You don’t need me to tell you that there are certain trends in crime fiction that become popular, especially if a particular book does very well. Other publishers and authors see that, and it doesn’t take much intuition to understand the appeal of doing what sells very well. It’s also easy to see how authors might be inspired to explore a topic if they see that it’s been ‘safe’ for another author to do so.
Those trends have been a part of the genre since its beginnings, and my guess is, they’ll keep happening. It’s interesting to see what’s been popular just lately, and perhaps speculate on what might be coming next. Here are just a few examples of what I mean. I know you’ll think of more than I could.
There’s been excellent Scandinavian crime fiction out there for quite a while. Many argue that it’s been a tradition since the work of Steen Steensen Blicher in the 19th Century. But many English-speaking readers didn’t experience it until the mid-to-late 1960’s, when Maj Sjöwall and Per Wahlöö’s Martin Beck series was translated. And it was even later, at the end of the 1990’s and beginning of the most recent decades, that a lot of English-speaking readers got to experience more of the richness of Scandinavian crime fiction.
Publishers saw the market, translations were commissioned, and the work of writers such as Peter Høeg, Åke Edwardson, Henning Mankell, and later, Liza Marklund and Karin Fossum (among many, many others) became better known in English-speaking markets (I can’t speak as well for other markets). This success could very well be part of what encouraged other authors and publishers to make other Scandinavian crime fiction available in English.
Scandinavian crime novels have been around for more than 150 years, but there’s been a particular interest in it in English-speaking markets in the last twenty years or so. Today it’s possible to read the translated work of many, many Scandinavian writers. Will this trend continue? Will interest fade in that particular kind of crime fiction? I don’t have the data to support myself here, but I don’t think it will fade out. Translated Scandinavian crime fiction is too well established, as I see it, and has been for some time. It’s also too broad a category. But it will be very interesting to see what form it takes as new generations of Scandinavian crime writers have their work translated.
Another trend we’ve seen, especially in the last seven or eight years, has been a large number of novels that are often called ‘domestic noir.’ In those novels, the focus is on families, intimate relationships, and the things that can go on underneath a seemingly peaceful surface.
Of course, that sort of story is not new. Work such as Margaret Yorke’s (and even work before hers) has featured this kind of plot line for some time. But since the popularity of work such as Gillian Flynn’s, publishers are seeing that domestic noir can be lucrative. That’s arguably part of why we’ve seen several such novels published in the last five years. I’m thinking, for instance, of Helen Fitzgerald’s The Cry, A.S.A. Harrison’s The Silent Wife, and Paula Hawkins’ The Girl on the Train, among many others. Publishers are seeing that there’s a market for such work, and they’re happy to meet that demand.
Will the trend continue? Will interest in it fade? I’m less certain here. In one sense, it’s a well-established sub-genre if you include books such as Yorke’s and some of Margaret Millar’s. On the other hand, it’s not as broad a sub-genre, and doesn’t have a very long history if you put it in context. I’m not sure if the current intense interest in domestic noir will continue.
Another interesting development I’ve seen (have you noticed this?) is an interest in children involved in crime and how that affects them. Some of these novels (such as Ruth Dugdall’s Humber Boy B, Simon Lelic’s The Child Who, Kanae Minato’s Confessions, and William Landay’s Defending Jacob) focus on young offenders. Others, such as Honey Brown’s Through the Cracks, feature young people who are impacted by crime among the adults in their lives. There are many other examples, too, of that sort of novel.
Of course, novels about children who are mixed up in, or the perpetrators of, crime are not new. There’s even an Agatha Christie novel that features a young person as the killer (No, I’m not saying which one. No spoilers here.). And that’s not the only Christie in which a young person is one of the suspects. But there is a lot of interest in the last few years in how we treat young offenders, how responsible they are for what they do, and whether they can be reintegrated into society.
These aren’t easy questions, of course, and perhaps that’s part of why this sort of novel has gotten a lot of attention recently. Perhaps authors and publishers are seeing that readers are open to exploring some of these difficult issues. Or it could be that as we learn more about young people’s development, we’re learning more ways in which to work with them (and ways that don’t work!).
What do you think about all this? What trends have you been noticing in the crime fiction you read? Do you think they’ll continue? If you’re a writer, do you pay attention to those trends when you choose your themes, characters and plots? And just as importantly, what do you think may be coming next?
*NOTE: The title of this post is a line from Billy Joel’s It’s Still Rock and Roll to Me.