Zitat des Tages von Denise Mina:
I think graphic novels are closer to prose than film, which is a really different form.
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.
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.
Most of the people who write to me are really clever, really engaged. They just want to say that they have read my book and liked it.
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!
I'm terrified to get married. I'm not getting married till my gay friends can.
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.
I'm not much of a plotter. I start off with an inciting incident, and in classic crime fiction what happens is that all the action flows from that incident. It's very comfy when it all ties up and feels like a complete universe, but my stuff doesn't always work that way.
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.
In the forensic science course I took at university they used photographs of dead bodies. For ballistics they showed us a guy lying on the floor, and his head had burst.
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.
You have to take your ego out of it and say, do I want people to be obsequious to me or do I want to write good books? If it's the latter, you have to take criticism. It's annoying, but that's how to do good stuff; listen to other people.
Crime fiction is the fiction of social history. Societies get the crimes they deserve.
I grew up in London under Thatcher and that really was disgusting. A feeding frenzy.
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.
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.
It's very hard to be cut off in Glasgow because it's such a small city. You know, we have the highest rate of per-capita imprisonment, certainly in Britain, maybe in Europe. We have a very high murder rate here. So most people will know someone who's been to prison.
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?
I think the negative traits are what makes us love other human beings, the foibles and the flaws.
Novelisation doesn't imply the truth. Readers are sophisticated enough to know that.
It's all chaos and the house is occasionally filthy but I get to stand at the school gates. Writers are so lucky to have that flexibility.
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.
