My introduction to mystery writing was a competition for a first crime novel. I was lucky enough to win with Wobble to Death, about a Victorian long-distance race. When I went to collect the prize, I was startled to be asked if I was already at work on the next one. The publishers Macmillan had started a crime list and were looking for a career writer. I knew practically nothing about the genre and had to give myself a crash course. How I needed the support of books like these! After five years, I had the confidence to give up the day job and have made my living from mystery writing for almost fifty years.
No one can deny that Patricia Highsmith knew how to create suspense. Alfred Hitchcock saw that Strangers on a Train was the ideal spine-tingler for a great movie. Other directors have found the Ripley series perfect nail-biting stories to work with. Highsmith takes us through the process of building suspense from the germ of an idea through the plotting, the drafts, and the revisions, using examples from her own work, short stories, and novels. I’m not surprised this book has stayed in print for over fifty years. I still dip into it and get inspired.
Named by The Times as the all-time number one crime writer, Patricia Highsmith was an author who broke new ground and defied genre cliches with novels such as The Talented Mr Ripley and Strangers on a Train. In the classic creative writing guide Plotting and Writing Suspense Fiction, Highsmith reveals her secrets for producing world-class crime and thrillers, from imaginative tips for generating ideas to useful ways of turning them into stunning stories.
Accomplished author Roger Zotti masterfully weaves subjects together like spices in a delectable recipe. From Hitchcock to hockey, the author spins a complex, yet entertaining, tale and makes it look easy. Placing you inside the mind of one of Hollywood’s greatest directors, Zotti uses it as a foundation to build an inventive narrative. And it works! Never far from the perfect boxing vignette, the author also provides a glimpse into the sweet science through some of the sport’s finest authors and their current work. Only Zotti can take Oscar winner Ingrid Bergman, who starred in three Hitchcock films, and put her alongside Harry Greb, one of the best pound-for-pound boxers of all time, and draw comparisons that not even Damon Runyon could rival.
In 1979 Hitchcock was the recipient of the American Film Institute Life Achievement Award. Before presenting the award to him, Oscar winner Ingrid Bergman, who starred in three Hitchcock films-Spellbound (1945), Notorious (1946), and Under Capricorn (1949)-called him "an admirable genius."
From "Hitchcock and the Ladies" Atlas told her that "[I'm going to] teach you boxing . . . so that you can learn how to go into dark places and not get broken down. If you can learn that bit of the discipline that fighters learn, you can take that onto the stage with you."From "Teddy's Adventures in Trainer…
As a writer of Gothic-inflected suspense and horror fiction, I just can’t help it: I love to be scared! We are lucky to be in a time when so many wonderful thrillers, mysteries, suspense, and horror stories are being written and published, but I have a great love for the classics of the genre. These are the books I turn to again and again, not just to marvel at their craft and ingenuity, but to feel the skin prickle on my arms and shoulders and the hairs rise on the back of my neck. Whether for the first or the twentieth time, let these masterworks cast their spells over you.
While I am a tremendous fan of Daphne DuMaurier’s uncanny short stories, in particular, The Birds and Don’t Look Now, I reserve my greatest love and admiration for her modern Gothic masterpiece Rebecca.
While Alfred Hitchcock’s film version is justifiably a classic, it cannot capture the richness of DuMaurier’s prose nor the powerful first-person perspective of the narrator, the unnamed newlywed of a wealthy widower who finds herself cursed to always be in the shadow of his first wife, the eponymous Rebecca. It also can’t quite evoke the oppressive atmosphere of Manderley, silent and secretive, ancient and beautiful, the gilded cage of a mansion ruled over by a domineering housekeeper, the unforgettable Mrs. Danvers.
* 'The greatest psychological thriller of all time' ERIN KELLY * 'One of the most influential novels of the twentieth century' SARAH WATERS * 'It's the book every writer wishes they'd written' CLARE MACKINTOSH
'Last night I dreamt I went to Manderley again . . .'
Working as a lady's companion, our heroine's outlook is bleak until, on a trip to the south of France, she meets a handsome widower whose proposal takes her by surprise. She accepts but, whisked from glamorous Monte Carlo to brooding Manderley, the new Mrs de Winter finds Max a changed man. And the memory…
It's always great to discover a new-to-me author of crime thrillers like Peter Swanson. His two ultra-deceptive main characters deliver shocking surprises.
