KN Magazine: Articles
Genre Studies: Bad Girls
by Clay Stafford,
Founder Killer Nashville,
Publisher Killer Nashville Magazine
In the genre sense, “Bad Girls” is a psychological subgenre of the larger “Crime” masthead, which we discussed in the last issue.
BREAKING DOWN THE BAD GIRL STORY
I am writing my opinion here and it is not my objective to emasculate the guys, but if you feel that way, it could be that you especially should be en garde: there are women out there who are intent on doing you serious hurt!
Here’s the bottom line: men have been scared of seductive women since the beginning of time. Why? Because they recognize – even if only subconsciously – the ultimate power that can lead to their downfall. It is the weakness of the men who give women this power, not necessarily the strength of the women themselves. So you have two things going on here as a writer: the flawed male character with a weakness (usually the protagonist) and the opportunistic wiliness of the woman (maybe the antagonist – or this is how these roles are normally portrayed). Of course, to have a strong hero, you must have an equally – or more so – strong villain and, in fiction as in life, why not hit the man where he is most weak? Religion has ineffectively rallied against her since the beginning of time. Politics have tried to keep her down. Misogynist males have been no match. These women – and here I go maybe offending the women – are female vampires, whether or not the actual association is made. In the end, these girls are bloodsuckers of men. They are sensual, sexy, dangerous, manipulative, near unstoppable, and even cursed.
Now here’s the good part. Most of the time, the female trickery is directed towards a man, but sometimes in the telling, another woman takes the fall. Psychological catfight! And don’t think the sensuality that leads to a man’s fall does not also work on a woman, though not to the physically sexual degree. For woman-to-woman, it is intimidation. It’s also interesting that, in the tragedy of these characters destroying each other’s lives, that some of these stories are designated as comedies rather than tragedies, because the truth of it outside the comedic element would be too much to bear.
There is a subgroup in “Bad Girls” known as “Femme Fatale.” I’m putting both of these in the same category because the femme fatale is just a certain – and certainly very popular for a time – version of the same thing. The motive is the same for each of these ladies, though the targets might be different. In the end, as your mother told you, there are the girls you marry, and then there are the girls you don’t bring home to meet the family (because you might be dead, for one).
Looking at femme fatales before we move on, a femme fatale is a (usually) attractive woman, especially one who will bring disaster upon any man who becomes involved with her. Femme fatale is a French phrase meaning, literally, “fatal woman.” In truth, haven’t we all dated a few of these? In America since the late 1800’s, we’ve called them vamps, interestingly short for vampire. Here we go back to the bloodsucking motif. These women – though not always of horror – are a succubus in their own ways. But no different than the men who are portrayed in other stories. These women, call them “Bad Girls” or “Femme Fatales,” will seek to win at all costs with morals ranging from villainous to simple ambivalence. In observing this type of woman, some have even gone so far as to call her “a monstrous Beast of the Apocalypse” (Joris-Karl Huysmans).
I love Gothic as my readers know and there is a definite Gothic influence in the character, whether in the whole work or not. There may not be a castle, but many times the portrayal of the lass is one of foreign origin, if not physically, then psychologically. It’s an exotic temptation as though, if American, one might need to take a trip to England or Europe. The different culture, in this case mental culture, is a thematic temptation. And, of course, there are always the eyes, those windows of those evil seeking souls.
Of course, beauty is in the eye of the beholder. The Marquis de Sade felt that it wasn’t evil that occupied these women, but the best that women had to offer. That’s an interesting thought. Even today, there is a whole trash market with Girls Gone Wild; unfortunately for me, I guess I prefer my “Bad Girls” more in the form of Dolores Umbridge, which leads me to this: purists would probably like to keep the genre in the stereotype of a seductress in a trench coat (probably also in black-and-white), but women come in all shapes, sizes, and modes of criminality. To the purists, I’d have to say, watch noir to see your femme fatale; to the academic studying “Bad Girls,” a kaleidoscope of color is available as you’ll see in the lists of “Bad Girls” below.
For me, though, I’m going to take a risk and jump out of the stereotype. To write a “Bad Girl,” you don’t have to have a gun or murder; you have to have intent and great characterization. She doesn’t have to be an evil twin, or Humphrey Bogart’s ultimate undoing, or even a high-powered corporate bitch. All she needs is attitude. Writers need to know that. So bear with me as I’m going to diverge from the 1950’s noir bad girl and simply look at character. These women are strong and they are formidable in numerous settings. Put a gun in their hand and you have Mickey Spillane; put a box of baking soda in their hand, and you have Mommie Dearest. In the end, it is the same woman, different time, different channel. Regardless, we are mesmerized. We love to watch these women, for the same reason we like horror movies. We love to be seduced by these women because we are foolish enough to think that – while others have failed – we can control them. But how much of their actions or successes are our own hedonistic fault? Are they all not like poor Jessica Rabbit: “I’m not bad. I’m just drawn that way.”
