This book provides a critical discussion of True Crime literature, arguing for the deconstruction of the genre into subgenres that better reflect a work's contents. In analysing seminal and lesser-known works, the areas of authenticity, accuracy, and author proximity are considered to form a framework on which an individual publication's subgenre (re)categorisation can be assessed. The book considers the likes of Ann Rule, Truman Capote, and Maggie Nelson, among other notable authors. Their works those that fit into True Crime and those that defy categorisation within the genre as it exists are reviewed, and their defining features critiqued. Topics such as narrative methodologies, figurative language, and utilisation of research are considered in support of this. These strands combine to a larger discussion regarding a deconstruction of True Crime, and the ways in which this will improve the social responsibility of the genre, and encourage a more conscientious consumerism of it.

Interrogates the disingenuous nature of true crime Explores narrative methods used in seminal True Crime texts Breaks down the sub-genres within True Crime

Autorentext

Charlotte Barnes is a Lecturer in Creative and Professional Writing at the University of Wolverhampton. Charlotte has primarily researched crime fiction through practice-based means, and has since published ten novels in this genre. Charlotte explores representations of female violence, and the ways in which this area can critique and contribute both to creative writing and gender studies.

Inhalt
Chapter one: Introduction.- Chapter two: Time of Death: The early era of True Crime.- Chapter three: Writing the I in True Crime.- Chapter four: Vincent Bugliosi's Objectivity: Can we side-step bias in True Crime?.- Chapter five: The Writer Inside Me: Does Ann Rule's proximity to the serial killer celebrity translate to a reliable re-telling?.- Chapter six: Writing True Crime from a safe distance.- Chapter seven: Truman Capote's World of Make-Believe: How does figurative language and creative license distort truth in In Cold Blood?.- Chapter eight: 3,500 files and an unfinished script: Is well-curated research and collaboration the key to truthful True Crime, considered through Michelle McNamara's I'll Be Gone in the Dark?.- Chapter nine: Writing creative (true) crime narratives.- Chapter ten: Manson's Girls Make a Comeback: How (c)overt is the influence of the Charles Manson case on Emma Cline's The Girls, and should readers be expected to ignore the connections?.- Chapter eleven: Narrative Hybridity in True Crime: Is Maggie Nelson integrating poetry into the True Crime genre?.- Chapter twelve: Conclusion.<p