"I really do literally put myself into a character's shoes"
About this Quote
There is something quietly radical in Rendell reaching for the clunky adverb stack of "really do literally": it reads like a novelist insisting, almost defensively, that empathy is not a metaphor but a method. Crime fiction has long been dismissed as clockwork plot, a puzzle box of motives and clues. Rendell counters that hierarchy by foregrounding immersion over mechanics. She is not merely assembling suspects; she is inhabiting them, testing the fit of their moral footwear until the gait makes sense.
The phrasing also reveals a tension between the mystical and the practical. "Put myself" suggests a self that can be moved, repositioned, made porous. "Character's shoes" keeps it tactile and domestic - a borrowed, ordinary object that carries the dirt of someone else's life. Rendell's particular genius was always in that grit: the way violence arises not from gothic monsters but from small humiliations, class anxiety, loneliness, and the slow weathering of a conscience. To write that convincingly, you can't stand above your characters and judge; you have to crouch down inside their blind spots.
Context matters. Coming up through mid-century British letters, Rendell worked in a culture that prized restraint and distrusted overt psychological display. Her insistence on literal embodiment is a way of legitimizing interiority without making it sound soft. It's craft, not confession: an author explaining how she earns plausibility. The subtext is a warning, too. If you can step into anyone's shoes, then anyone's capable of anything - including the reader.
The phrasing also reveals a tension between the mystical and the practical. "Put myself" suggests a self that can be moved, repositioned, made porous. "Character's shoes" keeps it tactile and domestic - a borrowed, ordinary object that carries the dirt of someone else's life. Rendell's particular genius was always in that grit: the way violence arises not from gothic monsters but from small humiliations, class anxiety, loneliness, and the slow weathering of a conscience. To write that convincingly, you can't stand above your characters and judge; you have to crouch down inside their blind spots.
Context matters. Coming up through mid-century British letters, Rendell worked in a culture that prized restraint and distrusted overt psychological display. Her insistence on literal embodiment is a way of legitimizing interiority without making it sound soft. It's craft, not confession: an author explaining how she earns plausibility. The subtext is a warning, too. If you can step into anyone's shoes, then anyone's capable of anything - including the reader.
Quote Details
| Topic | Writing |
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