CASE HISTORY: FIRST BAD GIRL OR FEMME FATALE STORIES
The “Bad Girl” is an archetype in worldwide literature. I first met the “Bad Girl” in the most likely place: church. For children who go to Sunday School – of which I am a proponent – they know the stories of the bad girls: Eve, Potiphar’s wife, Lot’s wife, the woman at the well, Delilah, Sapphira, Rahab, Michal, and – of course – Jezebel. But they also know of Solomon’s frisky young lady whose breasts are like young fawns. As a young boy, no one had to force me to read scripture.
From the first woman (Eve) forward, being a “Bad Girl” has been one of the oldest ways to get ahead. Following Eve came a whole slew of ambitious females: Sphinx (Greek, not Egyptian, 1600 BC), Delilah (Hebrew, 1075 BC), Daji (Chinese, brought down an empire, 1047 BC), Jezebel (Hebrew, 858 BC), the Homer’s Sirens, Scylla, Circe, Aphrodite, Helen of Troy, Clytemnestra (Greek, 850 BC Homer), Lilith (Hebrew, 600 BC), Mohini (Hindu, 450 BC), Euripides’ Medea (Greek, 440 BC), Cleopatra (Egypt, 45 BC), Salome (Hebrew, 26 AD), and Messalina (Roman, 35 AD). And they were not all fictional. Sappho (7th Century BC) was not only a poet, but a pretty bad girl herself. Needless to say, the “Bad Girl” is a classic.
When the Middle Ages came, they piously or comically focused on seductive women of ill-intent. By focusing, they did little to quell the personality type; in fact, like modern-day condemnations, it only added to the allure of the femme fatale. In the 1600s, Shakespeare (as did most of the poets) loved the duplicitous woman, but then, even now, who doesn’t? English literature began using the femme fatale to make social statements in the 1800s. And, of course, the femme fatale reigned as Queen in American hardboiled stories and noir films of the 1900s. All through time, it was the sexual attractiveness paired with the mental ingenuity that created the allure.
THE FUTURE OF BAD GIRL FICTION
“Bad Girl” fiction dominates film much more than it does literature. Why? Not sure. I would speculate it is because of the visual element and the demographic targets are usually male audiences. In literature, one needs to mentally create, to provide one’s own pictures. Visually, one just has to sit back and enjoy. This is why I personally think the subgenre rules more in film than it does in literature…but it doesn’t have to be that way.
A distinction between the femme fatale and the vamp is that the vamp goes straight for sexual advances while the femme fatale is more catlike using sensuality as the means to the end, not necessarily sex (or some symbolic metaphor). There is a hybrid forming in many YA films and stories of the two intermingling: female vampires who are, at the same time, femme fatales.
But in many ways because of the evolutionary view of women in the Western world, the “Bad Girl” is becoming more subtle on some sides and more bold on others. She is changing form, from sensuality of the body and cunning of the mind and expanding to a bit of male kick-ass never before allowed because – I think – society itself could not have previously endured it. By doing so, these “Bad Girls” are in ways becoming sexually homogeneous and embracing crimes normally committed by men in the past and this is possibly why we also see a greater plethora of them as protagonists (rather than antagonists or supportive roles) in the visual arts than we do in literature. Movies traditionally are made for young adult men. Explosions, pretty girls, wild women; all of these fit into that fractured male demographic. Part of the allure, too, is that the “Bad Girls” of today are not just directing their wiles against men, but also other women, society, and social issues. And they are not always working alone. Sometimes they move in packs like jackals.
EXAMPLES FOR EXPLORING THE BAD GIRL GENRE ON YOUR OWN
My objective is to look at works driven by the “Bad Girl” archetype. Sometimes I blur the lines between “Bad Girl” protagonists and plots dependent upon the “Bad Girl” character. I realize this, but I also know that these characters are a driving force within each of the stories listed and, if removed, the story would not be what it is. I often wonder, too, if in a different time and a different reader/viewer mindset would these “Bad Girls” not have taken a larger role.
I haven’t identified the “Bad Girl” in any of the below. I’m taking it as a given that you’ll figure that one out.
In the list of films, I have to say that these are not all necessarily good movies as a whole, but they are great movies for “Bad Girls” and many of the bad ones are even downright disturbing. In movies, sometimes even if there is a remake, I may include the older version (God forbid, even if in black-and-white) because it is – frankly – better acted, directed, and/or written. Caution: because we are looking at “Bad Girls,” it is inevitable that some of the women portrayed here are very bad; in the case of some of the movies, I wouldn’t look at the trailers unless you are alone, and certainly not at work.
