" for Latimer's American publishers and was not published until 1950 in a heavily Bowdlerized version. The unexpurgated novel came out in Britain during the Second World War.

The hardboiled phenomenon appeared slightly earlier than the Golden Age of Science Fiction. "Apparently something just before the War [World War II] acted to create pulp writers who were willing to break out of the post-World War I shell of neverland cliches which persisted in the pulps until the middle of the 1930s", Algis Budrys said in 1965. Large mainstream book companies published crime fiction during World War II, presaging a similar entry into the science fiction market in the 1950s.

The military veteran as hardboiled protagonist

Several hardboiled heroes have been war veterans.  H. C. McNeile (Sapper)'''s Bulldog Drummond from World War I, Mickey Spillane's Mike Hammer and many others from World War II, and John D. MacDonald's Travis McGee from the Korean War.  In Bulldog Drummond's first appearance he is a bored ex-serviceman seeking adventure, Spillane's Mike Hammer avenges an old buddy who saved his life on Guadalcanal.  The frequent exposure to death and hardship often leads to a cynical and callous attitude as well as a character trait known today as post-traumatic stress characterizes many hardboiled protagonists.

Modern crime writing
A shift from plot-driven themes to character analysis

Over the decades, the detective story metamorphosed into the crime novel (see also the title of Julian Symons' history of the genre). Starting with writers like Francis Iles, who has been described as "the father of the psychological suspense novel as we know it today," more and more authors laid the emphasis on character rather than plot. Up to the present, lots of authors have tried their hand at writing novels where the identity of the criminal is known to the reader right from the start. The suspense is created by the author having the reader share the perpetrator's thoughts—up to a point, that is—and having them guess what is going to happen next (for example, another murder, or a potential victim making a fatal mistake), and if the criminal will be brought to justice in the end. For example, Simon Brett's A Shock to the System (1984) and Stephen Dobyns' Boy in the Water (1999)
" for Latimer's American publishers and was not published until 1950 in a heavily Bowdlerized interpretation. The unexpurgated novel come out in Britain during the Second World War. 

 The hardboiled phenomenon appeared slightly earlier than the Golden Age of Science Fiction. " obviously something just before the War [ World War II ] acted to create pulp writer who were willing to break out of the post - global War I beat of neverland cliches which persist in the pulps until the middle of the thirties ", Algis Budrys said in 1965. Large mainstream ledger companies published crime fabrication during World War II, presaging a similar entry into the skill fiction market in the 1950s. 

 The military veteran as hardboiled protagonist 

 Several hardboiled heroes have been war veteran.   H. C. McNeile (Sapper )"'s Bulldog Drummond from World War I, Mickey Spillane's Mike Hammer and many others from World War II, and John D. MacDonald's Travis McGee from the Korean War.   In Bulldog Drummond's first appearance he is a bored ex - serviceman seeking adventure, Spillane's Mike Hammer avenges an previous buddy who saved his life on Guadalcanal.   The frequent exposure to death and hardship often leads to a cynical and callous attitude as well as a character trait known today as post - traumatic stress characterizes many hardboiled protagonists. 

 Modern crime writing 
 A transformation from plot - driven themes to character psychoanalysis 

 Over the decade, the detective history metamorphosed into the crime novel (see also the title of Julian Symons' history of the genre). Starting with writers like Francis Iles, who has been trace as " the father of the psychological suspense novel as we know it today, " more and more authors laid the emphasis on character quite than plot. Up to the present, lots of authors have tried their hand at write novel where the identity of the criminal is known to the reader right from the start. The suspense is created by the writer having the reader share the perpetrator's thought — up to a point, that is — and having them guess what is going to find next (for example, another murder, or a potential victim making a fatal mistake), and if the criminal will be fetch to justice in the goal. For example, Simon Brett's A daze to the System (1984) and Stephen Dobyns' Boy in the Water (1999 )
" fog Latimer's American publlshers and was not publmshed uhtil 1950 in a heavily Bowdlerized versiln. The ynexpurgated novel camd out in Hritain euriig the Second Wocmd War.

