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Over a century ago, in his examination The Sensational in Modern English Fiction (1919), Walter Clarke Phillips declared, 'Whatever sources of appeal may come or go, there is one which from the very structure of modern democratic society seldom bids for applause unheeded -- that is, the appeal to fear' (2). It is to this appeal that we owe the abundance of crime writing at our disposal -- a trove of mystery that undoubtedly fascinates in its ability to entertain while safely reflecting the ugliest truths about ourselves and the societies in which we live. Thus, crime writing is the perfect vehicle for examining the origins and endurance of those societal fears which are firmly grounded in such conceptions and the perceived boundaries that perpetuate them, and it simultaneously gives us the opportunity to evaluate the full range of those characteristics that differentiate the genre, particularly in its ability to allow us to begin to pick apart social constructions in relation to its own composition. This volume argues that we must examine the boundaries in fiction and non-fiction crime writing with an awareness of and turn toward the unseen structures and spatial uncertainties that so often lead to collective anxieties. The chapters within utilise theories of cultural memory and/or deep mapping in order to explore the interplay of the literary, historical, social, and cultural in in various modes of crime writing through the examination of unseen structures and uncertain spaces and provide new insights into the works of iconic authors, such as Agatha Christie, and iconic fictional figures, such as Sherlock Holmes, as well as into underexplored subjects, such as Ukrainian detective fiction of the Soviet period and crime writing by a Bengali police detective at the turn of the twentieth century. This volume features authors and subjects that are global in scope with original, innovative work on crime writing from the 1890s to as recent as 2017. The breadth of coverage -- of both time and place -- is an indicator of a text in which seasoned readers, advanced students, and academics will find specialised explorations of individual works and authors, while the critical and theoretical approaches and the topical coherence of the collection offers to a wide audience a scholarly overview of crime writing, as a still-growing area of popular interest and a still-evolving field of intellectual exploration.
Over the past forty years, the criminal justice system in the United States has engaged in a very expensive policy failure, attempting to punish its way to public safety, with dismal results. So-called "tough on crime" policies have not only failed to effectively reduce crime, recidivism, and victimization but also created an incredibly inefficient system that routinely fails the public, taxpayers, crime victims, criminal offenders, their families, and their communities. Strategies that focus on behavior change are much more productive and cost effective for reducing crime than punishment, and in this book, William R. Kelly discusses the policy, process, and funding innovations and priorities that the United States needs to effectively reduce crime, recidivism, victimization, and cost. He recommends proactive, evidence-based interventions to address criminogenic behavior; collaborative decision making from a variety of professions and disciplines; and a focus on innovative alternatives to incarceration, such as problem-solving courts and probation. Students, professionals, and policy makers alike will find in this comprehensive text a bracing discussion of how our criminal justice system became broken and the best strategies by which to fix it.
This volume argues that we must examine the boundaries in fiction and non-fiction crime writing with an awareness of and turn toward the unseen structures and spatial uncertainties that so often lead to and reflect collective fears and anxieties. Drawing upon the insights and expertise of an international array of scholars, the chapters within explore the interplay of the literary, historical, social, and cultural in various modes of crime writing from the 1890s to as recent as 2017. They examine unseen structures and uncertain spaces, and simultaneously provide new insights into the works of iconic authors, such as Christie, and iconic fictional figures, like Holmes, as well as underexplored subjects, including Ukrainian detective fiction of the Soviet period and crime writing by a Bengali police detective at the turn of the twentieth century. The breadth of coverage—of both time and place—is an indicator of a text in which seasoned readers, advanced students, and academics will find new perspectives on crime writing employing theories of cultural memory and deep mapping.
This book provides a comprehensive overview of all the different kinds of crime fiction, with examples from successful contemporary writers in each of the different genres, and clear explanations and exercises to help the beginning writer hone their craft, and discover the kind of crime fiction, the plots, the themes, the language, that work best for them.
The Crime Fiction Handbook presents a comprehensive introduction to the origins, development, and cultural significance of the crime fiction genre, focusing mainly on American British, and Scandinavian texts. Provides an accessible and well-written introduction to the genre of crime fiction Moves with ease between a general overview of the genre and useful theoretical approaches Includes a close analysis of the key texts in the crime fiction tradition Identifies what makes crime fiction of such cultural importance and illuminates the social and political anxieties at its heart. Shows the similarities and differences between British, American, and Scandinavian crime fiction traditions
It all starts with a newspaper article depiciting an unthinkable crime in a local community. From these headlines, a skilled writer can weave a full-length book - developing the characters, determining the motives, reporting on the judgment. That writer could be you. If you're fascinated by unusual crime stories; if you want to know how to determine which stories have book potential; if you want to learn how to ferret out the details, the motives, and the psychological dramas that make up these crimes, this book is for you. Gary Provost, author of several true crime books and numerous other titles walks you through the process of writing a true crime story.
