Top 1200 Detective Fiction Quotes & Sayings - Page 19

I think in a sense seeing how films have changed me and seeing how fiction moves me more than facts in many ways, and I think that I can talk for many people that fiction moves us more than real life, it certainly helps us to set forth on this a journey of a utopia, which can never be achieved.

My first films were comedy, 'Murder By Death,' and 'The Cheap Detective.' But now they won't think of me as a comedian. Now, they think of me as a bad guy, and I can't do comedy.

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.

I liked dark, urban stories like 'Peter Gunn,' which was a detective series on network TV when I was a little boy. I grew up in a farmtown in the Midwest where not much exciting happened. I liked the idea of lives lived at night and the shadowy characters who lived in that demi-monde.

I started out in life as a poet, I was only writing poetry all through my 20s, it wasn't until I was about 30 that I got serious about writing prose. While I was writing poems, I would often divert myself by reading detective novels, I liked them.

All of depiction is fiction, it's only a question of degree. When we think of images, such as the signing of the declaration of independence, we think of that wonderful John Trumbull painting Declaration of Independence that is at the Yale Art Gallery and on the back of our money. When we think of that historical moment we think of that image. That image never happened like that. All of those people were never in that room together to sign that paper. It's a beautiful fiction to help us have an understanding of what went on.

I could never be anyone I've played. I am so not a detective; I can barely get 200 yards from A to B with the help of Google maps, and I am just about the least observant person on the planet, so I never notice what people look like or how they walk or if they're committing a crime in broad daylight.

Science fiction is the ugly stepchild of mainstream literature, and fantasy is the ugly stepchild of science fiction, and tie-in novels are the ugly stepchild of fantasy... and on and on and on.

It is a work of psychogeography, albeit in a less explicit sense than Iain Sinclair's or Will Self's. It had to be fiction though, because I needed that freedom of including whatever belonged, and cutting out whatever didn't. The main fiction in it was matching Julius' generous and self-concealing character to New York's generous and self-concealing character. I think this also adds to my answer about New York's personality in the book.

The strange and wonderful Book of Job treats of the same subject as we are discussing; its contents are a fiction, conceived for the purpose of explaining the different opinions which people hold on Divine Providence. ...This fiction, however, is in so far different from other fictions that it includes profound ideas and great mysteries, removes great doubts, and reveals the most important truths. I will discuss it as fully as possible; and I will also tell you the words of our Sages that suggested to me the explanation of this great poem.

Incidentally, I am intrigued by how many European and Latin American writers expressed their political views in the columns they routinely wrote or write in the popular press, like Saramago, Vargas Llosa, and Eco. This strikes me as one way of avoiding opinionated fiction, and allowing your imagination a broader latitude. Similarly, fiction writers from places like India and Pakistan are commonly expected to provide primers to their country's histories and present-day conflicts. But we haven't had that tradition in Anglo-America.

In the early nineties, I was a cub reporter on a city newspaper in Limerick, and assigned to the courthouse there. One day, an old detective sergeant came and whispered to me in the press pit. He pointed out a young offender, a teenager who was up for stealing a car or something relatively minor, and said, 'See this kid? He'll kill.'

Quotations are powerful tools. Michel de Montaigne, the father of all essayists, observed, 'I quote others only to better express myself.' Intrepid quotations detective Ralph Keyes helps us to discover the clear truth about exactly what was said and who exactly said it.

Boredom has been used as a technique, it is a device. In Zen, boredom is used as a device: you are bored to death, and you are not allowed to escape. You are not to go outside, you are not to entertain yourself, you are not to do, you are not to talk, you are not to read novels and detective stories. No thrill. No possibility to escape anywhere.

I'm not a great student, so I don't know that I would have been a great detective. Part of my brain sort of works that way, like wanting to figure out puzzles and figure out what happened and why people do the things they do and who they are and how it happened.

I love fiction that sounds like fact. As a matter of fact, I also like fact that sounds like fiction.

Dirk Gently [from Dirk Gently's Holistic Detective Agency], needs a sidekick, as all good detectives do, and he gets this message from the universe that this guy, Todd Brotzman, played by Elijah Wood, is the guy to help him through this mystery. But of course, that doesn't really explain the breadth of it.

Television is making, there was in independent film renaissance late '80s through the mid-90's. It was an amazing time. Television is doing that right now. So that's why everybody wants to do it. I mean if you're writing stuff like, you know, Fargo, or True Detective, or any of these things that are on, Breaking Bad, there are no rules in television.

I worked out a book which I thought was just straight science fiction -- with everything pretty much explained, and suddenly I got an idea which I thought was kind of neat for working in a mythological angle. I'm really struggling with myself. It would probably be a better book if I include it, but on the other hand I don't always like to keep reverting to it. I think what I'm going to do is vary my output, do some straight science fiction and some straight fantasy that doesn't involve mythology, and composites.