I’ve expanded from my first column last month. I’ve included titles of books and films in a variety of settings because, as we know, quality is a subjective term and one may like their nasty sultry and sensual, while another might like it comedic because, in the spirit of Elmore Leonard, nothing says that crime cannot be funny. So I’ve included quite a few comedies for those of like mind. From your comments, too, and from previewing the excellent column written by teacher Tracy Spruce in this month’s Killer Nashville Magazine, I understand some of you are classical readers and viewers and some more contemporary, so I have included the dates for all (literature and film) so you can explore this subgenre within your own area of comfort and reference, finding books and films that work for you in the way that you easily think. Education should be enjoyable; I’ve tried to make it so. And, for further study for those writers who want to explore the genre in detail, I’ve included books I think might help you understand the progression of literary “Bad Girls” and femme fatales. Wade through. I’ve included something for everyone, regardless of your personal standards. But remember this: The “Bad Girl” does not have to be over-the-top. She can be subtle, as in many of the examples below. In fact, subtlety seems to have a way of destroying drop-by-drop hard, impenetrable surfaces that over-the-top does not.
All of these are here for us to read and study to make us better writers. From stealing puppies to seducing cops, here are my favorite “Bad Girls” in Literature, Film, Television, and Nonfiction Writer Studies:
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A Touch of Death / Charles Williams, 1953
Beowulf / Anonymous, 700
The Bible / Various
The Big Sleep / Raymond Chandler, 1988
The Bride Wore Black / Cornell Woolrich, 1957
Carmilla / Joseph Sheridan Le Fanu, 1871
Casino Royale / Ian Fleming, 1953
Cat’s Eye / Margaret Atwood, 1988
Christabel / Samuel Taylor Coleridge, 1816
The Cocktail Waitress / James M. Cain, 2012
The Crucible / Arthur Miller, 1953
The Custom of the Country / Edith Wharton, 1910
The Day of the Locust / Nathanael West, 1939
Dolores Claiborne / Stephen King, 1992
Double Indemnity / James M. Cain, 1936
Dracula / Bram Stoker, 1897
Earth Spirit / Frank Wedekind, 1895
Earth’s Children Series / Jean M. Auel, 1980
Emma / Jane Austen, 1815
The Faerie Queene / Edmund Spenser, 1590
Farewell, My Lovely / Raymond Chandler, 1940
For Your Eyes Only / Ian Fleming, 1960
Foxfire: Confessions of a Girl Gang / Joyce Carol Oates, 1993
The Glass Menagerie / Tennessee Williams, 1945
Goldeneye / John Gardner, 1995
Gone Girl / Gillian Flynn, 2012
Gone with the Wind / Margaret Mitchell, 1936
Great Expectations / Charles Dickens, 1861
The Great Gatsby / F. Scott Fitzgerald, 1925
Harry Potter and the Order of the Phoenix / J. K. Rowling, 2003
His Dark Materials Series / Philip Pullman, 1995
The House of Mirth / Edith Wharton, 1905
I, the Jury / Mickey Spillane, 1947
Icebreaker / John Gardner, 1983
Jane Eyre / Charlotte Bronte, 1847
Juliette / Marquis de Sade, 1797
King Lear / William Shakespeare, 1605
Kiss Me Deadly / Mickey Spillane, 1952
La Belle Dame Sans Merci / John Keats, 1819
Lady Audley’s Secret / Mary Elizabeth Braddon, 1862
Lady Susan / Jane Austen, 1871
Les Liaisons Dangereuses / Pierre Choderlos de Laclos, 1782
Licence to Kill / John Gardner, 1989
The Lion, The Witch and the Wardrobe / C. S. Lewis, 1950
Little House on the Prairie Series / Laura Ingalls Wilder, 1932
Macbeth (The Tragedy of Macbeth) / William Shakespeare, 1606
Madame Bovary / Gustave Flaubert, 1856
The Maltese Falcon / Dashiell Hammett, 1930
Mildred Pierce / James M. Cain, 1941
Misery / Stephen King, 1987
The Monk / Matthew Gregory Lewis, 1795
Nana / Emile Zola, 1880
Nobody Lives Forever / John Gardner, 1986
The Odyssey / Homer, 800 BC
One Flew Over the Cuckoo’s Nest / Ken Kesey, 1962
Pandora’s Box / Frank Wedekind, 1904
The Postman Always Rings Twice / James M. Cain, 1934
Pride and Prejudice / Jane Austen, 1813
Queenpin / Megan Abbott, 2007
Rebecca / Daphne du Maurier, 1938
