Ian Rankin Quotes

A lot of writers, especially crime writers, have an image that we think we're trying to keep up with. You've got to be seen as dark and slightly dangerous. But I'm not like that and I've realised that I don't need to put that on. People will buy the books whether they see a photo of you dressed in black or not.
At all times, think like a writer, and keep those antennae twitching - that way, you pick up new ideas.
Being working class, my parents thought, 'Ian's going to uni, the first in the family,' and I'd do dentistry or accountancy. I was going to do accountancy; then I got a C in Economics and thought, 'Why am I doing this?' The only thing I was interested in was books and literature.
I am, of course, a frustrated rock star - I'd much rather be a rock star than a writer. Or own a record shop. Still, it's not a bad life, is it? You just sit at a computer and make stuff up.
I don't hang out with cops.
I don't have many friends. It's not because I'm a misanthrope. It's because I'm reserved. I'm self-contained. I get all my adventures in my head when I'm writing my books.
I don't think I have one particular favourite writer. I have many whose works I will always buy or reread - Muriel Spark, Anthony Powell, Robert Louis Stevenson, Ruth Rendell, James Ellroy, William McIlvanney, Kate Atkinson, John Burnside, Louise Welsh, Iain Banks.
I don't want the books to become PR exercises for the police; I want to have the freedom to write about cops who cross the line: bad cops.
I dunno whether it was to do with my parents - we were working-class - but it was important to me to be self-sufficient.
I go to Canada at least every two years.
I grew up in a family that was working-class, which taught me to be careful with money.
I have a strong work ethic, yet I'm incredibly lazy as well. The problem with being a writer is that everything you do can be called research. Sitting in the pub is research. Reading the newspaper can be research.
I still think most writers are just kids who refuse to grow up. We're still playing imaginary games, with our imaginary friends.
I think writers have to be proactive: they've got to use new technology and social media. Yes, it's hard to get noticed by traditional publishers, but there's a great deal of opportunity out there if you've got the right story.
I took the first James Kelman novel, 'The Bus Conductor Hines', home to my dad. I thought, 'My dad will like this; it's written in Scots.' But my dad said: 'I can't read that.' He was reading James Bond and John le Carre. That was part of what attracted me to crime - the idea of getting a wide audience.
I used to think that: whenever I heard that someone had taken 10 years to write a novel, I'd think it must be a big, serious book. Now I think, 'No - it took you one year to write, and nine years to sit around eating Kit Kats.'
I wanted to be able to support myself without begging for handouts from the state. All of the writers I knew when I was a student were all getting grants from the Scottish Arts Council.
I would have loved to have been a rock n' roll star. But none of us was musical, and none of us had any instruments.
I wrote 'Knots and Crosses,' the first of the Rebus books, not even realising that I was writing crime fiction.
I wrote my first short story for a competition and won second prize. Another competition came up and I won first prize. The first story was published in a newspaper. The second went out on radio.
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AuthorName
Ian Rankin
Profession
Writer
BirthDate
28 April, 1960
Country
Scotland
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