From Hell

True crime is a non-fiction literary and film genre in which the author examines an actual crime and details the actions of real people. The crimes... most commonly include murder, but true crime works have also touched on other legal cases. Depending on the writer, true crime can adhere strictly to well-established facts in journalistic fashion, or can be highly speculative. Some true crime works are "instant books" produced quickly to capitalize on popular demand, while others may reflect years of thoughtful research and inquiry and may have considerable literary merit. Still others revisit historic crimes and propose solutions, such as books examining political assassinations, well-known unsolved murders, or the deaths of celebrities. According to Joyce Carol Oates: The works of author Yseult Bridges about British cases; Inspector Dew's I Caught Crippen ; and the Notable British Trials series were all works that can be regarded as true crime.
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Fiction is the form of any narrative or informative work that deals, in part or in whole, with information or events that are not factual, but... rather, imaginary—that is, invented by the author. Although fiction describes a major branch of literary work, it may also refer to theatrical, cinematic or musical work. Fiction contrasts with non-fiction, which deals exclusively with factual events, descriptions, observations, etc. . Realistic fiction, although untrue, could actually happen. Some events, people, and places may even be real. This is termed "faction". It can be possible that in the future imagined events could physically happen. For example, Jules Verne's novel From The Earth To The Moon, which at that time was just a product of his rich imagination, was proven possible in 1969, when Neil Armstrong and Buzz Aldrin set foot on the Moon, and the team returned safely to Earth. Realistic fiction strives to make the reader feel as if they're reading something that is actually happening—something that though not real, is described in a believable way that helps the reader make a picture as if it were an actual event.
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Horror fiction also Horror fantasy is a genre of literature, which is intended to, or has the capacity to frighten its readers, inducing feelings of... horror and terror. It creates an eerie atmosphere. Horror can be either supernatural or non-supernatural. The genre has ancient origins which were reformulated in the eighteenth century as Gothic horror, with publication of the Castle of Otranto by Horace Walpole. Supernatural horror has its roots in folklore and religious traditions, focusing on death, the afterlife, evil, the demonic and the principle of evil embodied in the Devil. These were manifested in stories of witches, vampires, werewolves, ghosts, and demonic pacts such as that of Faust. Eighteenth century Gothic horror drew on these sources in such works as Vathek by William Beckford, The Mysteries of Udolpho and The Italian by Ann Radcliffe and The Monk by Matthew Lewis. A lot of horror fiction of this era was written by women and marketed at a female audience, a typical scenario being a resourceful female protagonist menaced in a gloomy castle.
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Speculative fiction is an umbrella term encompassing the more fantastical fiction genres, specifically science fiction, fantasy, horror, supernatural... fiction, superhero fiction, utopian and dystopian fiction, apocalyptic and post-apocalyptic fiction, and alternate history in literature as well as related static, motion, and virtual arts. Speculative fiction as a category ranges from ancient works to both cutting edge, paradigm-changing and neotraditional works of the 21st century. Speculative fiction can be recognized in works whose authors' intentions or the social contexts of the versions of stories they portrayed is now known, since ancient Greek dramatists such as Euripides whose play Medea seems to have offended Athenian audiences when he fictionally speculated that shamaness Medea killed her own children instead of their being killed by other Corinthians after her departure, and whose Hippolytus, narratively introduced by Aphrodite, Goddess of Love in person, is suspected to have displeased his contemporary audiences because he portrayed Phaedra as too lusty.
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