Relevant bibliographies by topics / Thriller writing

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Thriller writing'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Thriller writing"

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Putri, Octavia, and Safitri Hariani. "Woman’s Bravery against Gender Inequality in Danielle Steel’s Novel The Right Time." JOURNAL OF LANGUAGE 3, no. 1 (2021): 65–72. http://dx.doi.org/10.30743/jol.v3i1.3717.

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This research is to analyze the bravery of a woman in facing gender inequality in Danielle Steel's Novel The Right Time. Alexandra Winslow is a young woman who has a dream to be a crime thriller story writer. During the journey of realizing her dream as a writer, she should be brave to face discrimination from male crime thriller writers and gender inequality from society. This research is completed by the use of descriptive qualitative method. The data are obtained by quoting related quotations from the story of the novel. Then, the data analysis is conducted by classifying the data related to the research problems of this study. The results show that there are three types of bravery done by the main character: bravery to fight against marginalization, abolish stereotype and thwart violence. Winslow's ability to write is not in doubt. Those who know Winslow closely and have read her writings find Winslow's writing to be extraordinary. Thanking to the support of the people around him, Winslow dares to continue her dream of becoming a famous writer even though she has to hide behind the identity of a man.
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Paul, C. "Die romanse en romantiese karakters." Literator 21, no. 2 (2000): 97–112. http://dx.doi.org/10.4102/lit.v21i2.472.

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André Jute sê ter inleiding van sy boek Writing a Thriller: In this book I intend to provide you with 0.9% of the fabric that makes up a published writer; that is the most help anyone can realistically offer the aspiring writer. The rest of the whole writer is made up of 0,1% communicative ability, often miscalled 'talent’, and the remaining 99,0% is the balance of genius and perspiration, though I shall call it perseverance because that more aptly describes the writer’s condition.
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Glant, Tibor. "1956 at Ten and Beethoven’s Tenth." Acta Neerlandica, no. 15 (July 10, 2020): 185–99. http://dx.doi.org/10.36392/actaneerl/2019/15/9.

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This article looks at Edward Alexander, an American diplomat who served in Hungary between 1965 and 1969, and his various writings. An Armenian-American man of letters, Alexander served in psychological warfare in World War II, then joined cold war radios and later the Foreign Service. Our focus is on the years 1965-67, when he served as Press and Cultural Affairs Officer at the Budapest Legation. Available sources include his official diplomatic reports, his rather large Hungarian state security file, a lifetime interview conducted under the aegis of the State Department in the late 1980s, a book on Armenian history, and a semi-autobiographical intelligence thriller he penned in 2000. These sources allow for a complex evaluation of his performance in Hungary and of his writing skills on account of his attempt to fictionalize his own exploits.
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Naidu, Sam. "Writing the violated body: representations of violence against women in Margie Orford’s crime thriller novels." Scrutiny2 19, no. 1 (2014): 69–79. http://dx.doi.org/10.1080/18125441.2014.904396.

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Sheridan, Brian R. "Del tatami a la página impresa: Barry Eisler y la realidad de su ficción." Revista de Artes Marciales Asiáticas 4, no. 2 (2012): 96. http://dx.doi.org/10.18002/rama.v4i2.215.

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<p>This article looks at how a lifelong passion for the martial arts has influenced the writing of international bestselling thriller author Barry Eisler. His seven novels have garnered for him a reputation for authenticity, from his approach to fight scenes to the use of modern espionage techniques. Eisler discusses how he trained at the Kodokan, the birthplace of modern judo in Japan, and its impact on his anti-hero protagonist, John Rain. He also talks about the reaction martial artists have had toward his work. 2009 looks to be a major year for Eisler as his first non-Rain book hits bookstores and a movie based on his first novel is released.</p>
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Coundouriotis, Eleni. "Memory and the Popular: Rwanda in Mukoma Wa Ngugi’s Fiction." Cambridge Journal of Postcolonial Literary Inquiry 4, no. 3 (2017): 382–97. http://dx.doi.org/10.1017/pli.2017.29.

