Sarah Weinman Quotes

What brought me to the table was Raymond Chandler and, to a lesser degree, Ross Macdonald and Dashiell Hammett. I was basically inspired to want to write like the classic private-eye writers.

I don't much live my life as if I was living in a Raymond Chandler novel, which is probably a good thing.

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.

It's possible to be hard-boiled and not noir, just as it's possible to be noir and not hard-boiled. And it is possible to be both. People debate endlessly what is hard-boiled and what is noir.

I like to think I'm writing in the tradition of Raymond Chandler, although I don't ape his style.

Hardboiled crime fiction came of age in 'Black Mask' magazine during the Twenties and Thirties. Writers like Dashiell Hammett and Raymond Chandler learnt their craft and developed a distinct literary style and attitude toward the modern world.

I've been tremendously moved by a bunch of odd books. Ross McDonald is very important to me. I love the Lew Archer books.

Raymond Chandler once wrote that Dashiell Hammett gave murder back to the people who really committed it.

Crime novelists do really well with Los Angeles.

I've always liked police-blotter kind of writing, or the writing of a policeman, right to the point and hardboiled. That's how I see at least the prose elements of scriptwriting.

James Cain was saddled with being called the father of hardboiled fiction. Apparently, he didn't like this saddle.

I wasn't that into crime novels at all, but a friend introduced me to the work of Jim Thompson - I loved all his books.

I definitely have an affection for detective fiction, and when I first read Dashiell Hammett's 'The Maltese Falcon,' that book and its author made an enormous impression on me as a reader and a writer, and led me to other hard-boiled American writers like Raymond Chandler and Ross McDonald, among many.

I wrote my graduate thesis at New York University on hard-boiled fiction from the 1930s and 1940s, so, for about two years, I read nothing but Raymond Chandler, Dashiell Hammett, James Cain and Chester Himes. I developed such a love for this kind of writing.

I ought to be more hardboiled; I'd like to be. I don't think I have it in me. To write in clipped sentences. To employ gritty metaphor in the introduction of sultry blondes... I can't do it, so why bother trying?

A guy named Peter Rabe wrote a batch of books for Gold Medal in the '50s, and he was absolutely the single largest influence on writing style. I was completely in love with the way the man wrote.

The tortured similes, the brooding introspection, the jaundiced view of society - nobody ever has any fun in a Ross Macdonald book.

I was well under the spell of the old Gold Medal Crime novels when I wrote 'Savage Season,' and I wanted to write a modern version of that. I had tried the same thing with 'Cold in July,' and I wanted to give it another go.

I was digging for stuff in a used bookstore, and I came upon 'Little Sister.' I fell in love with Chandler that night. I fell right down the rabbit hole of crime fiction.

I've read a thousand private-eye novels.

I love noir, quite obviously.

Walter Mosley was not the first black crime writer, nor was he the first to fuse genre conventions with larger social concerns. But when 'Devil in a Blue Dress' introduced the Los Angeles-based private detective Easy Rawlins nearly 20 years ago, it was clear the author set out to stretch the boundaries of the mystery and thriller framework.

I do love a dark movie.

George V. Higgins's 'The Friends of Eddie Coyle' (1970) added an extra literary layer to the con novel; James Crumley's 'The Last Good Kiss' (1978) influenced countless writers and will be remembered forever for its opening line, quoted often in obituaries of the author.

British crime stories tend to be very internal, psychological, claustrophobic, very limited in terms of geography.