Rachel Franks, Jesper Gulddal and Alistair Rolls
Editorial
Carolyn Beasley
Writing a murderous mother: a case study on the critical applications of creative writing research to crime fiction
Rachel Franks
Learning all the tricks: critiquing crime fiction in a creative writing PhD
Jason Bainbridge
Lawyer as critic: analysing the legal thriller through the works of Grisham, Gardner and Lee
Donna Lee Brien and Rachel Franks
Trial by jury and newspaper reportage: re-writing women’s stories from legal transcripts and contemporaneous journalism
Alistair Rolls
Creative, critical, intertextual: Agatha Christie’s The Murder of Roger Ackroyd
Heath A Diehl
‘There are times when an old rule should be abandoned, or a current rule should not be applied’: narration, innovation and hardboiled fiction in Sue Grafton’s “T” is for Trespass
Matthew McGuire
Narratives of apprehension: crime fiction and the aftermath of the Northern Irish Troubles
Jean Anderson
Something old, something new, something borrowed: imitation, limitation and inspiration in French crime fiction
Jamie Popowich
The endangered species list: the mercurial writing of Charles Willeford and the strange case of The Shark-Infested Custard
KA Laity
Subtle hues: character and race in Dorothy B. Hughes’ The Expendable Man
Leigh Redhead
There was nothing, there was nowhere to go: writing Australian rural noir
Jesper Gulddal and Alistair Rolls
Detective fiction and the critical-creative nexus