Books like Alfred Hitchcock Presents — picked by fans

I first read Orwell’s dystopian nightmare as a teenager and have gone back to it several times since.

Apparently, it is such a brilliant description of life under totalitarianism that, during the communist era, some Eastern Europeans refused to believe that an inhabitant of a democratic country could have written such a book. 

Even today, I find the book very relevant, as Orwell develops themes of truth, propaganda, doublethink, and the misuse of language that you can find in Homage to Catalonia, written a decade earlier. And the ubiquitous and intrusive telescreen has a parallel in our age of surveillance capitalism and the way the Chinese authorities are using information technology to cement their rule.

I’m going even further back with this one. Unusual pick certainly, a YA novel from 1989 that I stole off my sister’s shelf circa 1994.

I was ten and ready for something darker than The Baby-Sitters Club. This was one of those early reads that made me want to write in the first place. The first real suspense book that had me staying up late, wondering how does one create a story like this? I still have that book, tattered and sitting on my shelf as a reminder of that first spark.

Christopher Pike is able to write stories to young readers in a timeless way. The nostalgia and sheer thrill from this story about a young woman who finds herself dead after falling four stories will bring you back to nights with covers over your head. Did she jump or was something more sinister behind her death? Only her… show more.

I hate this book for all the reasons I love it: because it’s perfect.

It’s a perfect crime novel and a perfect mystery, with perfectly awful characters, set in a perfectly fabulous situation, and as a mystery writer I know I will never ever top Christie’s brilliance – but oh my, any chance I have, I fall into this story.

Romance. Deception. Murder. Shiny things.

Genius.

Forget the movie, pick up the real thing. Poirot at his best.

There’s nothing scarier than answering personal ads to a complete stranger in my opinion. Women in Loves Music, Loves to Dance who answers a personal ad find themselves the next victim of a serial killer. What makes this particularly frightening is that the situation actually happens in real life. This book might make you rethink answering that personal ad in the newspaper or online. That’s what makes this book a nail-biter and keeps you up until all hours of the night. It is a fun read, and I highly recommend it. 

No one can deny that Patricia Highsmith knew how to create suspense. Alfred Hitchcock saw that Strangers on a Train was the ideal spine-tingler for a great movie. Other directors have found the Ripley series perfect nail-biting stories to work with. Highsmith takes us through the process of building suspense from the germ of an idea through the plotting, the drafts, and the revisions, using examples from her own work, short stories, and novels. I’m not surprised this book has stayed in print for over fifty years. I still dip into it and get inspired.

This book, for me, stands alongside The Strange Case of Dr. Jekyll and Mr. Hyde as a necessary stepping stone toward all modern 'dark double' fiction. I actually first encountered the book via one of its looser adaptations, The Man Who Haunted Himself, starring Roger Moore. I must have seen that some time in the 70s, and it stuck with me across five decades without losing its core power. The Armstrong original, written in 1940 then expanded later, is still a legitimately creepy tale, particularly in terms of the questions it refuses to answer. Watching Pelham's slow-motion collapse into paranoia and chaos is a genuinely uneasy experience, like seeing The Picture of Dorian Gray through the eyes of the portrait itself.

It starts with arguably the most famous first line any novelist has ever written, and I certainly couldn’t stop reading once I had absorbed that.

Rebecca is a classic for all sorts of great reasons. For me, the house is a character here. Manderley is as Gothic as I could ever wish for (and I LOVE Gothic).

Mrs. Danvers, the housekeeper, is one of the most sinister characters ever written. When this novel was first published (1938), certain subjects were pretty much taboo. In the light of today's increased awareness of people’s differing sexualities, I think it’s probably easier to understand her motives – not that it makes her any less scary.

For me, this is a masterpiece of storytelling that defies genre categorization and puts du Maurier firmly in my top favourite authors list.

Ever since I heard the words how a long knife had ‘skewered’ Scudder to the floor, I was hooked on Buchan’s classic story and became a devote of Richard Hannay. When I say I heard it, it is because a teacher read it to us at school when they used to do things like that. The chase around the Highlands of Scotland remains one of the greatest pieces of spy writing. You can feel the ingenuity and sheer effort Hannay has to put into his quest to avoid capture and find the 39 Steps.

I have read the book many times since, and it has stood the test of time with flying colors. In many respects, it should be the starting point for the aspiring espionage writer.

Probably the #1 challenge for me as a mystery writer is holding the readers’ attention and keeping them engaged from Page One to The End. The answer is: create suspense. Keep the reader wondering What’s going to happen next. Ask unanswered questions. Not so much “Whodunnit?” but the more complex: “What’s going on here?”

This book contains interviews with Alfred Hitchcock, the premier master of suspense, talking to the great director Francois Truffaut and dissecting the how-to of creating suspense. His examples and explanations made me truly understand the choices I make when I structure a plot, a scene, or even a moment in the book. Do I want the reader to inhale or exhale or gasp, and why does it matter?  

This is the first book I read that confirmed my own intuition—that Hitchcock’s works are as rich and complex as great literary works.

Brill’s book was a relatively early work of Hitchcock criticism, but an enduring one, a humanistic study with considerable attention paid to the films’ aesthetic and religious dimensions. The latter is fitting because Hitchcock was a deeply Catholic director.

The book offers excellent analyses, with good attention to cinematic and artistic features.