achievement does not settle anything permanently. We still have to prove our worth anew each day; we have to prove that we are as good today as we were yesterday. But when we have a valid alibi for not achieving anything we are fixed, so to speak, for life.
The average detective story is probably no worse than the average novel, but you never see the average novel. It doesn't get published. The average -- or only slightly above average -- detective story does.... Whereas the good novel is not at all the same kind of book as the bad novel. It is about entirely different things. But the good detective story and the bad detective story are about exactly the same things, and they are about them in very much the same way.
The private detective of fiction is a fantastic creation who acts and speaks like a real man. He can be completely realistic in every sense but one, that one sense being that in life as we know it such a man would not be a private detective.
Personally, I'd rather grow old alone than in the company of anyone I've met so far. I don't experience myself as lonely, incomplete, or unfulfilled, but I don't talk about that much. It seems to piss people off--especially men. (Kinsey Millhone)
Authors don't tend to stay with the same agents and editors over their entire lifetimes, but Grafton worked with Marian Wood, her editor at Putnam, from Kinsey's first outing, and signed with Molly Friedrich, still her literary agent, with the publication of 'B Is for Burglar.'
To understand the current state of mind of both Sara Paretsky and her private detective alter ego, one must first roll back the clock to 1982, when Victoria Iphegenia Warshawski took her first investigative bow in 'Indemnity Only.'
I learned to write crime novels by reading people I hoped to emulate: people like James Lee Burke, Lawrence Block, Joseph Wambaugh, and Sue Grafton.
My mum was a child minder, but now she fosters. My dad was in the police force, and now he's a private detective.
There are many who find a good alibi far more attractive than an achievement.
But the first published thing I did was a detective story, detective novel, and I did that on my own.
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