Two strangers meet in a London lounge, awaiting their flight to Boston. Ted is handsome and married. Lily is beautiful and also married. Attracted to one another, they sit together on the plane and swap stores of their not-so-blissful lives. When Ted reveals that his wife is cheating on him, Lily says, “Sounds like the kind worth killing.” Ted says, “How would I do it?” “So you don't get caught.”
A cross between Gone Girl and Strangers on a Train, Swanson's chapters alternate between Ted's point of view and Lily's and reveal what they're really thinking. A diabolical tale that's ultimately terrifying.
You should never talk to strangers...Gone Girl meets Strangers on a Train in this year's must-read psychological thriller. "Extremely hard to put down". (Sophie Hannah). "Chilling and hypnotically suspenseful". (Lee Child). 'Hello there.' I looked at the pale, freckled hand on the back of the empty bar seat next to me in the business class lounge of Heathrow airport, then up into the stranger's face. 'Do I know you?' Delayed in London, Ted Severson meets a woman at the airport bar. Over cocktails they tell each other rather more than they should, and a dark plan is hatched - but…
I've been a working journalist for 50 years, and as a child of TV, especially in the 1960s, I grew up with some of the most memorable TV themes ever written. I started writing about TV in the 1980s, and since moving to Los Angeles in 1986, have used every opportunity to meet and interview all of my favorite composers of movie and TV music. The result is this book, which looks at the history of TV themes and, in a larger sense, music written for TV generally. Every genre of TV, from crime to sitcoms, westerns to adventure, has had fun, often compelling, and truly memorable music, and I've tried to celebrate it here.
Bernard Herrmann is revered as one of the movies' greatest composers.
Imagine starting your Hollywood career with music for Citizen Kane!
He enjoyed a very productive 10-year relationship with director Alfred Hitchcock, which produced such masterpieces as Vertigo, Psycho, and North by Northwest; he also worked with Francois Truffaut on Fahrenheit 451, composed the original Twilight Zone theme, and capped his career with music for Martin Scorsese's Taxi Driver.
Yet he could be cantankerous and difficult, antagonizing both friends and colleagues with his temperamental behavior and insistence upon the highest standards of music and drama.
I love the fact that Smith writes as well about the music as he does about the composer, and the reader walks away knowing lots about both.
No composer contributed more to film than Bernard Herrmann, who in over 40 scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, Francois Truffaut, and Martin Scorsese. In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact. From his first film ("Citizen Kane") to his last ("Taxi Driver"), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often…
As someone who’s had a lifelong interest in psychology, especially abnormal psychology, I’ve always been fascinated the small destructions some people inflict on others – sometimes even on themselves. For me the greatest crime is not to kill someone but to reduce them by making their life uncomfortable or unwelcome. The ability to do this is what I would call a “negative skill.” It’s not easy, but some people do it uncannily well, and without caring. Perhaps because this is so alien to me, I remain riveted by stories that portray it, and some cases attempt to explain it. These are a few of those stories.
Sweet Lina McLaidlaw loves charming Johnny Aysgarth, but Johnny Aysgarth marries her for her money and doesn’t change his gambling, seducing ways one bit once he’s done so.
What makes the book so riveting is that Lina learns exactly what Johnny is like, yet she can’t bring herself to stop loving him. At one point she does leave him, but she voluntarily goes back.
Lina knows Johnny will eventually kill her so he can have it all and, knowing this, she puts herself in the cruel position of waiting for that to happen.
This book was made into a so-so Hitchcock film featuring Cary Grant and a memorable glass of milk, but the book is a riveting, breath-stealing masterpiece.
Before the Fact is a ground-breaking psychological drama of immense power, described as 'one of the finest studies of murder ever written'. Inspiring Hitchcock's classic film Suspicion, this classic title was written in the golden age of crime fiction and remains utterly compelling to this day.
When wealthy but plain Lina McLaidlaw marries feckless Johnny Aysgarth, she is certain she can change him for the better. Despite her hopes, she is soon forced to acknowledge the truth - that he is not only a compulsive liar and a crook but also a murderer. She continues to love him, while fearing…
The reason why I love horror fiction so much, and the reason why I decided to become a horror writer myself, is that horror is my No.1 genre. Ever since I saw Boris Karloff portraying, so brilliantly, the monster in Universal’s Frankenstein when I was a kid, I became a lifelong horror fan. I love both reading and writing horror fiction. I also enjoy collecting horror films, and review them regularly on my YouTube channel. I have studied the world of horror all my life, and think I have accrued a fairly broad knowledge on the subject. I have published my horror fiction books and my true paranormal books.