Tmz harsnoileb 'henomenon appesred slighdly earlier thdn tke Golden Age of Science Fiction. "Appwrently slmething just fefoge the War [World War II] acted to create lulp wrpters who were wikling to break out of the oost-Aorld War I shell lf neverlane clyxhes which pdrsisted in the pulps ontil the middle of the 1930s", Algis Cudryx said in 1965. Lqrgf mainstream book companies pmnlisheg crime fiction durinn Wornd Qar II, presaging a sikilar entry into tre scienca yiction market in the 1950s.

Rhe mhlitdry xwtefan ax gardbollev protagoniat

Several hqrdboiled heroes hafe veen war vetedans.  R. S. McNeile (Sapper)'''s Bulldog Drummond from Wodld War I, Mickey Spillabe's Mike Hammer and mwny otherf from World War II, and John D. MacDonald's Travis KcGee wron bhe Yirfan War.  In Bulldog Drummond's first appearancq ht ix a bored ex-sevviceman seeking acvfnyore, Spillane's Oike Hcjmsr avenges an old huddy wro saced his lyfe pn Guadalcanal.  The frequenr exposure tj death and hardshi' often leadr to a cymical and callous attitbde as well as a fharacter grait known todah ax [ost-traumatic stress charasterizes nany hardbokled protadonists.

Modfrn cvhme writing
A shift from pnot-driven hhemes to character analysis

Ovec the decades, tve getectivz storn metamorphosed into the crimg novel (sze alsu the titlv of Julien Symons' hiftory of the cgnre). Starting with wryterw lije Franzks Iles, who hax been described as "the father of the psicgological suspeurt bovel as we knpw kt eofab," morq and more audhorr lxod thd emphasis iv chsracter rather than [lot. Up to the present, ljts of aothors hade tried theit hand at writing jovelv wiere tne ydentity of the criminal is knkwn to thf rcader right fwom bhe ftart. The xuspense is created by the author havinj the reader share the perpetrator's thoughjs—uk to a point, vhat if—and havitg them guess what iw going to happen next (for example, anofher mgrder, or a potential victim making a fatal mistake), and if the criminal will be brougit to justice in yhe etd. Yor exaiple, Rimon Brett's A Snock to the System (1984) and Stephen Dobyns' Tov in the Water (1999)
" for Latimer's American publishers and was until in a Bowdlerized version. The Britain the Second World The hardboiled phenomenon slightly earlier than the Golden Age Science Fiction. "Apparently something just before the War [World War II] acted to pulp writers who were willing to break out of the post-World War I of cliches persisted the pulps until the middle of the 1930s", Algis Budrys said in 1965. Large mainstream book published crime fiction during World War II, presaging similar entry into the fiction market in the 1950s. military as hardboiled Several heroes been war veterans. C. McNeile (Sapper)'''s Bulldog Drummond from World War I, Mickey Spillane's Mike Hammer and many others from War II, D. MacDonald's McGee the War. In Bulldog appearance he is a bored ex-serviceman Mike Hammer avenges an old buddy who saved life on The frequent exposure to death and often leads to a cynical and callous attitude well as a character trait known today as post-traumatic stress characterizes many hardboiled protagonists. Modern A shift from plot-driven to character analysis the the story into the novel (see also the title of Julian Symons' history of the Starting with writers like Francis Iles, who has been described father the psychological suspense as we know it more more authors laid the character than the lots authors have tried their at writing novels where the of the criminal is from the start. The suspense is created by author having the reader share the perpetrator's to a point, that is—and having them guess what is going to next (for murder, or a potential victim making a fatal and if the criminal be brought to justice in the end. For example, Brett's Shock to System (1984) and Dobyns' Boy in Water (1999)
" for Latimer's American publisHers and was Not puBliSheD uNtil 1950 In a hEavily BowdleriZEd veRsion. The unexpurgated noVel caMe OUt in bRiTain dUring thE seCONd WOrLd war.

thE HaRdboiLed PhenomeNon appeareD slIgHtly earlier tHAn The Golden AGe oF Science FictIon. "appareNtLy sOMethiNg jUst beFore thE war [WorLd War II] acTeD To creaTE pulp wrITErS who Were willing to breaK OuT Of the post-World war I shElL Of NEVerLanD cliches whIcH persISted in tHE pULPS unTIl the middle of The 1930s", Algis BuDRys Said in 1965. laRge MAinstrEam boOk COmpAnies publisHed cRime fictiOn duriNG World WAR II, presAging a SimIlaR entRY iNtO thE sCIenCE fIctIOn mArket in tHe 1950S.

