Skip to main content Accessibility help
×
Hostname: page-component-cb9f654ff-9knnw Total loading time: 0 Render date: 2025-08-29T16:45:47.510Z Has data issue: false hasContentIssue false

Writing the Detectives

Character and the Series Form

Published online by Cambridge University Press:  28 July 2025

Elspeth Latimer
Affiliation:
University of East Anglia

Summary

Crime fiction first emerged in the Victorian era and its series form continues to dominate the genre. Despite the prevalence of crime series, very little research has been done on how character is conceived. The Element's focus is contemporary, from the 1970s onward, and it determines the theory and conventions behind writing the detectives in these modern meganarratives. Exemplary series and a range of subgenres are analysed, thriller to cosy crime, professional investigator to amateur sleuth, embracing diversity and different gender identities. Previous examinations have tended to interpret the detective figure as either mythic or realist, but the author argues that both modes are combined in the contemporary crime series, generating a mythorealist protagonist. This creative-critical Element celebrates the vibrancy of the form and its capacity to investigate the human condition. It also considers future trends and concludes with the author's own guide to writing a crime fiction series.
Get access

Information

Type
Element
Information
Online ISBN: 9781009502412
Publisher: Cambridge University Press
Print publication: 21 August 2025

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Element purchase

Temporarily unavailable

References

Abbott, Megan E. (2002). The Street Was Mine: White Masculinity and Urban Space in Hardboiled Fiction and Film Noir, New York: Palgrave Macmillan.CrossRefGoogle Scholar
Anderson, Jean, Miranda, Carolina, & Pezzotti, Barbara (2015). Introduction. In Anderson, Miranda and Pezzotti, , editors, Serial Crime Fiction: Dying for More. Basingstoke: Palgrave Macmillan, pp. 17.CrossRefGoogle Scholar
Ashman, Nathan (2025). Crime Fiction and Ecology: From the Local to the Global, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Bergman, Kerstin (2014). Swedish Crime Fiction: The Making of Nordic Noir, Milan: Mimesis International.Google Scholar
Bergman, Kerstin (2015). From Conflicted Mother to Lone Avenger: Transformations of the Woman Journalist Detective in Liza Marklund’s Crime Series. In Anderson, Jean, Miranda, Carolina and Pezzotti, Barbara, editors, Serial Crime Fiction: Dying for More. Basingstoke: Palgrave Macmillan, pp. 111–21.Google Scholar
Betz, Phyllis M. (2021). Introduction. In Phyllis Betz, M., editor, Reading the Cozy Mystery: Essays on an Underappreciated Genre. Jefferson: McFarland, pp. 116.Google Scholar
Caldwell, Nicholas & Harris, Steven (2024). A Transfiguration Paradigm for Quest Design. Games and Culture Sage Journals, 19(4), 493512. journals.sagepub.com/doi/full/10.1177/15554120231170152.Google Scholar
Campbell, Joseph (1973). The Hero with a Thousand Faces, Princeton: Princeton University Press.Google Scholar
Campbell, Joseph & Moyers, Bill (1991). The Power of Myth, New York: Anchor.Google Scholar
Chambers, William & Chambers, Robert (1843). The London Police. In Chambers, William and Chambers, Robert, editors, Chambers’s Edinburgh Journal. Edinburgh: W. & R. Chambers, 12(7), 54.Google Scholar
Child, Lee (2007). Bad Luck and Trouble (#11), London: Bantam.Google Scholar
Child, Lee (2010a). Killing Floor (#1), London: Bantam.Google Scholar
Child, Lee (2010b). 61 Hours (#14), London: Bantam.Google Scholar
Child, Lee (2012). The Affair (#16), London: Bantam.Google Scholar
Child, Lee (2013). Never Go Back (#18), London: Bantam.Google Scholar
Child, Lee (2018). Interviewed by Elspeth Latimer. 20 July, Harrogate.Google Scholar
Coupe, Laurence (2010). Foreword. In Alyal, Amina and Hardwick, Paul, editors, Classical and Contemporary Mythic Identities: Construction of the Literary Imagination. Lewiston: Mellen Press, pp. xixiii.Google Scholar
Creeber, Glen (2004). Serial Television, London: B.F.I.CrossRefGoogle Scholar
Danielsson, Karin Molander (2002). The Dynamic Detective: Special Interest and Seriality in Contemporary Detective Series, Uppsala: Uppsala University.Google Scholar
Danielsson, Karin Molander (2003). The Private Life of the Series Detective. In Björk, Eva Lambertsson, Knutsen, Karen Patrick, and Vestli, Elin Nesje, editors, Modi Operandi: Perspektiver på Kriminanllitteratur. Halden: Østfold University College. ia.hiof.no/~borres/krim/pdffiler/Danielsson.pdf.Google Scholar
Danyté, Milda (2011). Introduction to the Analysis of Crime Fiction: A User-friendly Guide, Kaunas: Vytautas Magnus University.Google Scholar
Durot-Boucé, Elizabeth (2004). ‘Chew You Up and Spit You Out’: Rewriting a Familiar Fixture of the Gothic Novel. Anglophonia, 15, 209–16.CrossRefGoogle Scholar
