Denise Mina Quotes
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To have a very strong opinion all the time is corrosive to a person's intellect. It becomes your default position.
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I think the class divide is going to change. I think a lot more working class people are going to get published. It is really class ridden, literature.
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I was very aware of office politics because I was so baffled by them. So much so goes unsaid. No one says 'you're a cheeky so-and-so,' no one says 'you're so moody,' nobody ever confronts anyone else about anything. But I'm very crass, and I'm very confrontational, and I have a temper. I had to be hyper-vigilant in every office I worked in.
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There's a real emphasis on being witty in Scotland, even in crime novels.
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None of us know what is going to sell or what people want to read.
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Crime fiction is the fiction of social history. Societies get the crimes they deserve.
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The book I made it big with in the U.S. was my fourth book, 'Sanctum.' My novels sell really well both there and in Canada, so once a year I do a promotional tour, visiting a different city every two days, doing book readings and signings.
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Because I write a book a year, I always want to do one other project every year that's stimulating in a different way. It means you can be working but not using up your prose juice, you know?
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I always wanted to work at 'Take A Break' magazine, you know, just to inject a little bit of politics into their stories. I applied for a job there after I'd done my law degree and didn't even get an interview. I only wrote 'Garnethill' because I didn't get that job!
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Comics don't work if the story is all in the text and the images are illustrative. It's hard to have enough faith in the artists to allow them to do their job.
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In the 'Garnethill' trilogy, people always forget that Maureen O'Donnell's dad was a journalist and she did art history at uni and her brother did law, but no-one ever thinks they're middle-class - they're just working class because they speak with accents.
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Usually when I'm trying to establish character, I try and find out where they live.
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People are interested in crime fiction when they're quite distanced from crime. People in Darfur are not reading murder mysteries.
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Journalism is a Darwinian process.
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My family were great story-tellers. My mum was one of 12 and they were all fighting to tell stories. You have to tell a good tale or no one is going to listen. You have to make it entertaining and interesting. That's how I learned to tell stories.
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Because I write prose, when I sat down to write a comic, it feels like my brain's working differently. It actually feels like different bits of my head are springing into action.
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I respond very well to rules. If there are certain parameters it's much easier to do something really good. Especially when readers know what those are. They know what to expect and then you have to wrong-foot them. That is the trick of crime fiction. And readers come to crime and graphic novels wanting to be entertained, or disgusted.
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I love bleak things.
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I have had quite a few obsessive fans. They write to me and then they turn up at signings and look really sheepish. If I said 'boo' to them, they would run away. I think they maybe believe I could take over their lives and sort them out. If they saw the state of my kitchen they wouldn't think that.
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Crime is a very hard genre to feminise. If you have a female protagonist she is going to be looking after her mum when she gets older; she is going to be worried about her brother and sister; she will be making a living while bringing up kids.
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Novelisation doesn't imply the truth. Readers are sophisticated enough to know that.
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There are a lot of bottlenecks to getting published. Publishers are only one of them. Having the time is another one. Feeling entitled is another one.
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I'd read so much right-wing crime fiction where they find the evidence and shoot the bad guy - I thought there must be another approach.
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If you went for a job interview in a Glasgow law firm, they used to ask you what school you went to. And that was a way of finding out what religion you were.