Cecily Devereux

And so what gets reordered is a big social fabric.

It's never just that crime.

It's something else.

It's everything that that crime was working to disrupt or subvert or overturn in some way.

Oh, such a good question.

Yeah.

So again, maybe that goes back to what I was just suggesting about a larger social fabric.

So you get lots of clues about the context and about what's at stake then.

So that kind of specificity lets you see or say something about a

that the book represents, and that's outside of the book, that will be familiar to some readers, and if not familiar, will be at least comprehensible.

Where the book, in invoking this, it will simultaneously say,

draw attention to this, these real circumstances for the story while identifying itself as a work of fiction.

And that idea that you're moving into a kind of a fantasy world, it's not real.

You just asked about, you know, true crime and noted how different it is from, um, from detective fiction typically.

Um, and I think that that's a really important part of it.

We really actually do want to be moving into something that is, um, um, that is a work of fiction that is fantasy, that is imaginary.

While we can also see those points at which it connects to the world that we live in.

Yeah, some of them, you know, some of them are scarier than others.

You know, you might lean cozy in crime reading.

And, you know, cozy crimes famously don't, you know, you don't have to see anything gory, whether it's a, whether it's a, you know, a book, a work of fiction, or whether it's something that you're seeing on TV or in a film, you're not seeing violence per se.