Eco, Umberto (2005). The Myth of Superman. In Heer, Jeet and Worcester, Kent, editors, Arguing Comics: Literary Masters on a Popular Medium. Jackson: Mississippi University, pp. 146–64. (Originally published in 1962 as ‘El mito di Superman e la dissoluzione del tempo’.)Google Scholar
Felski, Rita (2015). Latour and Literary Studies. PMLA, 130(3), 737742.Google Scholar
Fracassi, Philip (2023). Crossing the Streams: Novels That Will Chill and Thrill! CrimeReads, 12 July. crimereads.com/crossing-the-streams-novels-that-will-thrill-and-chill/.Google Scholar
Frankel, Valerie Estelle (2010). From Girl to Goddess: The Heroine’s Journey through Myth and Legend, Jefferson: McFarland.Google Scholar
French, Tana (2013). Broken Harbour (#4), London: Hodder & Stoughton.Google Scholar
Gadamer, Hans-Georg (2000). Subjectivity and Intersubjectivity, Subject and Person. Continental Philosophy Review, 33(3), 275–87.CrossRefGoogle Scholar
Jean-Michel, Ganteau (2018). Diffracted Landscapes of Attention: Jon McGregor’s Reservoir 13. Études britanniques contemporaines, 55, sections 1–22.Google Scholar
Heidbrink, Henriette (2010). Fictional Characters in Literary and Media Studies: A Survey of the Research. In Eder, Jens, Jannidis, Fotis, and Schneider, Ralf, editors, Characters in Fictional Worlds: Understanding Imaginary Beings in Literature, Film, and Other Media. Berlin: de Gruyter, pp. 67110.CrossRefGoogle Scholar
Hill, Lorna (2017). Bloody Women: A Critical-Creative Examination of How Female Protagonists Have Transformed Contemporary Scottish and Nordic Crime Fiction. Ph.D. Thesis. Stirling University.Google Scholar
Hudson, Kim (2010). The Virgin’s Promise: Writing Stories of Feminine Creative, Spiritual, and Sexual Awakening, Los Angeles: Michael Wiese Productions.Google Scholar
Humann, Heather Duerre (2020). Hybridisation. In Allan, Janice, Gulddal, Jesper, King, Stewart and Pepper, Andrew, editors, The Routledge Companion to Crime Fiction. London: Routledge, pp. 5764.CrossRefGoogle Scholar
Jameson, Fredric (2016). Raymond Chandler: The Detections of Totality, New York: Verso.Google Scholar
Jones, Manina & Walton, Priscilla L. (1999). Detective Agency: Women Rewriting the Hard-Boiled Tradition, Berkeley: California University.Google Scholar
Joyce, Laura & Sutton, Henry, editors (2018). Domestic Noir: The New Face of 21st Century Crime Fiction, Cham: Palgrave Macmillan.CrossRefGoogle Scholar
Keane, Niall & Lawn, Chris (2011). The Gadamer Dictionary, London: Continuum International.Google Scholar
Kinsman, Margaret (2002). A Band of Sisters. In Chernaik, Warren, Swales, Martin and Vilain, Robert, editors, The Art of Detective Fiction. Basingstoke: Palgrave Macmillan, pp. 153–69.Google Scholar
Kovacic, Katherine (2019). Painting in the Shadows (#2), Kindle edition by Echo Publishing (location indicators with respect to 3784 locations for whole eBook).Google Scholar
Kovacic, Katherine (2020). The Shifting Landscape (#3), London: Echo.Google Scholar
Latimer, Elspeth (2020). Character Poetics in the Contemporary Crime Fiction Series. Ph.D. Thesis. University of East Anglia.Google Scholar
Latimer, Elspeth (2021a). Place as a Character in the Contemporary Crime Fiction Series. In Beyer, Charlotte, editor, Contemporary Crime Fiction: Crossing Boundaries, Merging Genres. Newcastle upon Tyne: Cambridge Scholars, pp. 158186.Google Scholar
Latimer, Elspeth (2021b). Home and Home-less: Narrating and Negating the Domestic in Contemporary Crime Fiction Series. Clues, A Journal of Detection, 39(1), 7285.Google Scholar
Levay, Matthew (2019). Violent Minds, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Locke, Attica (2018). Bluebird, Bluebird (#1), London: Serpent’s Tail.Google Scholar
Malmgren, Carl (2010). The Pursuit of Crime: Characters in Crime Fiction. In Charles, J. Rzepka and Horsley, Lee, editors, A Companion to Crime Fiction. Chichester: Wiley-Blackwell, pp. 152–63.Google Scholar
Margolin, Uri (2007). Character. In Herman, David, editor, The Cambridge Companion to Narrative. Cambridge: Cambridge University Press, pp. 6679.CrossRefGoogle Scholar
Marklund, Liza (2011a). Liza Marklund: Exposed. Interviewed by Vanessa Fox O’Loughlin. Writing.ie. 10 August. writing.ie/special-guests/liza-marklund-exposed/.Google Scholar
Marklund, Liza (2011b). The Bomber (Chronological Order #4), Translated by Neil Smith, London: Corgi.Google Scholar
Marklund, Liza (2012). Last Will (Chronological Order #6), Translated by Neil Smith, London: Corgi.Google Scholar
Massey, Sujata (2018). The Widows of Malabar Hill (#1), New York: Soho Press.Google Scholar
Massey, Sujata (2023). The Mistress of Bhatia House (#4), New York: Soho Press.Google Scholar
Mayer, Ruth (2020). The Crime Fiction Series. In Allan, Janice, Gulddal, Jesper, King, Stewart and Pepper, Andrew, editors, The Routledge Companion to Crime Fiction. London: Routledge, pp. 3138.CrossRefGoogle Scholar
McGregor, Jon (2018). Reservoir 13, London: 4th Estate.Google Scholar
Miller, David A. (1988). The Novel and the Police, Berkeley: California University.CrossRefGoogle Scholar