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This essay locates the valences of the popular in Mukoma Wa Ngugi’s fiction to understand how Rwanda as a background for a thriller fits into a longer tradition of African popular genres that represent the aftermath of violent conflict. The question of whether Nairobi Heat and Black Star Nairobi attempt to illuminate the genocide or only evoke it as background shapes the approach to the popular. The essay then identifies ways in which Mukoma’s novels are also in conversation with the more canonical works of anticolonial “writing back” to empire and in fact perform an unnarration, or blotting out, of that discourse and the historical dynamics that inform it. Mukoma does not divorce himself entirely from this older literary project, which exercises a disruptive influence in the popular as he configures it. Finally, the essay examines the relation among action, morality, and sentimentality to identify how Mukoma reclaims the plot of intervention from the humanitarian framing of the failure of international intervention.
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Wiggins, Ellwood. "Cold War Compassion: The Politics of Pity in Tom Stoppard’s Neutral Ground and Heiner Müller’s Philoktet." Literatur für Leser 38, no. 4 (2015): 255–70. http://dx.doi.org/10.3726/lfl2015-4_255.

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At the same time on opposite sides of the Iron Curtain, two avant-garde playwrights decided to remake a 2400-year-old tragedy. Heiner Müller (1929-1996) and Tom Stoppard (1937-) are widely regarded as two of the most innovative dramatists of East Germany and Great Britain and respectively. In 1965, Stoppard submitted a script for a spy thriller to Granada TV and Müller published his first play since being banned from the East German Writers’ Association in 1961. Though unbeknownst to each other and writing for drastically different purposes, media, and audiences, they both lit upon Sophocles’ Philoctetes as the appropriate vehicle for their work. Sympathy has been recognized as central to tragedy since Aristotle’s Poetics, and Philoctetes is the ultimate drama of compassion. The story of the wounded Philoctetes is an Ur-scene for pity in the same way that Ajax’s slaughter of the sheep in his madness is a primal scene for indignation, or Orpheus’ descent to the underworld, for grief. In finding their way to Philoctetes, Stoppard and Müller grapple with a fundamental problem of theatrical art.
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Kennedy, Victoria. "“Chick Noir”: Shopaholic Meets Double Indemnity." American, British and Canadian Studies Journal 28, no. 1 (2017): 19–38. http://dx.doi.org/10.1515/abcsj-2017-0002.

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Abstract In early 2014, several articles appeared proclaiming the rise to prominence of a new subgenre of the crime novel: “chick noir,” which included popular books like Gone Girl, The Silent Wife, and Before We Met. However, there was also resistance to the new genre label from critics who viewed it as belittling to women’s writing and to female-focused narratives. Indeed, the separation of female-centred books - whether “chick lit” or “chick noir” - from mainstream fiction remains highly problematic and reflects the persistence of a gendered literary hierarchy. However, as this paper suggests, the label “chick noir” also reflects the fact that in these novels the crime thriller has been revitalized through cross-pollination with the so-called chick lit novel. I contend that chick lit and chick noir are two narrative forms addressing many of the same concerns relating to the modern woman, offering two different responses: humour and horror. Comparing the features of chick noir to those of chick lit and noir crime fiction, I suggest that chick noir may be read as a manifestation of feminist anger and anxiety - responses to the contemporary pressure to be “wonder women.”
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Nabutanyi, Edgar Fred. "(Un)Complicating Mwanga’s Sexuality in Nakisanze Segawa’s The Triangle." GLQ: A Journal of Lesbian and Gay Studies 26, no. 3 (2020): 439–54. http://dx.doi.org/10.1215/10642684-8311786.

