Quotes from Kerry Greenwood

As a child, I would demand that visitors to our house tell me a story. I was intensely interested in everything - still am.

I was determined to become a criminal lawyer and help look after the poor.

I remember talking to John Mortimer, and he said he was relying on Rumpole to keep him in his old age; well, I'm doing the same with Phryne - she's my mainstay.

My work is very carefully researched. Sometimes I have to ditch an idea because I can't prove it.

I'm a duty solicitor, so I can't fix someone's life; all I can do is fix the problem I've got in front of my eyes.

I research every possible bit of information I can find. Then I use about a tenth of it. But I have to know all the information first; otherwise, I'm not going to convince myself, and if I can't convince myself, then I'm not going to convince the reader.

Clothes were terribly important in the '20s. They really were an arbiter of who you were and how much money you had: an indicator of social status.

A publisher saw one of my historical novels and thought I would write an admirable detective story, so she offered me a two-book contract, and I grabbed it.

Most detective story readers are an educated audience and know there are only a certain number of plots. The interest lies in what the writer does with them.

I don't think the process of writing books is in any way sensible. It's not logical, and it's not reasonable. I do write very fast, and I just do it in a binge. Other people binge-drink; I binge-write.

I have to write three books a year to make a reasonable living out of writing - unless, of course, she gets a major American film deal. Phryne has been optioned since the very first book, but to make a historical TV movie, it costs $30,000 a day extra for the historical detail to be correct, so most people aren't doing it.

I decided that if I want to write about a female hero in the 1920s, I'm going to have to give her all the advantages I can because she has serious disadvantages in being a woman. I wasn't going to have her cowed or overawed by class, so she had to be titled.

If you look at the map, there's Thrace, Greece, Bulgaria, and there's tiny Gallipoli. It is such a small part of the whole peninsula, and yet you only hear about this little tiny bit.

Sometimes it's hard to start, but once it gets going, once you reach the tipping point - usually between chapter seven and nine - then it's like hanging onto a large snowball as it hurtles downhill.

The stories from World War I are worse than anything I have ever read.

I used to tell my three younger siblings stories because that was my household chore, and I told long stories in installments because it was easier and more fun than making up a new story every night. I loved it.

I didn't want to write a grown-up account of Gallipoli. I wanted to find out what would happen if I looked at Gallipoli through the eyes of an innocent.

I liked the Ballarat train as a child.

I got out of difficult situations when many of my classmates didn't because I was smart, and I was lucky, and my parents were amazingly literate and helpful.

I have been reading crime books ever since I was a child, but I had never tried to write one.

You need a crime, a detective, and the solution.

I've always been in love with Melbourne. When I was 12, I was taken into the city by my grandmother to go to the ballet for the first time.

I went to a basic school, which had children from all corners of the world, and met my best friend and had to learn Greek because she didn't speak English.

I think it is rather heroic to go into a war zone where everyone is trying to kill you, and you have no way of shooting back.