Ideal for professional and aspiring crime writers. How many times have you read a crime novel describing a poisoning, a stabbing, an explosion or a shooting and realised it's wrong? Mistakes jar and can undermine a brilliant plot. This guide will help you to avoid these mistakes, save you research time and ensure that your writing is scientifically credible. Crime writers increasingly look for accuracy in their work and this book, which assumes no previous scientific knowledge, will be a valuable asset for both novices and experienced writers and will also fascinate readers who love crime fiction. This book explains: - The nature of poisons and how they work. - How to knock out a character and avoid killing them - The nature of explosives are and what happens in an explosion.. - How fires start and their effects on people and buildings. - Firearms, suppressors and how they work - Mechanisms for murder. - Tips on fighting back from an attack and escaping from captivity. - Problems of body disposal and crime scene clean-up. - The nature and use of DNA. - Forensic techniques & how evidence can be misinterpreted. Reviews on Amazon Katie 5.0 out of 5 stars The science behind crime scenes Paperback Verified Purchase Invaluable step-by-step guide, which looks at the science behind the crime scene. This book is well written, informative and easy to use. A must-have. 4.0 out of 5 stars Great reference for crime writers Format: PaperbackVerified Purchase This is a great and easy to read reference for the science behind writing crime. It will definitely be a well used tool in my writing. I also like how case studies are included to show what is being told / explained. Easy recommendation from me!
Seminar paper from the year 2009 in the subject English Language and Literature Studies - Literature, grade: 2,3, University of Bayreuth, language: English, abstract: 1. Introduction Crime fiction belongs to the top selling literature long ago. But not at all times the same type of crime fiction has been favored. Already the bible contains narrations about crime, like the story of Cain and Abel, the most famous fratricide all over the world. The motive of crime draws through literature continuing and develops in various directions. Focusing on the main genres which emerged: detective fiction, Golden Age crime fiction, American hard-boiled crime fiction, the police procedural, and the thriller; this paper will concentrate on the development of crime fiction from the early beginnings up to now. Origins and characteristics will be analyzed and differences as well as similarities between the different genres will be represented.
From 70 of the most successful mystery writers in the business, an invaluable guide to crafting mysteries—from character development and plot to procedurals and thrillers—“this is a writing guide that readers and writers will turn to again and again” (Booklist, starred review). Mystery Writers of America (MWA) is known for providing unparalleled resources on the craft, art, and business of storytelling, helping writers of all levels improve their skills for nearly a century. Now, this handbook helps authors navigate the ever-shifting publishing landscape—from pacing, plotting, the business side of publishing, to the current demand for diversity and inclusivity across all genres, and more. Featuring essays by a new generation of bestselling experts on various elements of the craft and shorter pieces of crowd-sourced wisdom from the MWA membership as a whole, the topics covered can be categorized as follows: —Before Writing (rules; genres; setting; character; research; etc.) —While Writing (outlining; the plot; dialogue; mood; etc.) —After Writing (agents; editors; self-pub; etc.) —Other than Novels (short stories; true crime; etc.) —Other Considerations (diverse characters; legal questions; criticism) Also included is a collection of essays from MWA published authors—including Jeffery Deaver, Tess Gerritsen, and Charlaine Harris—selected by bestselling authors Lee Child and Laurie King and arranged thematically answering, “What piece of writing advice do you wish you’d had at the beginning of your career?” “Everything you wanted to know about how to plan, draft, write, revise, publish, and market a mystery” (Kirkus Reviews), this inclusive manual provides practical, current, easily digestible advice for new and established authors alike.
The Crossroads: A Short-Story Collection is an assembly of seven unrelated tales of contemporary fiction seamlessly linked by two common denominators: themes extracted from normal, everyday occurrences and settings in the city of Philadelphia and its surrounding areas. Meet a financial advisor who, while choosing to remain anonymous, confesses the crime he and his three college roommates committed ten years before as a result of their gambling vices and a subsequent trip to Atlantic City gone awry What happens when a young woman's disenchantment with the monotony of her nine-to-five job has become too much to bear? Settle down in your front-row seat at the scene of a deathbed where the twenty-one-year-old child of a family struggles to cope with his father's imminent passing And read the journal of a man offering his wisdom as he serves more than a life sentence in a prison like no other. In his witty and provocative debut book, experience the author's exceptional ability to dissect ordinary situations and unearth the extraordinary elements that lie within. Join him as he explores those prevalent, yet unforeseen moments of truth that we all encounter. Through a voice that's one of a kind, the stylish language of this brand of fiction, undoubtedly, speaks to people of all ages and is bound to keep you turning the pages!