A Note on AI Editing for Genre Fiction
Because I work in writing and editing, friends occasionally take a certain spiteful glee in informing me of my inevitable replacement by AI. I usually laugh it off and change the subject. It all reminds me of the panic that rippled through the publishing industry upon the introduction of the supposedly print-killing e-book. Clearly, books are still around.
What Crime Writers Can Learn from The Killing: When the Perfect Plan Falls Apart
Stanley Kubrick’s The Killing shows why the best crime stories are built on failed plans. A lesson in conflict, fate, and noir storytelling.
How to Watch Drive as a Crime Fiction Writer
Drive is a study in American rugged individualism.
The term is often admired in art more than practiced in life. Strip it down, give it a getaway car and a license to kill, and you have Driver: a lone man governed by an internal code, navigating a corrupt social order.
Like classic hardboiled fiction and film noir, Drive centers on the solitary protagonist facing layered antagonistic forces. In that sense, Driver is less a modern criminal than a modern cowboy.
His car is his horse, and the bleak Los Angeles cityscape is his frontier.