Robbie’s Wife / Russell Hill, 2007
Salome / Oscar Wilde, 1891
Sense and Sensibility / Jane Austen, 1811
Single White Female / John Lutz, 1990
A Tale of Two Cities / Charles Dickens, 1859
Thunderball / Ian Fleming, 1961
You Only Live Twice / Ian Fleming, 1964
The Vampire Diaries Series / L. J. Smith, 2010
Vampire Hunter Series (early Anita Blake) / Laurell K. Hamilton, 1993
Vanity Fair / William Makepeace Thackeray, 1847
Who Will Run the Frog Hospital / Lorrie Moore, 1994
The Wonderful Wizard of Oz / L. Frank Baum, 1900
Wuthering Heights / Emily Bronte, 1847
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101 Dalmatians / Stephen Herek, 1996
9 To 5 / Colin Higgins, 1980
A Blueprint for Murder / Andrew Stone, 1953
A Fool There Was / Frank Powell, 1915
A Private Affair / Guillaume Nicloux, 2002
A Very Long Engagement / Jean-Pierre Jeunet, 2004
A Woman’s Face / George Cukor, 1941
Accomplice / Walter Colmes, 1946
Ace in the Hole / Billy Wilder, 1951
Addams Family Values / Barry Sonnenfeld, 1993
Allotment Wives / William Nigh, 1945
All About Eve / Joseph L. Mankiewicz, 1950
Angel Face / Otto Preminger, 1952
Another Man’s Poison / Irving Rapper, 1951
Apology for Murder / Sam Newfield, 1945
Bachelorette / Leslye Headland, 2012
Bad Teacher / Jake Kasdan, 2011
Basic Instinct / Paul Verhoeven, 1992
Bedevilled / Mitchell Leisen and Richard Thorpe, 1955
Beyond the Forest / King Vidor, 1949
The Big Heat / Fritz Lang, 1953
The Big Sleep / Howard Hawks, 1946
Black Widow / Vernon Sewell, 1951
Blade Runner / Ridley Scott, 1982
Blonde Ice / Jack Bernhard, 1948
Blood Money / Rowland Brown, 1933
Blue Velvet / David Lynch, 1986
Blues in the Night / Anatole Litvak, 1941
Body Heat / Lawrence Kasdan, 1981
Born to Be Bad / Lowell Sherman, 1934
Born to Be Bad / Nicholas Ray, 1950
Born to Kill / Robert Wise, 1947
Boston Blackie Booked on Suspicion / Arthur Dreifuss, 1945
Bound / The Wachowski Brothers, 1996
The Bribe / Robert Z. Leonard, 1949
The Bride Wore Black / Francois Truffaut, 1968
Bridesmaids / Paul Feig, 2011
The Burglar / Paul Wendkos, 1957
Calling Dr. Death / Reginald Le Borg, 1943
The Come On / Russell Birdwell, 1956
Crack in the Mirror / Richard Fleischer, 1960
Crime of Passion / Gerd Oswald, 1957
The Crush / Alan Shapiro, 1993
D.O.A. / Rudolph Mate, 1950
Damage / Louis Malle, 1992
Dangerous Liaisons / Stephen Frears, 1988
Dead Reckoning / John Cromwell, 1947
Death Becomes Her / Robert Zemeckis, 1992
Decoy / Jack Bernhard, 1946
Delores Claiborne / Taylor Hackford, 1995
Detour / Edgar G. Ulmer, 1945
Devil in the Flesh / Steve Cohen, 1998
The Devil Wears Prada / David Frankel, 2006
Diabolique / H. G. Clouzot, 1955
Don’t Bother to Knock / Roy Baker, 1952
Double Cross / Albert Kelley, 1941
Double Indemnity / Billy Wilder, 1944
Dressed to Kill / Roy William Neill, 1946
Drop Dead Gorgeous / Michael Patrick Jann, 1999
Elevator to the Gallows / Louis Malle, 1958
Faster, Pussycat! Kill! Kill! / Russ Meyer, 1965
Female on the Beach / Joseph Pevney, 1955
Femme Fatale / Brian De Palma, 2002
Flaxy Martin / Richard Bare, 1949
Framed / Richard Wallace, 1947
For a Good Time, Call… / Jamie Travis, 2012
Foxes / Adrian Lyne, 1980
Foxfire / Annette Haywood-Carter, 1996
Gia / Michael Cristofer, 1998
Gilda / Charles Vidor, 1946
The Grifters / Stephen Frears, 1990
Gun Crazy / Joseph H. Lewis, 1950
Heathers / Michael Lehmann, 1988
High School Confidential! / Jack Arnold, 1958
The House of Yes / Mark Waters, 1997
The House on 56th Street / Robert Florey, 1933
The Houston Story / William Castle, 1956
Human Desire / Fritz Lang, 1954
I, the Jury / Harry Essex, 1953
The Ice Harvest / Harold Ramis, 2005
Ilsa, She Wolf of the SS / Don Edmonds, 1975
Jackie Brown / Quentin Tarantino, 1997
Jawbreaker / Darren Stein, 1999
Jennifer’s Body / Karyn Kusama, 2009
Kill Bill / Quentin Tarantino, 2003
The Killers / Robert Siodmak, 1946
The Killing / Stanley Kubrick, 1956
Kind Lady / John Sturges, 1951
Kiss Me Deadly / Robert Aldrich, 1955
Ladies They Talk About / Howard Bretherton and William Keighley, 1933
The Lady from Shanghai / Orson Welles, 1948
Lady Gangster / Florian Roberts (Robert Florey), 1942