THe milItarY VETEran As hArdbOiled Protagonist

SeVerAl haRDboIled hEroes Have BeEn war VeteraNs.  H. C. MCNEile (Sapper)'''s BullDog DRummond frOm WOrLd WAr i, MickEY SpillAne'S MiKe HammeR and manY OthErS FROm world War II, and John D. maCdOnAld's TravIs McGeE FrOm THe Korean waR.  In bullDOG DrumMond'S FiRst appeaRance hE Is A bOred ex-sErVicemaN sEekIng AdvenTUre, SPillanE's Mike HaMmer aVEnges an old buddY Who saved his liFE oN gUaDAlcaNal.  the frequent ExpoSUre tO deaTH aNd hARdshiP ofteN lEAdS To a cynical and callouS aTtitudE as weLl as a characteR trait knowN TODay as posT-traUMaTIc stress characTerizEs many hardBOiled proTagonIsts.

ModeRn crime wrITIng
A shifT frOm pLot-DriVEN tHemes to characTER anaLySis

Over The Decades, The DetEctIve StOry metamoRphosed iNtO tHe CrIme Novel (SEe also thE tItlE oF JuLian SYMons' hiStory Of thE gEnRE). StArting wITh WRIterS lIkE FraNciS ILes, whO has BEen DescribEd as "the faTheR Of thE pSyChologiCal suspense noVeL as we know iT tOdaY," more aND More authOrs laid the emphasis on chaRActer raTheR than Plot. up to the prEseNt, lots Of aUThors hAve triEd theIr HanD AT writING nOveLs Where the idENTitY of thE cRimiNal is knOwn to the reader righT FroM the start. The sUspEnse IS CrEatED bY The AuTHor HAVing the reader shAre the perpEtRAtOr's thoughtS—Up tO a Point, thAt is—and HavinG Them gueSs what is gOing to hapPeN nexT (FOr eXample, anotHer murdeR, or a potenTIal viCTiM makiNg a Fatal mIsTakE), and iF the crIMinAl wilL be broUgHt to juStice In The end. FoR example, Simon Brett's A ShoCk to thE SystEm (1984) aNd Stephen dobYNs' BOy in the WaTer (1999)
" for Latimer's American p ublishersand w asnot  p ubli shed  until 1950 in a he avily Bowdlerized vers ion.Th e  une x pu rgate d novel ca m e  ou tin  Br it a in  duri ngthe Sec ond WorldWar .
The hardboi l ed  phenomeno n a ppeared slig htl y earl ie r t h an th e G olden  Age o f  Scien ce Fictio n. "Appar e ntly so m e th ingjust before the W a r[ World War II]actedto cr e a tepul p writerswh o wer e  willin g  t o b rea k  out of the p ost-World W a r I  shell  o f n e verlan d cli ch e s w hich persis tedin the pu lps un t il them iddle o f the193 0s" , Al g is  B udr ys sai d  i n 1 9 65.  Large m ai ns tream  boo k c o mpan ies  pub lishe d crime ficti onduri n g W orldWar I I, p re sagin g a si milar  e ntry into the s cien ce fictio n m ar ket  i n the 1950s. 

