A Quote by Sophie Hannah

I know a lot of crime writers feel very underrated, like they're not taken seriously, and they want to be just thought of as writers rather than ghettoised as crime writers, but I love being thought of firmly as a crime writer.
My influence is probably more from American crime writers than any Europeans. And I hardly read any Scandinavian crime before I started writing myself. I wasn't a great crime reader to begin with.
There is a very conservative element of crime writers that don't recognise what I do is crime fiction.
The reason some crime writers have a chip on their shoulder about the label is because their good books are shelved beside books about nuns and birdwatchers and cats who solve crimes. Overseas, my books are reviewed alongside those of authors like Robert Stone and Don DeLillo, and I have to live and die by that comparison. They don't ghettoize crime writers in other countries, and of course they shouldn't.
We haven't had crime writers, and for a long time in the Republic, we didn't seem to have a crime problem as such.
Crime fiction makes money. It may be harder for writers to get published, but crime is doing better than most of what we like to call CanLit. It's elementary, plot-driven, character-rich story-telling at its best.
It feels as though a very disproportionate number of main characters are writers, because that's what the writer knows. Fair enough. But nothing bothers me more in a movie than an actor playing a writer, and you just know he's not a writer. Writers recognize other writers. Ethan Hawke is too hot to be a writer.
I'm always interested in what classic crime writers got into when they stepped away from the genre stuff they were known for. That's why 'Mildred Pierce' is like noir without any real crime.
A lot of writers, especially crime writers, have an image that we think we're trying to keep up with. You've got to be seen as dark and slightly dangerous. But I'm not like that and I've realised that I don't need to put that on. People will buy the books whether they see a photo of you dressed in black or not.
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
I think it's significantly easier to be a female writer today than in the early 1800's. That said, it's hard to imagine almost anyone who knows anything about publishing disagreeing with the statement that women writers today are often taken much less seriously than men writers. But it's hard to quantify, and even define, what being taken seriously means.
Delaying and withholding tactics, red herrings, partial and doubtful outcomes are stock in trade for fiction writers, especially crime writers.
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.
Bookstores never seem to know where to put me on the shelves. But I do. I love my genre and I love those writers, so I am happy to be considered a crime writer. That's what I consider myself.
What crime writers are doing connects deeper into a cultural hunger. Crime is important. When you open up a book that has a body that's dead, that matters. It matters more than a certain level of suburban angst; it really does.
That 'writers write' is meant to be self-evident. People like to say it. I find it is hardly ever true. Writers drink. Writers rant. Writers phone. Writers sleep. I have met very few writers who write at all.
Most crime fiction, no matter how 'hard-boiled' or bloodily forensic, is essentially sentimental, for most crime writers are disappointed romantics.
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