Lady in the Lake / Robert Montgomery, 1947
The Last Seduction / John Dahl, 1994
Leave Her to Heaven / John M. Stahl, 1945
The Letter / William Wyler, 1940
Lust for Gold / S. Sylvan Simon and George Marshall, 1949
Macbeth / Justin Kurzel, 2015
Malice / Harold Becker, 1993
The Maltese Falcon / John Huston, 1941
The Man Who Cheated Himself / Felix E. Feist, 1950
Mean Girls / Mark Waters, 2004
Midnight in Paris / Woody Allen, 2011
Mildred Pierce / Michael Curtiz, 1945
Mini’s First Time / Nick Guthe, 2006
Misery / Rob Reiner, 1990
Mommie Dearest / Frank Perry, 1981
Moulin Rouge! / Baz Luhrmann, 2001
Murder, My Sweet / Edward Dmytryk, 1944
My Forbidden Past / Robert Stevenson, 1951
My Son Is Guilty / Charles Barton, 1939
Niagara / Henry Hathaway, 1953
Notes on a Scandal / Richard Eyre, 2006
Of Human Bondage / John Cromwell, 1934
On Dangerous Ground / Nicholas Ray and Ida Lupino, 1951
One Girl’s Confession / Hugo Haas, 1953
The Opposite of Sex / Don Roos, 1998
Original Sin / Michael Cristofer, 2001
Out of the Past / Jacques Tourneur, 1947
The Paperboy / Lee Daniels, 2012
The Paradine Case / Alfred Hitchcock, 1947
Pickup / Hugo Haas, 1951
Please Murder Me / Peter Godfrey, 1956
The Postman Always Rings Twice / Bob Rafelson, 1981
The Postman Always Rings Twice / Tay Garnett, 1946
Private Benjamin / Howard Zieff, 1980
Prizzi’s Honor / John Huston, 1985
Rebecca / Alfred Hitchcock, 1940
Red-Headed Woman / Jack Conway, 1932
The Revolt of Mamie Stover / Raoul Walsh, 1956
Romeo Is Bleeding / Peter Medak, 1993
Ruthless People / Jim Abrahams, et. al., 1986
The Saint Takes Over / Jack Hively, 1940
Scarlet Street / Fritz Lang, 1945
Serial Mom / John Waters, 1994
Set It Off / F. Gary Gray, 1996
She-Devil / Susan Seidelman, 1989
Shed No Tears / Jean Yarbrough, 1948
Showgirls / Paul Verhoeven, 1995
Sin City: A Dame to Kill For / Robert Rodriguez and Frank Miller, 2014
Single White Female / Barbet Schroeder, 1992
Song of the Thin Man / Edward Buzzell, 1947
Station West / Sidney Lanfield, 1948
Sudden Fear / David Miller, 1952
Tank Girl / Rachel Talalay, 1995
Tension / John Berry, 1949
Thelma & Louise / Ridley Scott, 1991
They Drive by Night / Raoul Walsh, 1940
Thirteen Women / George Archainbaud, 1932
To Die For / Gus Van Sant, 1995
Too Late for Tears / Byron Haskin, 1949
The Truth / Henri-Georges Clouzot, 1960
Undertow / William Castle, 1949
The Unholy Wife / John Farrow, 1957
The Uninvited / Lewis Allen, 1944
Where Danger Lives / John Farrow, 1950
The Witches of Eastwick / George Miller, 1987
Working Girl / Mike Nichols, 1988
Young Adult / Jason Reitman, 2011
Young Man with a Horn / Michael Curtiz (1950)
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American Gothic / Shaun Cassidy, CBS, 1995
Buffy the Vampire Slayer / Joss Whedon, WB, 1997
Desperate Housewives / Marc Cherry, ABC, 2004
Dollhouse / Joss Whedon, Fox, 2009
Farscape / Rockne S. O’Bannon, Nine Network, 1999
Las Vegas / Gary Scott Thompson, NBC, 2003
Orange is the New Black / Jenji Kohan, Netflix, 2013
The Pretender / Steven Long Mitchell, Craig W. Van Sickle, NBC, 1996
The Sarah Connor Chronicles / Josh Friedman, Fox, 2008
The Shadow Line / Hugo Blick, BBC Two, 2011
The Vampire Diaries / Kevin Williamson, Julie Plec, The CW, 2009
Veronica Mars / Rob Thomas, UPN, 2004
Weeds / Jenji Kohan, Showtime, 2005
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Dangerous Women: The Perils of Muses and Femmes Fatales / Laura Adler, Elisa Lecosse, 2010
Femme Fatale: Cinema’s Most Unforgettable Lethal Ladies / Dominique Mainon, James Ursini, 2009
The Femme Fatale in Victorian Literature: The Danger and the Sexual Threat / Jennifer Hedgecock, 2008
Femmes Fatales: Feminism, Film Theory, Psychoanalysis / Mary Ann Doane, 1991
The Myth of Morgan la Fey / Kristina Perez, 2014
The Romantic Agony / Mario Praz, 1930
What titles did I miss? Let me know in the comments below so we can grow the reference material.
Stick with me on this series and explore these genres and subgenres with me each month and I guarantee you will find new and exciting elements to incorporate into your own writing.