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The late nineteenth-century Bugandan king Kabaka Mwanga is perhaps one of the most controversial Ugandan historical personalities because of the perceptions that have shaped and continue to shape how his sexuality is understood. The Kabaka’s sexuality, which has been placed at the center of contemporary sexuality debates in the country, is colored by complexly paradoxical spatial and chronological registers. These registers that stretch from the colonial to postcolonial moments in public discourses in the country variously mobilize Mwanga’s sexuality for propaganda purposes. While the colonial archive mobilizes Mwanga to argue that colonialism and Christianity rescued Ugandans from homosexuality, two versions of the postcolonial library simultaneously lionize and demonize this historical figure for differing ideological purposes. While the earlier postcolonial library briefly constructed Mwanga as a patriot who resisted colonialism, the most recent postcolonial record characterized by an alliance between the Ugandan state and Pentecostal Christianity demonizes Mwanga to justify their project of criminalizing same-sexualities. Writing in the throes of these topically polarizing Ugandan sexuality debates of the last decade, Ugandan novelist Nakisanze Segawa strategically inserts Mwanga’s nonnormative sexuality in the first section of her debut historical/political thriller novel to provide a counter characterization of a historical figure whose sexuality has been used as a metaphor in Ugandan public discourses on sexuality. Nabutanyi argues that Segawa’s representation of Mwanga, which counteracts his politicized portrayal, shows how same-sex loving men are ordinary and flawed.
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Giguère, Christian. "A New Hegemonic Hope: Daemonic Agency in the Techno-Thriller Novels of Daniel Suarez." Excursions Journal 4, no. 1 (2019): 1–19. http://dx.doi.org/10.20919/exs.4.2013.160.

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 The article reflects on how contemporary science fiction has initiated a paradigmatic shift in the conceptualization of hegemonic force. Focussing on the figure of the Daemon depicted in two recent techno-thriller novels – Daemon (2009) et Freedom (2010) by American author Daniel Suarez – I show how the pervasive conceptions surrounding the agency of modern technology that we find in the late writings of Martin Heidegger are confronted in twenty-first century narratives that question the way we conceptualize the hegemonic directing of human consciousness by re-examining the figures of Ancient Greco-Roman thought. In the article, I pay particular attention to how what I call the “daemonic mobility” of human thought that we find in the writings of the Neo-Platonist Apuleius is eliminated by Augustine in his devising (in City of God and his other writings) of a permanent locus of existential consciousness, and how this contributes to Heidegger’s understanding of the essence of technology as the “coming to presence of art”. By re-investing the figure of the daemon and the mobility of human thought, Suarez narratives allow us to renew our understanding of the nature of this poeisis.
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Dissertations / Theses on the topic "Thriller writing"

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Naidu, Sam. "Writing the violated body : representations of violence against women in Margie Orford’s crime thriller novels." Scrutiny 2, 2014. http://hdl.handle.net/10962/53932.

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Using the late twentieth-century French feminist notions of écriture féminine and the abject as a starting point, this article considers the various pitfalls, effects and ethical ramifications of representations of violence against the female body in South African crime fiction. How do authors reconcile the entertainment value of such representations with their aims to perform social analysis? This article attempts to answer this question by first describing how violence targeted at the female body is graphically portrayed, and, second, by assessing the effects of these visceral descriptions. Margie Orford’s novels, in particular, the first in the Clare Hart series, Like clockwork (2006), which foregrounds human trafficking, prostitution and gender-based violence, will be examined. In Orford’s Clare Hart series, the female detective figure, the various plots to do with assault, abduction, rape and murder, and the explicit imagery that descriptively conveys such crimes, are narrative techniques employed by Orford to address this scourge, and the patriarchy and sexism of contemporary South African society in general. The article ends by assessing whether a bona fide feminist subgenre of South African crime fiction is being inscribed by Orford
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Kinnings, Max. "A critical review of four novels : Hitman, The Fixer, Baptism and Sacrifice." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/14807.

