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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.

Denise Mina

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Denise Mina
Age: 58
Born: 1966
Born: August 21
Comics Writer
Crime Writer
Criminologist
Novelist
Playwright
Poet Lawyer
Writer
East Kilbride
Strathaven and Lesmahagow
Looking
Sister
Making
Genre
Living
Worried
Kids
Older
Hard
Female
Protagonist
Going
Crime
Protagonists
Brother
Mum
Gets
Bringing

More quotes by Denise Mina

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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.
Denise Mina
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I think the negative traits are what makes us love other human beings, the foibles and the flaws.
Denise Mina
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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.
Denise Mina
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My upbringing was middle-class but my parents' families were both working-class so I had this odd combination of working-class background but in a privileged position.
Denise Mina
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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?
Denise Mina
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Novelisation doesn't imply the truth. Readers are sophisticated enough to know that.
Denise Mina
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Journalism is a Darwinian process.
Denise Mina
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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.
Denise Mina
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There's always these giant baffling books, like 'The Da Vinci Code.' People say it's not as well written as 'Midnight's Children.' Why aren't people reading 'Midnight's Children?' Nobody knows why these phenomenons happen but they're great.
Denise Mina
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I came from this very traditional background and I benefited hugely from feminism. I felt privileged going to university and doing a PhD. Most people of my background don't get to do that.
Denise Mina
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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!
Denise Mina
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I just got an honorary degree from Glasgow University, and I had to wear around very painful shoes so that I didn't laugh all the way through the ceremony because I felt like an outlaw.
Denise Mina
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Even if people do wrong, we're social animals, so what can we do about stopping them doing the same things in future? Saying people are 'bad' or 'evil' is just an unwillingness to engage an unwillingness to try to empathise. That sanctimonious attitude doesn't help anyone
Denise Mina
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I grew up in London under Thatcher and that really was disgusting. A feeding frenzy.
Denise Mina
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Usually when I'm trying to establish character, I try and find out where they live.
Denise Mina
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In prose, leaps of logic can be made while the protagonist thinks about things and arrives at conclusions. Even with voiceover, there's no real way of having an inner voice without it taking over the entire story.
Denise Mina
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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.
Denise Mina
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I love Mikhail Bulgakov. He is very original and takes the story to unexpected places. I didn't realise political writing could be so funny.
Denise Mina
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A man who thinks he has a higher purpose can do terrible things, even to those he professes to love.
Denise Mina
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I hate it when I'm reading a comic, and the dialogue looks like stickers stuck on top to explain what's going on. For me the best is when your eye goes in a certain point and moves through the composition and then springs out on the dialogue, or gets confused in the image and then goes to the dialogue for an explanation.
Denise Mina