Genre Studies: Beginning With Crime
by Clay Stafford,
Founder Killer Nashville,
Publisher Killer Nashville Magazine
The crime genre is undoubtedly the core group of Killer Nashville. Within it are over 33 subgenres (depending upon who is counting; and in this case, me). Let’s take a vast look at what this category includes and suggest some books (or films for the visual) to get your taste buds tingling.
Beginning with Crime
CASE HISTORY: FIRST CRIME STORIES
No one knows when the first crime fiction appeared.
Steen Steensen Bleicher, Author of The Rector of Veilbye
Some say the first full crime fiction novel (based upon a true incident; but then, aren’t they all to some degree) was from a Danish writer named Steen Steensen Blicher called The Rector of Veilbye in 1829 (sorry, Poe fans).
Prior to this, there were shorter segments within larger works focusing on crime fiction or creative crime nonfiction; there was the Bible (stories I’m thinking of were probably written in 1440 B.C.) as well as plays (for example, wasn’t Shakespeare all about crimes?) and poetry (a Greek poet wrote “Where the 3 Roads Meet” where a god himself is murdered – can’t remember the author if indeed he is known).
Needless to say, crime fiction (or creative non-fiction depending upon the literality of Cain and Abel) has been with us indisputably for over 3,000 years at minimum in various forms. That’s a huge collective body of work.
BREAKING DOWN CRIME FICTION
Crime fiction is one of those genres that can cross several others and thus explains its mass appeal.
Since the moniker “crime fiction” is so vast, I won’t be as detailed as what is (or is not) contained in this general genre as I will be when discussing crime fiction in its various subgenre forms.
The main focus of crime fiction is that it fictionalizes crime. The subgenres such as detective, locked room, legal thriller, private eye, courtroom drama, police procedural, hard boiled, all come when the differentiation is made between the types of crimes, how they occurred, where they are explored, how they are investigated, and in what time of history or location the incidents happened. At focus, though, is the crime. We never lose sight of the crime.
Usually there is some sort of detection (though not always required, as we will see as we examine subgenres and points-of-view in future columns).
What IS always included are crimes, criminals, and (hopefully, depending upon the skill of the writer) the criminals’ motives.
Interestingly enough, the protagonist in crime fiction does not have to be the individual looking for answers; the story could be told from the point-of-view of the criminal instead.
THE FUTURE OF CRIME FICTION
With the imaginings of science fiction becoming the reality of today, the future of contemporary-based crime fiction is filled with technology. That’s the change from the Perry Mason days. Historical novels, of course, will continue as they are. But for those of you who write in the present day, remember that the focus of this genre is based upon crime, so put on your criminal mind. Based upon my conversations with forensic experts at Killer Nashville, I predict us seeing an increase in:Government and private (think insurance) data collection agencies using private information against the individual (NSA and NGI scare 1984 to death – Orville is rolling in his grave);
Religious-core crime (the rise of extremists everywhere, not just Muslims);
The expanded use of biometric identifiers (human body parts and fluids) in the detection of crimes;
Legal and court-room dramas where the focus is based totally upon forensic method over legal argument;
Cybercrime and computer crime (even crimes committed by computers with artificial intelligence, thus the recent warning from Bill Gates, et al.); and
Greater forensic applications in police procedural novels possibly shifting the protagonist from detective to forensic technician.
And, now, for the research (this is what I tell my family when I want to read or watch a movie).
EXAMPLES FOR EXPLORING THE CRIME GENRE ON YOUR OWN
The focus of this column is again not to tell you what to write. It is to get you to note things on your own from multiple genres that can bring freshness to your own plots. I don’t want to put you in a box; I want you to expand the box. But you can’t do that until you’ve truly explored the box as it currently exists; you can’t have a conversation until you have some knowledge from which to discuss. To get started, I’ve been thinking of some of the most impactful crime fiction films and novels.
Here’s an incomplete list, but it will surely give you something to work with as you explore the crime genre. These are in alphabetical order by title because I’m not sure one is better than another in a particular aspect. But all inclusively, these are some basics of the genre.
For films, I’ve included the director’s name and year in case there are multiple titles (I didn’t note the screenwriter simply because they are harder to search, not a deliberate oversight).
For books, I’ve included title and author.
For some, I’ve listed the book version and for others – maybe surprisingly – I’ve included only the film.
Regardless, you won’t waste time with any of these as you explore the genre of crime fiction and, as you read or view, you will note your own observations of what the genre is and the different flavors of each.
To writers I know and who are a part of the Killer Nashville family, if you do not see your book or film below, don’t fret. I may be saving it for a future column. Believe me, with over 408 book and media genres and subgenres, there is room for all.