Mina, Denise (2007). Murder She Wrote – and Plenty of It: Denise Mina on Her Career. Interviewed by Peter Guttridge. The Observer, 29 July. theguardian.com/books/2007/jul/29/crimebooks.features.Google Scholar
Mosley, Walter (2005). Little Scarlet (#9), London: Phoenix.Google Scholar
Mosley, Walter (2014). Little Green (#12), London: Phoenix.Google Scholar
Mosley, Walter (2015). Rose Gold (#13), London: Weidenfeld & Nicolson.Google Scholar
Most, Glenn W. (1983). The Hippocratic Smile: John le Carré and the Traditions of the Detective Novel. In Glenn Most, W. and William, W. Stowe, editors, The Poetics of Murder: Detective Fiction and Literary Theory. San Diego: Harcourt Brace Jovanovich, pp. 341–65.Google Scholar
Munt, Sally R. (2004). Murder by the book? Feminism and the Crime novel, eBook (first published 1995), London: Routledge.Google Scholar
Neely, Barbara (2020). All Four Novels (#1 Blanche on the Lam; #2 Blanche among the Talented Tenth; #3 Blanche Cleans Up; #4 Blanche Passes Go), Kindle edition by Brash Books (location indicators with respect to 15879 locations for whole eBook).Google Scholar
Plain, Gill (2001). Twentieth Century Crime Fiction: Gender, Sexuality and the Body. Edinburgh: Edinburgh University.Google Scholar
Plain, Gill (2002). Ian Rankin’s Black and Blue: A Reader’s Guide, London: Continuum International.Google Scholar
Rabinowitz, Peter (2002). ‘I Never Saw Any of Them Again’: Series, Sequels, and Character Identity. Paper (unpublished) Given at International Conference on Narrative, Michigan State University. Cited by Richardson (2010) in Transtextual Characters. Upon request, Rabinowitz emailed a copy on 10 January 2017.Google Scholar
Rankin, Ian (2001). Resurrection Men (#13), London: Orion.Google Scholar
Rankin, Ian (2003). Let It Bleed (#7 pp. 1228) in Rebus: The Lost Years, London: Orion.Google Scholar
Rankin, Ian (2006). Rebus’s Scotland: A Personal Journey, London: Orion.Google Scholar
Rankin, Ian (2008). Exit Music (#17), London: Orion.Google Scholar
Rankin, Ian (2011a). Knots and Crosses (#1), London: Orion.Google Scholar
Rankin, Ian (2011b). Hide and Seek (#2), London: Orion.Google Scholar
Rankin, Ian (2011c). The Black Book (#5), London: Orion.Google Scholar
Rankin, Ian (2012). Interview with Ian Rankin by Stefani Sloma on 14 June, 2011, Edinburgh. Appendix 1 of The City as Character: Edinburgh in the Works of Ian Rankin. The Researcher: An Interdisciplinary Journal. Jackson: Jackson State University, 25(2), 7191.Google Scholar
Rankin, Ian (2016). Interviewed by Elspeth Latimer. 1 December, Norwich.Google Scholar
Rankin, Ian (2019). In a House of Lies (#22), London: Orion.Google Scholar
Richardson, Brian (2010). Transtextual Characters. In Eder, Jens, Jannidis, Fotis and Schneider, Ralf, editors, Characters in Fictional Worlds: Understanding Imaginary Beings in Literature, Film, and Other Media. Berlin: de Gruyter, pp. 527–41.Google Scholar
Rosen, Jeremy (2016). Minor Characters Have Their Day: Genre and the Contemporary Literary Marketplace, New York: Columbia University.CrossRefGoogle Scholar
Sloma, Stefani (2012). The City as Character: Edinburgh in the Works of Ian Rankin. The Researcher: An Interdisciplinary Journal. Jackson: Jackson State University, 25(2), 5395.Google Scholar
Soitos, Stephen F. (1996). The Blues Detective: a Study of African American Detective Fiction, Amherst: Massachusetts University.Google Scholar
Spindler, Robert (2013). German Saddle Pals and the Absence of Love in the Karl May Westerns. In Matheson, Sue, editor, Love in Western Film and Television: Lonely Hearts and Happy Trails. New York: Palgrave Macmillan, pp. 209–24.Google Scholar
Holmes, Stoddard, Martha, (1997). Between Men: How Ruth Rendell Reads for Gender. In Jerome, H. Delamater and Prigozy, Ruth, editors, Theory and Practice of Classic Detective Fiction. Westport: Greenwood Press, pp. 149–58.Google Scholar
Strong, Jeremy (2020). Character Adaptations: Recurrence and Return. Adaptation, 14(1), 109–35.Google Scholar
Sutton, Henry (2023). Crafting Crime Fiction, Manchester: Manchester University.CrossRefGoogle Scholar
Tripathi, Priyanka & Vijay, Febin (2022). Appropriating a Hostile Genre: Feminist Concerns in Contemporary Indian Women’s Crime Fiction. IUP Journal of English Studies, 17(2), 140–55.Google Scholar
Turnbull, Sue (2023). Monstrous Wounds: Crime, Environmental Catastrophe and Domestic Abuse in Jane Harper’s The Dry. Journal of Australian Studies, 47(2), 309–21.CrossRefGoogle Scholar
Vanacker, Sabine (2011). ‘A Visitor for the Dead’: Adam Dalgliesh as a Serial Detective. In Effron, Malcah, editor, The Millennial Detective: Essays on Trends in Crime Fiction, Film and Television, 1990–2010. Jefferson: McFarland, pp. 6681.Google Scholar
Vanacker, Sabine (2015). Series Fiction and the Challenge of Ideology: The Feminism of Sara Paretsky. In Anderson, Jean, Miranda, Carolina and Pezzotti, Barbara, editors, Serial Crime Fiction: Dying for More. Basingstoke: Palgrave Macmillan, pp. 99110.CrossRefGoogle Scholar

