A Quote by Sarah Weinman
Joseph Wambaugh did not invent the police novel, but no one had seen anything like 'The New Centurions' when it was published in 1971. Here was a working, living, breathing cop with a decade of experience on the beat.
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A police procedural novel can be even funnier if the police include Trolls and Dwarves and things like that. You start looking at the whole basis of the cop novel. You get the cop moving in a different way when you've actually set it in a fantasy city.
Wambaugh's naturalistic portrait of the cop world turned 'Centurions' and 'The Blue Knight' (1972) into bestsellers, but his next two books made him relevant to a larger audience and to the next generation of crime writers.
When Joseph Wambaugh writes about the LAPD, you listen because you know he knows the scene. Lots of people write cop novels, but they don't have that authenticity.
Don't Shoot is a work of moral philosophy that reads like a crime novel - Immanuel Kant meets Joseph Wambaugh. It's a fascinating, inspiring, and wonderfully well written story of one man's quest to solve a problem no one thought could be solved: the scourge of inner city gang violence This is a vitally important work that has the potential to usher in a new era in policing.
Often it's the latest novel that I've written that is my favourite. I'd been dreaming it for so long, living and breathing its story so that when it finally arrives as a newly published book, smelling wonderful and fresh out of the box, there is nothing like it.
It had been fourteen years and I hadn't had anything published. I had 250 rejection slips. I got my first novel published and it was called Kinflicks. It turned out to be a best seller.
It's been more than a decade since I put that self-published novel, 'Lip Service', up on a website. Since then, many hundreds of authors have gone from self-published to traditionally published.
A novel is not an allegory.... It is the sensual experience of another world. If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel. This is how you read a novel: you inhale the experience. So start breathing.
The fact is that my mother is a cop and generally kids of cops are a little different from their parents - they tend to be quiet. In my case, I was never interested in joining the police force, because right from my childhood I have seen the challenges in a cop's life.
I've physically seen profiling. I've seen me walking up the street with my friends, and the police officers get out of their car and bust the hell out of my friends. And they can't do anything about it, and the cop gets back in his car and drives off.
Police thrillers are so widely read and police dramas so commonplace on television that many people think they have a good understanding of what a cop's world is like. But in truth that world is seldom revealed with anything approaching verisimilitude. We get it with The Wagon.
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.
I don't want to write a novel per year. I know that I need a break of one or two years. So maybe I invent some new, urgent activity so I don't fall into the trap of starting a new novel.
I had been a student in Vienna, and one of the neat little things I had found out was about that zoo. It was a good debut novel for me to have published. I was 26 or 27 when it was published. I already had a kid and would soon have a second.
I didn't want to understand. Bert had been thrilled that the police wanted to put me on retainer. He told me I would gain valuable experience working with the police. All I had gained so far was a wider variety of nightmares.
The result was, when Congress convened in January 1971, everyone was now an environmentalist. They had seen a new force, college students, who favored the environment.
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