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A Coffin for Dimitrios / Eric Ambler
A Dark-Adapted Eye / Barbara Vine
A Rage in Harlem / Chester Himes
An Unsuitable Job for a Woman / P.D. James
Anatomy of a Murder / Robert Traver
Arthur & George / Julian Barnes
Beast in View / Margaret Millar
Blackbird / Tom Wright
Blanche on the Lam / Barbara Neely
Devil in a Blue Dress / Walter Mosley
Dust and Shadow / Lyndsay Faye
Eye of the Needle / Ken Follett
Fadeout / Joseph Hansen
From Russia, With Love / Ian Fleming
Gaudy Night / Dorothy L. Sayers
Hound of Baskervilles / Arthur Conan Doyle
I, The Jury / Mickey Spillane
Into the Woods / Tana French
LaBrava / Elmore Leonard
Laura / Vera Caspary
Miss Smilla’s Feeling for Snow / Peter Hoeg
Murder on the Orient Express / Agatha Christie
Mystic River / Dennis Lehane
Ordinary Grace / William Kent Krueger
Painting Death / Tim Parks
Presumed Innocent / Scott Turow
Rebecca / Daphne du Maurier
Remember Me This Way / Sabine Durrant
River of Glass / Jaden Terrell
Sneaky People / Thomas Berger
The 39 Steps / John Buchan
The Alienist / Caleb Carr
The Big Sleep / Raymond Chandler
The Black Dahlia / James Ellroy
The Blue Hammer / Ross MacDonald
The Circular Staircase / Mary Roberts Rinehart
The Complete Auguste Dupin Stories / Edgar Allan Poe
The Day of the Jackal / Frederick Forsyth
The Daughter of Time / Josephine Tey
The Final Silence / Stuart Neville
The Girl with the Dragon Tattoo / Stieg Larsson
The Intuitionist / Colson Whitehead
The Maltese Falcon / Dashiell Hammett
The Name of the Rose / Umberto Eco
The New York Trilogy / Paul Auster
The No. 1 Ladies’ Detective Agency / Alexander McCall Smith
The Postman Always Rings Twice / James M. Cain
The Secret Agent / Joseph Conrad
The Snowman / Jo Nesbo
The Spy Who Came in From the Cold / John le Carre
The Talented Mr. Ripley / Patricia Highsmith
The Third Man / Graham Greene
The Weight of Blood / Laura McHugh
The Woman in White / Wilkie Collins
The Yiddish Policemen’s Union / Michael Chabon
True Confessions / John Gregory Dunne
When We Were Orphans / Kazuo Ishiguro
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10 Rollington Place (John Fleischer, 1971)
A Cry in the Dark (Fred Schepisi, 1988)
American Gangster (Ridley Scott, 2007)
Badlands (Terrence Malick, 1973)
Bonnie and Clyde (Arthur Penn, 1967)
Bronson (Nicolas Winding Refn, 2008)
Bully (Larry Clark, 2001)
Carlito’s Way (Brian De Palma, 1993)
Carlos (Olivier Assayas, 2010)
Casino (Martin Scorsese, 1995)
Catch Me If You Can (Steven Spielberg, 2002)
Chinatown (Roman Polanski, 1974)
Chopper (Andrew Dominik, 2000)
City of God (Katia Lung / Fernando Meirelles, 2002)
Dog Day Afternoon (Sidney Lumet, 1975)
Donnie Brasco (Mike Newell, 1997)
Double Indemnity (Billy Wilder, 1944)
Get Carter (Mike Hodges, 1971)
GoodFellas (Martin Scorsese, 1990)
Heat (Michael Mann, 1995)
Henry: Portrait of a Serial Killer (John McNaughton, 1986)
Cache (Hidden) (Michael Haneke, 2005)
In Cold Blood (Richard Brooks, 1967)
L.A. Confidential (Curtis Hanson, 1997)
La Haine (Mathieu Kassovitz, 1995)
Leon (The Professional) (Luc Besson, 1994)
Let Him Have It (Peter Medak, 1991)
Mesrine (Jean-Francois Richet, 2008)
Monster (Patty Jenkins, 2003)
Ocean’s Eleven (Steven Soderbergh, 2001)
Once Upon a Time in America (Sergio Leone, 1984)
Pulp Fiction (Quentin Tarantino, 1994)
Rashomon (Akira Kurosawa, 1950)
Reservoir Dogs (Quentin Tarantino, 1992)
Reversal of Fortune (Barbet Schroeder, 1990)
Scarface (Brian De Palma, 1983)
Seven (Se7en) (David Fincher, 1995)
Taxi Driver (Martin Scorsese, 1976)
The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, 2007)
The Big Sleep (Howard Hawks, 1946)
Foxcatcher (Bennett Miller, 2014)
The French Connection (William Friedkin, 1971)
The Godfather (Francis Ford Coppola, 1972)
The Godfather: Part II (Francis Ford Coppola, 1974)
The Maltese Falcon (John Huston, 1941)
The Onion Field (Harold Becker, 1979)
The Place Beyond the Pines (Derek Cianfrance, 2012)
The Sting (George Roy Hill, 1973)
The Untouchables (Brian De Palma, 1987)
The Usual Suspects (Bryan Singer, 1995)
The Wolf of Wall Street (Martin Scorsese, 2013)
Touch of Evil (Orson Welles, 1958)
Vertigo (Alfred Hitchcock, 1958)
Zodiac (David Fincher, 2007)
Oh, I miss my days in the classroom. Thanks for the indulgence.
