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»Scratch a journalist, especially a foreign correspondent, and more often than not you will find a frustrated thriller writer. We cover riots, revolutions and coups; we get arrested, shot at, tear-gassed, all the while gathering experiences and material that are the very stuff of human drama. It seems a natural progression to use our notebooks to create fiction as well as factual writing.«

Adam LeBor

Mastering the art of writing fiction about spies: Journalist and writer Adam LeBor (The Geneva Option) about Tinker, Tailor, Reporter, Thriller. His essay you will find at The New York Times.

»For most of us, the main problem seems to be a kind of over-remembering, a piling on of incidents that make sense individually but, taken all together, seem improbable. People tend to think of recollections as fading over time, but memories also grow like manuscripts being revised. In remembering, we add and fill in—and the more often you remember something, the more you change it, by committing to memory your own imaginative acts of recall. That’s why, eventually, our memories take on the glow, drama, and swiftness of fiction.«

Joshua Rothman

Memento: When Dan Brown Came to Visit – an essay by Joshua Rothman. At The New Yorker.

»There’s a long tradition of shotguns and spare-prose fiction depicting America’s working class, and right now the Midwest is having a literary moment. Dennis Lehane, who anchors his crime novels in Boston, once told an interviewer that ›in Greek tragedy they fall from great heights. In noir they fall from the curb.‹ In books by a small but growing number of authors—besides Bill, Donald Ray Pollock (Ohio), Bonnie Jo Campbell (Michigan), Alan Heathcock (Illinois)—there are no curbs. The roads are gravel and dirt, but the people still find a way to fall.«

Craig Fehrman

A worth reading essay by Craig Fehrman about the authors Frank Bill (Crimes in Southern Indiana: Stories, Donnybrook) and Donald Ray Pollock (Knockemstiff, The Devil All The Time) and the new violent Midwestern fiction. You can read his essay Country Noir at The American Prospect.

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