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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.

Henry Sutton

story steeped in emotional darkness. There is a feeling of dread and doom that suffuses the action; the story typically features a protagonist who’s in trouble, who often doesn’t deserve the trouble he’s in, and whose trouble just gets worse as the narrative grinds inexorably toward an unhappy – often tragic – ending. 32 In the same blog, Ardai defines ‘hard-boiled’ and the distinct difference between hard-boiled and noir. ‘“Hard-boiled” refers as much to style

in Crafting crime fiction
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This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

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Anatomy of a metaphor
John M. Ganim

Phillips, ‘to portray Marlowe in the novel not just as a hard-boiled private eye, but as a knightly hero … Marlowe views a case as a crusade, whereby he aims to protect the innocent and helpless, and not merely solve a mystery.’ 19 Phillips is building here on Chandler’s own comments, as well as such critics as David Geherin , who compares Marlowe to a ‘knight in shining armor’ battling ‘dragons’, and

in Medieval film
Steven Peacock

, grisly iterations of this generic hybrid. The reader is encouraged to turn to Scaggs’ and James’s works for compendious accounts of crime genre’s many historical manifestations; for our purposes, it is enough to note several of the most common sub-genres, and their rendering in Swedish form. Golden Age detectives and hard-boiled PIs Most helpfully, James provides a concise description of both types of protagonist in a comparative summary: 47 Swedish crime fiction The differences between the hard-boiled school and such Golden Age writers as Agatha Christie, Dorothy L

in Swedish crime fiction
Challenging the epic in French crime fiction of the 1940s and 1950s
Claire Gorrara

, resistance heroism is debunked as shallow self-interest or  pathological otherness, with resistance merely one option amongst others when faced with the compromises and choices of life under German  and Vichy rule.  Such morally ambivalent depictions  of the occupation  and resistance can be traced in French crime fiction of this period, particularly in the form of the roman noir. Noir visions of war The convergence of the French roman noir and les années noires is one  grounded in the ethics and poetics of hard-boiled crime fiction.19 Pioneered  by  American  and  British

in French crime fiction and the Second World War
Case Histories, One Good Turn, When Will There Be Good News?, Started Early, Took My Dog and Big Sky
Armelle Parey

the American hard-boiled novel set in ‘an unforgiving, recognizably modern, urban world and the ordinary’ inhabited by ‘“blue-collar” people … who have been dealt a tough hand by life’ (Nicol 242), crime fiction exists in many guises, one of which being the ‘metaphysical detective story’ – as exemplified in Paul Auster’s New York Trilogy – that displays many postmodernist

in Kate Atkinson
The representations of non-Irish immigrants in recent Irish crime fiction
David Clark

both the western working classes and the victims of colonialism. The use of ‘atavistic aliens’ (Cassuto, 2009: 236) was common in crime narrative throughout the twentieth century, 256 The representations of non-Irish immigrants in recent Irish crime fiction from the xenophobia of spy thrillers through the hard-boiled classics such as Dashiell Hammett’s The Maltese Falcon in which the alien Other was generally perceived as a figure of menace and danger. The dominant consciousness of traditional crime fiction is generally that of a white, heterosexual male (Gregoriou

in Literary visions of multicultural Ireland
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Ginette Vincendeau

particularly attractive to French cinema. In the 1920s, British detective fiction (Conan Doyle, Agatha Christie, G. K. Chesterton) had dominated the crime genre. A sea change took place with the advent of ‘hard-boiled’ American writers – in particular Dashiell Hammett and Raymond Chandler and a new breed of French writers – among them Pierre Véry and the Belgian Stanislas-André Steeman. By far the most important of these was Georges

in European film noir