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A practical, critical and personal guide to the craft of crime writing by novelist and professor of creative writing, Henry Sutton. Drawing on exceptional experience and resource, the mystery of creating crime fiction which moves with pace and purpose, menace and motivation, is forensically and engagingly uncovered. The work of the genre’s greatest contributors, and that from many lesser known names from around the world, past and present, is explored with both practical acumen. Sutton also mines his own fiction for lessons learnt, and rules broken. Personal creative successes, struggles and surprises are candidly addressed. In nine entertaining chapters the key building blocks for crafting pertinent and characterful crime fiction, are illustrated and explained. The genre’s extraordinary dynamism, with its myriad and ever-evolving sub-genres, from the cosy to the most chilling noir, the police procedural to the geopolitical thriller, is knowingly captured. However, the individual and originality are given centre stage, while audience and inclusivity continually considered and championed. This is an essential guide for those interested in writing crime fiction that gets noticed and moves with the times, if not ahead of the times.

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Henry Sutton

in long-running series don’t necessarily continue to get better and better. At what stage might someone suggest revisions are necessary, and will they be listened to? Should they be listened to? Who ultimately knows best? The question that might then arise would be: best for who? A writer might go off on a tangent quite purposefully. However, at some point the writer will need to defer that judgement, even if only to the reader, having bypassed (or ignored) all manner of editing advice. The essence of craft Crime

in Crafting crime fiction
Zoë Thomas

2 Exhibiting the Arts and Crafts I n November 1911, a new exhibition titled the Englishwoman Exhibition of Arts and Handicrafts opened at Maddox Street Gallery just off Regent Street in central London.1 For a shilling, visitors could roam around stalls displaying colour printing, lithography, book illustrations, jewellery, and leatherwork, and view loaned special-interest items, such as Buddhist robes and a lace handkerchief once belonging to Marie Louise, Empress of France.2 Over the next few years, the exhibition – which took place every November, just in

in Women art workers and the Arts and Crafts movement
Heidi Hausse

Matthäus Purmann (1649–1711) considered surgery’s preeminence among the healing arts an unequivocable truth. The preface of his Wund-Artzney , first published in 1684, made a bold case. Purmann divided medicine into three parts: diet, pharmacy, and surgery. “Surgery and wound medicine,” he explained, “is the very oldest, first, and most splendid.” 1 A series of biblical references establish the antiquity of this craft, beginning with the prophet Isaiah’s use of a fig plaster

in The malleable body
From letterpress to offset-lithography
Jesse Adams Stein

4 The continuity of craft masculinities: from letterpress to offset-lithography I could still get on there and operate that, you know.1 – Norm Rigney, former letterpress-machinist Letterpress printing has traditional associations with craftsmanship and masculinity, where a press-machinist’s technologies, tools and manual skill were powerful indicators of identity and social status. But what happened to letterpress-machinists between the 1960s and the 1980s, when the printing industry underwent dramatic technological change? Letterpress had been the dominant

in Hot metal
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Artisan culture in London, c. 1550–1640

This book explores artisanal identity and culture in early modern London. It demonstrates that the social, intellectual, and political status of London’s crafts and craftsmen was embedded in particular material and spatial contexts. Through examination of a wide range of manuscript, visual, and material culture sources, the book investigates for the first time how London’s artisans physically shaped the built environment of the city, and how the experience of negotiating urban spaces impacted directly upon their own distinctive individual and collective identities. The book identifies and examines a significant cultural development hitherto overlooked by social and architectural historians: a movement to enlarge, beautify, and rebuild livery company halls in the City of London from the mid-sixteenth century to the start of the English civil wars. By exploring these re-building projects in depth, the book throws new light on artisanal cultural production and self-presentation in England’s most diverse and challenging urban environment. Craft company halls became multifunctional sites for knowledge production, social and economic organisation, political exchange, and collective memorialisation. The forms, uses, and perceptions of company halls worked to define relationships and hierarchies within the guild, and shaped its external civic and political relations. Applying an innovative and interdisciplinary methodology to the examination of artisanal cultures, the book engages with the fields of social and cultural history and the histories of art, design, and architecture. It will appeal to scholars of early modern social, cultural, and urban history, and those interested in design and architectural history.

The story of phulkari textiles in The Singh Twins’s Slaves of Fashion
Cristin McKnight Sethi

Slaves of Fashion series, titled Phulkari: Craft and Conflict , which directly references a vernacular form of embroidery with historical roots in pre-Partition Punjab and continues to be an iconic art form in both the Punjab province in Pakistan and the state of Punjab in India ( Figure 10.7 ). I first encountered this portrait-panel in its tapestry form, as a soft, woven textile, in the home of a private collector – it was not a digital lightbox nor was it displayed alongside other portrait-panels in a gallery. This

in Threads of globalization

Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.

Brenda M. King

The Arts and Crafts Movement was originally a British response to the generally poor state of the decorative arts and the exploitative conditions that produced them. In the latter half of the nineteenth century a disparate group of artists and designers found a common aim in their belief in the equality of the fine and applied arts. The ‘Movement’ as

in Silk and empire
Janice Norwood

1 Debuts and learning the craft ‘Miss Cleveland will make her first appearance in the character of Juliet’ proclaims an advertisement in the Era for a performance of Romeo and Juliet at the Royal Marylebone Theatre on 20 March 1854.1 This example, though unremarkable in itself, is typical of the attention drawn to debut performances. They were marketed as notable events where the novelty of the newcomer and uncertainty about her ability were intended to pique the audience’s interest. Success at these daunting occasions depended upon the putative actress

in Victorian touring actresses