Accessibility standard: WCAG 2.1 AA

The PDF of this Element complies with version 2.1 of the Web Content Accessibility Guidelines (WCAG), covering newer accessibility requirements and improved user experiences and achieves the intermediate (AA) level of WCAG compliance, covering a wider range of accessibility requirements.

Content Navigation

Table of contents navigation
Allows you to navigate directly to chapters, sections, or non‐text items through a linked table of contents, reducing the need for extensive scrolling.
Index navigation
Provides an interactive index, letting you go straight to where a term or subject appears in the text without manual searching.

Reading Order & Textual Equivalents

Single logical reading order
You will encounter all content (including footnotes, captions, etc.) in a clear, sequential flow, making it easier to follow with assistive tools like screen readers.
Short alternative textual descriptions
You get concise descriptions (for images, charts, or media clips), ensuring you do not miss crucial information when visual or audio elements are not accessible.

Visual Accessibility

Use of colour is not sole means of conveying information
You will still understand key ideas or prompts without relying solely on colour, which is especially helpful if you have colour vision deficiencies.

Structural and Technical Features

ARIA roles provided
You gain clarity from ARIA (Accessible Rich Internet Applications) roles and attributes, as they help assistive technologies interpret how each part of the content functions.

Save element to Kindle

To save this element to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Writing the Detectives
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Writing the Detectives
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Writing the Detectives
Available formats
×