It's not possible to search for God using the methods of a detective... There is no way. You can only wait till God's axe severs your roots: then you will understand that you are here only through a miracle, and you will remain fixed forever in wonderment and equilibrium.

A lot of readers and a lot of editors had a story problem with Oracle, in that she made for such an easy, convenient story accelerator, that we missed the sense of having characters have to struggle to discover, to solve mysteries. Famously, it helped make Batman less of a detective and more of a monster hunter.

Detective stories keep alive a view of the world which ought to be true. Of course people read them for fun ... But underneath they feed a hunger for justice ... you offer to divert them, and you show them by stealth the orderly world in which we should all try to be living.

All the plays that have ever been written, from ancient Greece to the present day, have never really been anything but thrillers... Drama's always been realistic and there's always been a detective about... Every play's an investigation brought to a successful conclusion.

Eventually I would like to touch all the genres. I would like to do some detective stories, and I want to do a Western. I would want to do humorous Westerns.

I never was that boy who loved gangster films, but when I was growing up, I was obsessed with the detective Dick Tracy. It was one of my favourite movies as a kid, and he really inspired me. I would have loved to be part of that golden age of Hollywood in the 1940s. It made me want to become an actor.

I'm not a detective from Baker Street or an old lady who solves crimes while she's knitting in an easy chair. I'm just a book girl. So I can't make a deduction, only take a flight of fancy--er, forget I said that. I meant, I can only take a guess.

I dislike that premise implies that a fiction writer is incapable of dreaming up stories that can bring readers to tears, that if you are lucky enough to be living a pretty sedate life ,as I am, you've got nothing worthy of writing about, that you're incapable of making a reader's gut wrench.Frankly, that's what makes readers nervous, the sorcery of you or me or any good fiction writer making up characters who feel like real people, of telling a story that feels true but isn't.

I used to think the store detective had followed me all the way home and would knock on the door and go, 'Hello, is this your daughter? She's got three blue lipsticks and a moisturiser from Boots in her bag.' We just used to nick crap. Not even stuff we wanted.

If anybody asks me what I attribute the longevity of my career to, then I say it's because I was never satisfied with being a cowboy in the plains of Spain and later I was never satisfied with just playing a detective in San Francisco, and constantly just pushing the envelope.

When I started writing, most of the police department in New York City, especially above the rank of detective, were Irish, Irish-American. I thought it would be more interesting... to use the actual ethnic background in New York City at the time.

What I warn you to remember is that I am a detective. Our relationship with truth is fundamental but cracked, refracting confusingly like fragmented glass. It is the core of our careers, the endgame of every move we make, and we pursue it with strategies painstakingly constructed of lies and concealment and every variation on deception.

In history, one gathers clues like a detective, tries to present an honest account of what most likely happened, and writes a narrative according to what we know and, where we aren't absolutely sure, what might be most likely to have happened, within the generally accepted rules of evidence and sources.

The Big Sleep' would have been a more effective study of nightmarish existence had the detective been more complicated and had more curiosity been shown about his sweetheart's relation to the crime.

If all stories are fiction, fiction can be true -- not in detail or fact, but in some transformed version of feeling. If there is a memory of paradise, paradise can exist, in some other place or country dimensionally reminiscent of our own. The sad stories live there too, but in that country, we know what they mean and why they happened. We make our way back from them, finding the way through a bountiful wilderness we begin to understand. Years are nothing: Story conquers all distance.

When you're writing a book that is going to be a narrative with characters and events, you're walking very close to fiction, since you're using some of the methods of fiction writing. You're lying, but some of the details may well come from your general recollection rather than from the particular scene. In the end it comes down to the readers. If they believe you, you're OK. A memoirist is really like any other con man; if he's convincing, he's home. If he isn't, it doesn't really matter whether it happened, he hasn't succeeded in making it feel convincing.

He's lived a fiction. And, of course, he thinks that if you love someone enough, they will love you. And that if you steer things enough, things will, under your control, come right. And this is the fiction of the controller: a controller thinks that they can control their life into being what they want it to be. But their life will never be what they want it to be until they stop controlling, and that is their journey.

I really believe that studying organization, even in the form of studying detective story organization, is very, very valuable for a playwright, a budding playwright.

When we look at a good deal of serious modern fiction, and particularly Southern fiction, we find this quality about it that is generally described, in a pejorative sense, as grotesque. Of course, I have found that anything that comes out of the South is going to be called grotesque by the Northern reader, unless it is grotesque, in which case it is going to be called realistic.... Whenever I'm asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one.

While I was writing poems, I would often divert myself by reading detective novels, I liked them. And there was a period when I read many of them. I absorbed the form, and I liked it, it was a good one, mostly the hard-boiled school, you know, Chandler, Hammett, and their heirs. That was the direction that interested me most.

