What I try to do is write a story about a detective rather than a detective story. Keeping the reader fooled until the last, possible moment is a good trick and I usually try to play it, but I can't attach more than secondary importance to it. The puzzle isn't so interesting to me as the behavior of the detective attacking it.
Interpretation
The focus of the story is on the character of the detective rather than just the mystery itself.
Dashiell Hammett emphasizes that the essence of his storytelling lies not merely in the mystery or puzzle to be solved, but in the depth and behavior of the detective character. This approach invites readers to engage with the personality and methods of the detective as they navigate through the narrative, thus creating a richer, more nuanced reading experience.
In practice
In a writing workshop, when discussing narrative style, I might say, 'What I try to do is write a story about a detective rather than a detective story.'
We didn't exactly believe your story.' Then --?' 'We believed your two hundred dollars.' 'You mean --' She seemed not to know what he meant. 'I mean that you paid us more than if you'd been telling the truth,' he explained blandly, 'and enough more to make it all right.
She grinned at me. 'You got types?' 'Only you darling - lanky brunettes with wicked jaws.
If you have a story that seems worth telling, and you think you can tell it worthily, then the thing for you to do is to tell it, regardless of whether it has to do with sex, sailors or mounted policemen.
The people who lie the most are nearly always the clumsiest at it, and they're easier to fool with lies than most people, too. You'd think they'd be on the look-out for lies, but they seem to be the very ones that will believe almost anything at all.
I sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.
What is wonderful about great literature is that it transforms the man who reads it towards the condition of the man who wrote.
Every individual ought to know at least one poet from cover to cover: if not as a guide through the world, then as a yardstick for the language.
Walter Scott has no business to write novels, especially good ones. It is not fair. He has fame and profit enough as a poet, and should not be taking the bread out of the mouths of other people.
I've been asked this question so many times, do you feel you need to write a book for adults? No, I don't need to write a book for adults.
When I read interviews with people like Kevin Barry or Colin Barrett, who I hugely admire, they don't really seem to come up against the question of likeability even though their characters, in some instances, are really horrible.
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