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The most striking feature of the modern genre fiction is its relationship with cinema. In some cases, sufficiently close to create the doubt that it is on the threshold of a new kind of mutation same: for example in a video game, where it will become increasingly difficult to determine whether the prevailing narrative or image.
This approach is in itself a recent phenomenon: between fiction and cinema has always been a trade, but of a different over time.
Until the mid-twentieth century literature has been to provide the film characters and situations, a whole set of textures, values \u200b\u200band ideologies. Then gradually the literature has been importing more and more full-bodied material, even up to adopt the techniques of his same-shared.
This has led to the development of genre novels, especially in nordamaricana, which seem more of a screenplay. Not so much just because many of them come already "designed" on a film adaptation, but because they are often already semicomplete screenplays.
In the sense that they share the script with the same formal structure: a text in which a story is reduced to only what you see and what you feel. In the script because there is no room for "thoughts" of the characters, unless they do not resort to the expedient of voiceover, though not very common in recent times. In a film designed to be rebuilt by the viewer through the acts and words of the characters.

The same seems to have become a feature of the genre, the removal of "thought" from the page. It appears increasingly evident that a growing number of writers appear to believe that the transcription of thought constitutes a delay, an obstacle to the action that it was decided to be the key feature of genre fiction.
Strictly speaking there seems to be a fact of aesthetic motivation. Often even the speed of the action, aided by a systematic use of topical elements that are equivalent to fractions of "thought" prepackaged eventually lead to a simple depletion of the narrative. You do not get in the end kinesthesia maybe you had in mind, but only the "story of a story."
short, the modern narrative seems to have married the most radical positions of phenomenology, turning every story in a sort of verification in the laboratory of the theories of Husserl.
It 's a situation that seems to me very interesting, and should be investigated more thoroughly: whether to bring it to its logical conclusion, or to fight it with all your strength.