I arrived at my way of "working" as a way of visually approximating what I feel the tone of fiction to be in prose versus the tone one might use to write biography; I would never do a biographical story using the deliberately synthetic way of cartooning I use to write fiction. I try to use the rules of typography to govern the way that I "draw," which keeps me at a sensible distance from the story as well as being a visual analog to the way we remember and conceptualize the world.

I really do like a really good science fiction movie and a really good horror movie. Those are the kinds of things I really like. But, I mean, I'm not into sort of like slasher movies. I like a really good science fiction movie, which is hard to do. They don't make many really good ones any more.

Journalism only tells us what men are doing; it is fiction that tells us what they are thinking, and still more what they are feeling. If a new scientific theory finds the soul of a man in his dreams, at least it ought not to leave out his day-dreams. And all fiction is only a diary of day-dreams instead of days. And this profound preoccupation of men's minds with certain things always eventually has an effect even on the external expression of the age.

I started writing novels while an undergraduate student, in an attempt to make sense of the city of Edinburgh, using a detective as my protagonist. Each book hopefully adds another piece to the jigsaw that is modern Scotland, asking questions about the nation's politics, economy, psyche and history ... and perhaps pointing towards its possible future.

I find it interesting that authors of fantasy and science fiction novels are rarely asked if their books are based on their personal experiences, because all writing is based on personal experience. I may not have gone on an epic quest through a haunted forest, but the feelings in my books are often based on feelings I've had. Real-life events, in fantasy and science fiction, can take on metaphorical significance that they can't in a so-called realistic novel.

The best critics do not worry about what the author might think. That would be like a detective worrying about what a suspect might think. Instead, they treat the reader as an intelligent friend, and describe the book as honestly, and as entertainingly, as possible.

That is as true for fiction or non-fiction. The writer has to really know their subject. It is really important to remember that the readers are a lot smarter than the writer. Also, good writing has to do with rewriting. You will never get it right the first time. So you rewrite and rewrite again until you get it right. Until you, and the reader, will be able to visualize what you're writing about.

I read the script [of Dirk Gently's Holistic Detective Agency] and went, "I haven't read anything this good, in a long time." I thought it was absolutely brilliant. The dialogue is so sparkling, smart and witty. You also have these insane, crazy characters, like energy sucking vampires and holistic assassins. It's all completely weird.

'The Big Sleep' would have been a more effective study of nightmarish existence had the detective been more complicated and had more curiosity been shown about his sweetheart's relation to the crime.

I had a Super Beetle that I restored and painted deep purple in honor of Jimi Hendrix that was stolen. After that, I got a Ford Falcon that had no windshield wipers, so whenever it rained - which, thankfully, in L.A. it doesn't do very much - I'd have to lean out my driver's side window like 'Ace Ventura: Pet Detective.'

As music migrates into our iPods, CD collections require less and less room, residing in our heads rather than resounding off the walls. The protracted labor of amassing a personal music library has lost its detective zeal.

Someone asked me when it was that I felt confident enough in my writing that I could rely on it as a career. The truth is, I never have. I'm always on the hunt for second, third, or fourth careers. Private detective and cinematographer were previous career choices, but now that I'm older I think I'd be a good portrait painter, rug merchant, or florist.

Bosh. I find a rival - but no, I won't flatter myself that Tecumseh Fox would consider himself a rival of Dol Bonner - I find an eminent detective in your apartment, and that alone is enough, without adding that he is concealed in your bedroom while I am discussing my business with you.

If the detective should suffer overmuch from the artistic temperament, and his fellow lodger should dwell overlong upon the fairness of a wrist or the timber of a feminine voice, so much the better for us. Literature never produced a relationship more symbiotic nor a warmer and more timeless friendship.

With any project I work on - not just 'True Detective' - I don't feel the need just to play a strong woman. I don't want the audience to say, 'Oh, she was so strong.' I want to play characters that are flawed and interesting.

Y'see, I get so bored so easily. I like to start with a clean slate each time. Sure, I'll have characters drop in and out of books but the main cast of characters always changes. Maybe I'm wrong but I think if had the same joe detective guy or gal, I wouldn't write them as well; I wouldn't do as good a job.

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.'

My detective just told me, 'Seriously, you are in danger and you have to change all your information.' But I said no because my name, Park Yeon-mi, is my legacy from my father, that's the only one he just left me. I'm very proud of my name so that's why if I die I'm ok.

The best movie for me is a science fiction movie, the best books for me are science fiction books. I love this stuff.

I started out in life as a poet; I was only writing poetry all through my 20s. It wasn't until I was about 30 that I got serious about writing prose. While I was writing poems, I would often divert myself by reading detective novels; I liked them.

The demons you have are what motivate you to make your art. This is what drives the detective, this is what drives the painter, this is what drives the writer: a conflicting urge to forget pain and at the same time remember it and fight for some kind of justice. I know these powerful things are inside of me and everyone in some way or another.