CLAY STAFFORD is an award-winning author, screenwriter, and filmmaker. He has sold over 1.5 million hardcover copies of his children’s adaptations and has seen his film work distributed internationally in over 14 languages. Four of his five staged murder mysteries have had Los Angeles premieres. He has reviewed books, plays, and films, writes near-daily book reviews for the Killer Nashville Book of the Day, has been quoted on book jackets, and has edited several PBS companion books associated with national series. Publishers Weekly has named Stafford one of the top 10 Nashville literary leaders playing “an essential role in defining which books become bestsellers” not only in middle-Tennessee, but also extending “beyond the city limits and into the nation’s book culture.” (PW 6/10/13). He is the founder of Killer Nashville (www.KillerNashville.com) and publisher of Killer Nashville Magazine (www.KillerNashvilleMagazine.com). He has served on the board of numerous nonprofits. Clay has a B.A. and M.F.A. and has been a professor or lecturer to several major universities. His list of current projects includes the award-winning feature-length documentary “One Of The Miracles: The Inge Meyring Smith Story” (www.OneOfTheMiracles.com) and the music CD “XO” with fellow mystery writer Jeffery Deaver (www.JefferyDeaverXOmusic.com). Previously associated with Universal Studios and PBS, he is currently President / CEO of American Blackguard, Inc. (www.AmericanBlackguard.com), a publishing / film and television / music / entertainment company near Nashville, Tennessee. More information can be found at www.ClayStafford.com.
Genres 101: A Look at Genres
by Clay Stafford
I read one time that there are over 40,000 official job titles in the United States (all with a separate numerical governmental code). The way I see it, most people in their lives only explore 1-4 of these. That leaves a possible 39,999 wonderful careers completely unconsidered by most people. Can you imagine the number of unfulfilled lives of unhappy workers who might have found joy with just a little more exploration? The same can be true of writers.
I’m a firm believer that the quality of your writing is only 10% of the quality of what you read or view. I’m sure some will argue with that, but that’s my position. I read a lot. I review a lot. I talk to a lot of authors. And my general perception is that most writers are vastly unread and therefore not the writers that they could be. Some limit themselves to a particular genre and miss the color and spark that might arise from exploring different areas.
What I want to do in this series is to explore the twelve main genres that I have personally identified in literature (and film) and then explore the other 400 subgenres contained within those twelve. At heart, I’m an academic, and this is my categorization.
As many know, I’ve reviewed books for years. I probably read more than 400 titles a year. There is much that is rehashed, addressing tired subjects. Readers can be selective in their reading and can fish with a hook for the kinds of books they like; writers cannot and must use a net, casting deeply into many unexplored and dark waters. My hope is through genre exploration and the discovery of new elements the column will serve to inspire something fresh and unique, maybe even in your own writing.
This column will succinctly detail where a particular genre began (if we can pin-point that), what makes the genre distinctive, and – should I be inspired – what I see from my position at Killer Nashville to be the future of the genre itself. The goal is not to tell you what to write; the goal is to share with you some representative great works that others have written. From that, each of you will get your own ideas of how you might push the limits of your own genre by borrowing technique from others.
I also ask you to share additional titles and points-of-view that I might have missed or did not list because of space. Share with other readers here in your comments. Get your other writer or reader friends involved. In the end, I hope to learn as much from all of you as you could ever learn from me.
Take the plunge with me. Over those mountains are many lands you may exploit.
CLAY STAFFORD is an award-winning author, screenwriter, and filmmaker. He has sold over 1.5 million hardcover copies of his children’s adaptations and has seen his film work distributed internationally in over 14 languages. Four of his five staged murder mysteries have had Los Angeles premieres. He has reviewed books, plays, and films, writes near-daily book reviews for the Killer Nashville Book of the Day, has been quoted on book jackets, and has edited several PBS companion books associated with national series. Publishers Weekly has named Stafford one of the top 10 Nashville literary leaders playing “an essential role in defining which books become bestsellers” not only in middle-Tennessee, but also extending “beyond the city limits and into the nation’s book culture.” (PW 6/10/13). He is the founder of Killer Nashville (www.KillerNashville.com) and Killer Nashville Magazine (www.KillerNashvilleMagazine.com). He has served on the board of numerous nonprofits. Clay has a B.A. and M.F.A. and has been a professor or lecturer to several major universities. His list of current projects includes the award-winning feature-length documentary “One Of The Miracles: The Inge Meyring Smith Story” (www.OneOfTheMiracles.com) and the music CD “XO” with fellow mystery writer Jeffery Deaver (www.JefferyDeaverXOmusic.com). Previously associated with Universal Studios and PBS, he is currently President / CEO of American Blackguard, Inc. (www.AmericanBlackguard.com), a publishing / film and television / music / entertainment company near Nashville, Tennessee. More information can be found at www.ClayStafford.com.
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