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In this critical review I will explore the aims and influences; themes, characterisation, genre and plot summaries; research impact, publication histories and critical reception of my four novels: Hitman, The Fixer, Baptism and Sacrifice. In addition, I will provide a commentary on the processes and methodology I employed in the writing of the four novels as well as a critical reflection on them. Published between 2000 and 2013, my books represent a body of work that is rooted within the British crime thriller genre. However, in the nature of the novels’ construction and target readerships, they also represent two distinct literary styles. The first two novels, Hitman and The Fixer, published in 2000 and 2001 respectively are satirical thrillers in which I experiment with genre with the intention of unsettling and confounding readers’ expectations while at the same time, testing the boundaries of what the crime fiction genre can sustain. In these two novels, I draw on a range of influences and traditions in literature, film and popular culture. The second two novels, Baptism and Sacrifice, published in 2012 and 2013 are more closely aligned to the accepted conventions of the thriller genre but are no less ambitious in their intention to explore new forms of plotting and characterisation. In their writing, I was influenced more by contemporary geo-politics, particularly surveillance, intelligence, cyber warfare and the terrorist attacks of 9/11 and 7/7 than I was by literature and film. The latter two books continue a theme of experimentation I began in the first two, combining disparate influences to create original fiction. Further reflection will be made on the part that these novels have played, and continue to play, within my ongoing body of work as a novelist, screenwriter and Creative Writing academic.
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Coleman, Isaiah. "Someone to Live For, Someone to Die For." University of Akron / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=akron1606991158021014.

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Wiley, Antoinette Marchelle. "The Familiar Stranged." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1513009183178476.

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Elston, James C. (James Cary). "Bearclaw: a Novel." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500777/.

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Written in the tradition of American political suspense thrillers such as "Fail-Safe" and "Seven Days In May," "Bearclaw" uses their idealistic and nationalistic elements to tell a story of an American President eager to lead the world's peoples in a quest to achieve man's "highest destiny," the conquest of space. Believing that this common goal will cause mankind to come together in a spirit of brotherhood, he misreads the historical purpose of the United States and, in the end, refuses to recognize the obvious truths of human frailty and ambition even though he has been victimized by them. The Introduction is a brief survey of the sociopolitical and literary forces which combined to create the American political suspense thriller and an attempt to define its place in the literary canon.
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Gammon, Michael Abraham. "Spilling red ink : the writing process for "Nature red”." 2013. http://hdl.handle.net/2152/22611.

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This report details the writing process that led to “Nature Red,” a screenplay about an aging hippy with a successful farm co-op whose dark past comes back to haunt him in the form of a sociopathic drifter. I begin with the inspirations for this story. Then I discuss the “story-breaking” process, pre-writing, drafting, and revising. I will discuss what I learned about the story’s subject matter as well as what I learned about storytelling for film. Included are samples of prewriting and revision materials.<br>text
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Pope, Graham. ""Kasia from Honey street" : a novel in the thriller mode set in contemporary Poland." Thesis, 2007. http://hdl.handle.net/10413/1589.

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"Rural Thrill." Master's thesis, 2016. http://hdl.handle.net/2286/R.I.38739.

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abstract: Rural Thrill is a broken fruit, an electric fence, and, at the end, the absence of body. It comes in three sections, with the first laying the foundation for the world in which the collection takes place—a small southern town, where there is obvious economic disparity and the supernatural is easily expected, believed, and in some cases, assumed. The second section focuses more closely on the main speaker of the collection who is growing into her own sexual desires against the backdrop of a murder which has swept through her town, complicating the speaker’s relationship to her body and the way she communicates desire. In the final section of the book, the poems come even closer as they explore the internal landscape of the speaker’s body and the many versions of the speaker that inhabit that place. The internal happenings of the third section of the book, reflect back on the external world mapped out in both the first and second sections. At the end, the energy of the body is all that remains with all boundaries of physicality erased, an example of how the body and mind negotiate safety in the face of risk and desire.<br>Dissertation/Thesis<br>Masters Thesis English 2016
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Books on the topic "Thriller writing"

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Writing a thriller. Black, 1986.

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Writing the thriller. Writer's Digest Books, 2000.

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Writing a thriller. St. Martin's Press, 1986.

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Writing the thriller film: The terror within. M. Wiese Productions, 2002.

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Writing the thriller film: The terror within. M. Wiese Productions, 2002.

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Margolin, Phillip. Spi︠a︡shchai︠a︡ krasavit︠s︡a. Izd-vo AST, 2006.

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Sleeping beauty. HarperCollins, 2004.

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Margolin, Phillip. Sleeping beauty. HarperCollins, 2004.

