A Quote by Sarah Weinman

The abundance of Roman historical mysteries contrasts with the surprising paucity of crime novels set in classical Greece. — © Sarah Weinman
The abundance of Roman historical mysteries contrasts with the surprising paucity of crime novels set in classical Greece.
After I had written seventeen full-length mysteries, two volumes of mini-mysteries, a travel guide and some quiz books, not to mention a spin-off Roman Mystery Scrolls series, I thought it was time I moved to new historical pastures.
When I was working on a Victorian-era novel, to get in the mood, I read several historical novels set in approximately the same period and place, and really enjoyed the detective novels of John Dickson Carr.
My first book was a historical novel. I started writing in 1974. In those days, historical novels meant ladies with swelling bosoms on the cover. Basically, it meant historical romance. It was not respectable as a genre.
You'll notice that my books offer great variety. Some are for adults, some for children and some for teens. There are mysteries, historical novels, picture books, love stories and stories of crisis and courage.
As long as we remain vigilant at building our internal abundance—an abundance of integrity, an abundance of forgiveness, an abundance of service, an abundance of love—then external lack is bound to be temporary.
If you write a book set in the past about something that happened east of the Mississippi, it's a 'historical novel.' If you write about something that took place west of the Mississippi, it's a 'Western'- and somehow regarded as a lesser work. I write historical novels about the frontier.
I don't write historical novels but novels that wonder, 'And what if it happened in this way and not in this other one?'
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.
I did projects on Champlain coming up the St. Lawrence River and on Henry Hudson cast adrift in the bay that now bears his name. And I read dozens of historical novels: Rosemary Sutcliff on Roman Britain and G. A. Henty on British heroes, though my all-time favourite was Ronald Welch's 'Knight Crusader.'
I write novels, mostly historical ones, and I try hard to keep them accurate as to historical facts, milieu and flavor.
There is a somewhat-surprising, somewhat totally predictable paucity of struggle in entertainment television. I do like being a part of a show featuring a family from a struggling socioeconomic strata.
Go back to classical times, say classical Greece. Who drank the hemlock? Was it someone who was conforming, obeying the gods? Or was it someone who was disrupting the youth and questioning the faith and belief? Socrates, in other words. It was Socrates.
Anger has become one of the trendiest emotions of all. In moderation it can be a righteous force for constructive change. But its hackneyed omnipresence means the vast majority of its outbreaks are trivial. The paucity of colorful obscenities is aggravated by an abundance of frivolous fury.
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.
The classical error of historical Christianity is that we have never started with the value of the person. Rather, we have started from the 'unworthiness of the sinner', and that starting point has set the stage for the glorification of human shame in Christian theology.
I don't really consider any of my novels 'crime' novels.
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