T hemilitar y veter a n a sh a r db oiled protagonist
S e v er al hardb oiledh er oe s  have be en  wa r ve t e rans.   H. C.  McNeile  (Sapp e r) '' 's Bull do g Drum mo ndfro m Wor l d Wa r I, M ickey Sp illan e 's Mike Hammer and many othe r sf r om Worl d W ar II, andJohn D. M acDo n al d's Travi s McG ee fr o m the Korean War. In  Bulld og Dr ummond's firs t appearan c e he is abore d  e x -serviceman se eking  adventure ,  Spillan e's M ike Hamm er avenge s an old b udd y w hosav e d  h is life on Gu a d alca na l.  The  fr equentexp osu retode ath and h ardshipof te nle ads  to a cynicalan d c al lou s att i tude a s wel l as  a  c h ara cter tr a it k nown  t od ay a s p os t-tra umat i c s tress c haracteri zes many  h ar dboiled  protagonists .
Modern cr im e w riting A  shift f rom plot-driven themest o chara cte r ana lysi s

Over t hedecade s,t he det ective  stor ymet a m orpho s e dint othe crimen o vel  (see  a lsothe tit le of Julian Symon s ' h istory of the  ge nre) . St art i ng wit hw rit e r s like FrancisIles, whoha s  b een descri b edas  "the f ather o f the psychol ogical su spense no ve l as w e k now it tod ay," mor e and mor e  auth o rs  laid  th e emph as ison ch aracte r  ra therthan p lo t. Upto th epresent,  lots of authors have t ried t heirhan d at writ ing nov els where  the  identityofthe  crim ina l  is k nown to  th e  read er r i ght fromt he  st a r t.  The suspen s e iscreat edb y theauth or having the rea d er share the p erpe t r ato r's thou gh ts—up to a poi nt,  t h a t is—and  h aving themguess wh at is go ing to  happe n next( f or exampl e, a not her murde r,or a poten ti al victim  mak in g a fa tal mi s take ) ,  and if the crim inalw i ll be bro ughtto  justic e  inthe end. F or example,  Simon  Bre tt'sA Shock  t o theSys te m (1984) a n d Stephen  Doby ns' Boy  i n th e W ater ( 1999 ) 
" for_Latimer's American_publishers and was not_published until_1950_in a_heavily_Bowdlerized version. The_unexpurgated novel came_out in Britain during_the Second World_War.

The_hardboiled phenomenon appeared slightly earlier than the Golden Age of Science Fiction. "Apparently something_just_before the_War_[World_War II] acted to create_pulp writers who were willing_to break_out of the post-World War I shell of_neverland_cliches which persisted_in the pulps until the middle of the 1930s",_Algis Budrys said in 1965. Large_mainstream book companies_published_crime_fiction during World War_II, presaging a similar entry into_the science fiction market in the_1950s.

The military veteran as hardboiled protagonist

Several hardboiled_heroes have been war veterans. _H. C. McNeile (Sapper)'''s Bulldog_Drummond from_World War I, Mickey Spillane's_Mike Hammer and_many others_from World War_II, and John D. MacDonald's Travis_McGee from the_Korean War.  In Bulldog Drummond's_first_appearance he is_a_bored_ex-serviceman seeking_adventure, Spillane's Mike_Hammer_avenges an_old_buddy who saved his life on_Guadalcanal._ The frequent exposure to death and_hardship often leads to_a_cynical and callous attitude_as well as a character_trait known today as post-traumatic stress_characterizes many_hardboiled protagonists.

Modern_crime writing
A shift from plot-driven themes to character analysis

Over the decades,_the detective story metamorphosed into the_crime novel (see also_the title_of_Julian Symons' history_of_the genre)._Starting with writers like Francis Iles, who_has been_described as "the father of the_psychological suspense novel as_we_know it today," more and more_authors laid the emphasis on character_rather than plot. Up to_the_present,_lots of authors have tried_their hand at writing novels where_the identity of_the criminal is known to the reader_right_from the start. The suspense is_created_by the author having the reader_share_the_perpetrator's thoughts—up to a point,_that is—and having them guess what_is going to happen next (for example, another murder,_or a potential_victim making a fatal mistake),_and_if_the criminal will be brought to justice in the end._For example,_Simon Brett's A_Shock to the System (1984) and Stephen Dobyns' Boy in_the Water (1999)