Kerry Greenwood Quotes
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I was determined to become a criminal lawyer and help look after the poor.
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The stories from World War I are worse than anything I have ever read.
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I don't steal stories. If I'm a plagiarist, so is Hitchcock. And Tolkien. And Shakespeare.
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Sometimes it's hard to start, but once it gets going, once you reach the tipping point - usually between chapter seven and nine - then it's like hanging onto a large snowball as it hurtles downhill.
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There are only so many stories in the world... Duplication of plots is bound to happen because most writers have read very extensively in their genre and have become aware they are adding an extra layer to the meta-narrative, finding a new spin on the original.
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I went to a basic school, which had children from all corners of the world, and met my best friend and had to learn Greek because she didn't speak English.
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I've always been in love with Melbourne. When I was 12, I was taken into the city by my grandmother to go to the ballet for the first time.
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I'm a duty solicitor, so I can't fix someone's life; all I can do is fix the problem I've got in front of my eyes.
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Unanswered questions make my head itch.
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I think it is rather heroic to go into a war zone where everyone is trying to kill you, and you have no way of shooting back.
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My work is very carefully researched. Sometimes I have to ditch an idea because I can't prove it.
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I got out of difficult situations when many of my classmates didn't because I was smart, and I was lucky, and my parents were amazingly literate and helpful.
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I used to tell my three younger siblings stories because that was my household chore, and I told long stories in installments because it was easier and more fun than making up a new story every night. I loved it.
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I like writing books. I really love words. I love to read.
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As a child, I would demand that visitors to our house tell me a story. I was intensely interested in everything - still am.
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There's something magical about the idea that you can write something down and someone else can read it. I'm still mildly agog about that.
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I decided that if I want to write about a female hero in the 1920s, I'm going to have to give her all the advantages I can because she has serious disadvantages in being a woman. I wasn't going to have her cowed or overawed by class, so she had to be titled.
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If you look at the map, there's Thrace, Greece, Bulgaria, and there's tiny Gallipoli. It is such a small part of the whole peninsula, and yet you only hear about this little tiny bit.
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You need a crime, a detective, and the solution.
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I liked the Ballarat train as a child.
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Clothes were terribly important in the '20s. They really were an arbiter of who you were and how much money you had: an indicator of social status.
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In the 1970s, I used to buy opals and moonstones at the Queen Victoria Market, which were seen as old-fashioned and too heavy at the time.
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I research every possible bit of information I can find. Then I use about a tenth of it. But I have to know all the information first; otherwise, I'm not going to convince myself, and if I can't convince myself, then I'm not going to convince the reader.
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A publisher saw one of my historical novels and thought I would write an admirable detective story, so she offered me a two-book contract, and I grabbed it.