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Margolin, Phillip. Sleeping Beauty. HarperCollins, 2004.

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Margolin, Phillip. Sleeping beauty. HarperTorch, 2005.

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Book chapters on the topic "Thriller writing"

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Michaela, Morgan. "Licensed to Thrill." In How to Teach Poetry Writing: Workshops for Ages 8–13. Routledge, 2019. http://dx.doi.org/10.4324/9781315103693-4.

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Morgan, Michaela. "Licensed to Thrill." In How to Teach Poetry Writing: Workshops for Ages 5–9. Routledge, 2019. http://dx.doi.org/10.4324/9781315103716-41.

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Lassner, Phyllis. "Double Trouble: Helen MacInnes’s and Agatha Christie’s Speculative Spy Thrillers." In The History of British Women’s Writing, 1945–1975. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1007/978-1-137-47736-1_14.

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Michaela, Morgan. "Workshop 1: Licensed to Thrill." In How to Teach Poetry Writing: Workshops for Ages 8–13. Routledge, 2019. http://dx.doi.org/10.4324/9781315103693-5.

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Morgan, Michaela. "Workshop 14: Licensed to Thrill." In How to Teach Poetry Writing: Workshops for Ages 5–9. Routledge, 2019. http://dx.doi.org/10.4324/9781315103716-42.

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Steve, Bowkett, and Hitchman Tony. "Writing a thriller story." In Developing Thinking Skills Through Creative Writing. Routledge, 2019. http://dx.doi.org/10.4324/9780429029592-7.

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"'And What Do You Call It?': The Thriller and the Problematics of Home in Northern Irish Writing." In The Thriller and Northern Ireland since 1969. Routledge, 2017. http://dx.doi.org/10.4324/9781315236797-9.

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"Girls with Guts: Writing a South African Thriller—Angela Makholwa in Conversation." In Engaging with Literature of Commitment. Volume 1. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207843_010.

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Forshaw, Barry. "Legacy of the Lambs." In The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.003.0008.

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This chapter explores the legacy of The Silence of the Lambs. What is the most significant aspect of Thomas Harris's achievement, both on the page and on the screen? Certainly, there is the creation of a massively successful franchise which has proved itself to be both durable and renewable; the latest incarnation of Harris's signature character is a television series, Hannibal, with the British actor Hugh Dancy impressively nervous as Will Graham, and the Scandinavian Mads Mikkelsen as Harris's eponymous psychiatrist. What is perhaps most enduring about the legacy of The Silence of the Lambs and the writer's other books is the permanent change that malign screen characters have undergone since the appearance of Dr Lecter in the bowels of that psychiatric institution. Nowadays, most ambitious thrillers imbue their villains with a fierce intelligence and analytical intuitiveness. But even more important than this, Thomas Harris demonstrated that popular writing can boast the acumen, elegance, and masterly prose of the best literary fiction, and has inter alia raised the game of the whole genre of thriller writing. Similarly, Jonathan Demme's place in film history is assured thanks to his confident handling of the source material and its influence on horror cinema of the late twentieth century.
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Forshaw, Barry. "Lecter’s Progeny." In The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.003.0007.

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This chapter reflects on the figure of the hyper-intelligent serial killer. The influence of the film of The Silence of the Lambs on the horror (and thriller) genre has been considerable, not just on individual films, but in terms of broadening the parameters audiences have come to expect — both in terms of material that might fundamentally disturb, but also in raising the bar for an intelligent approach to genre material. The sophistication of the Hannibal Lecter character might be said to be a metaphor for the extra levels of nuance which became the norm for the most accomplished entries in the field — no longer were rudimentary characterisations of the heroes and villains of such films the yardstick, or even a straightforwardly Manichean attitude to notions of good and evil. A more ambitious and richly textured approach became the norm. Thomas Harris's character — in screen terms at least — survived in a handful of films that matched impeccable writing and direction with some truly idiosyncratic and offkilter playing, two of them directed by the talented David Fincher. The chapter then studies Fincher's Se7en (1995) and Zodiac (2007).
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