This book is an absolute classic, and spawned an equally classic movie directed by Alfred Hitchcock. The reason why I love Psycho so much is that it brought horror away from the traditional Gothic haunted house and castle settings right into the modern world. And if you add the aspect of mental illness in the chilling form of the Norman Bates character, then you have a horror story that becomes all too real, all too unsettling. We are not dealing with ghoulies and ghosties here, but with a deranged killer harbouring a split personality, whose warped mentality has often been mirrored in real-life crime cases. For example, Bloch based Norman Bates on an actual killer, Ed Gein. Psycho is a novel that every horror fan must read.
Mary Crane believes she has found shelter from the storm when she checks into the Bates Motel, but the knife-wielding owner, Norman Bates, soon rips her piece of mind to shreds and the nightmare begins.
I have taught philosophy and film for almost 40 years, first at Ohio State and then at Notre Dame. My focus had been German cinema, but I was drawn to Hitchcock for three reasons: first, he received his origins in Weimar Germany and owes much to German expressionism; second, his films are so cinematically beautiful and effective that I began teaching them again and again, and the students loved them; finally, I thought it worthwhile and a fun project to address the extent to which his films raise deep and engaging philosophical questions.
With the exception of the prefatory material, which one can skip, this is one of the very best books on Hitchcock.
It is beautifully written and attentive to cinematic details and larger themes. It offers rich interpretations of several central films, with the first half focused on close interpretation and the second half, written later in Wood’s career, more orientated toward Marx, Freud, and gay studies.
Though the book is uneven, it contains some of the best analyses one will ever read of Hitchcock’s major films.
When "Hitchcock's Films" was first published, it quickly became known as a new kind of book on film - one that came to be considered a necessary text in the Hitchcock bibliography. When Robin Wood returned to his writings on Hitchcock's films and published "Hitchcock's Films Revisited" in 1989, the multi-dimensional essays took on a new shape - one that was tempered by Wood's own development as a critic. This new revised edition of "Hitchcock's Films Revisited" includes a substantial new preface in which Wood reveals his personal history as a film scholar - including his coming out as a…
I love this book because it is a great mystery, made into a movie by Alfred Hitchcock.
Two men meet on a train, and one proposes that they kill each other’s enemies. The suggestion comes from a character whose psychosis unravels before the reader’s eyes and who is determined to disown rationality, empathy, and everyone and anything except adherence to his weird fixations.
The classic thriller behind the Hitchcock film, and Highsmith's first novel - soon to be remade by David Fincher, director of Gone Girl, with a screenplay by Gillian Flynn.
By the bestselling author of The Talented Mr Ripley and Carol
The psychologists would call it folie a deux . . .
'Bruno slammed his palms together. "Hey! Cheeses, what an idea! I kill your wife and you kill my father! We meet on a train, see, and nobody knows we know each other! Perfect alibis! Catch?'''
From this moment, almost against his conscious will, Guy Haines is trapped in a…
I have taught philosophy and film for almost 40 years, first at Ohio State and then at Notre Dame. My focus had been German cinema, but I was drawn to Hitchcock for three reasons: first, he received his origins in Weimar Germany and owes much to German expressionism; second, his films are so cinematically beautiful and effective that I began teaching them again and again, and the students loved them; finally, I thought it worthwhile and a fun project to address the extent to which his films raise deep and engaging philosophical questions.
Music is essential to the meaning of film, and I couldn’t get enough of this book.
Despite its narrower focus, it is a superior work, on a level with the best Hitchcock volumes. If music and film interest you, you will benefit from it. Moreover, Sullivan covers almost half of Hitchcock’s more than 50 films.
For half a century, Alfred Hitchcock created films full of gripping and memorable music. Over his long career he presided over more musical styles than any director in history and ultimately changed how we think about film music. This book is the first to fully explore the essential role music played in the movies of Alfred Hitchcock. Based on extensive interviews with composers, writers, and actors, and research in rare archives, Jack Sullivan discusses how Hitchcock used music to influence the atmosphere, characterization, and even storylines of his films. Sullivan examines the director's important relationships with various composers, especially Bernard…
