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304 pages, Kindle Edition
First published April 25, 2016
Poldi turned the photo this way and that (…) as if this would enable her to see through Elisa’s mask and gain some idea of her backstory wound.
"Because mark my words," she told me once, "a detective must always work out what the murder victim is trying to tell them. (…) The backstory, know what I mean? You always have to know that.” (page. 27-8)
(she) was already pursuing another hypothesis. She would not, however, reveal it to me that evening.
“For purely dramatic reasons, understand? Get this straight: you have to toy with your audience. They don’t want you to give away all your secrets at once. They want to be wooed and enchanted. It’s like a ballet. It’s what you might call literary precision engineering.” (page. 84)
“It’s time you made up your mind what you’re writing: a family saga, a fantasy, a thriller, a police procedural or what? Combining them all into one doesn’t work. This Victus Tanner of yours–get rid of him, he’s unbelievable. I won’t let you put my cases through the mincer and blend them with the sausage meat of your pubescent fantasies. It’s all or nothing, understand?”
“But what about artistic license?”
“There’s got to be some art to make free with in the first place.” (age 328)
“He’s a proper novelist. He’s writing an impressive family saga covering three generations. It’s going to be really juicy (…) It’s his big throw of the dice, his ticket to international bestsellerdom.”(page 334)