Cain — sandblasted the detective novel of its decorousness and instilled it with a sweaty vitality. Instead of creating self-contained locked room mysteries, Chandler created stories that looked outward, struggling to make sense of a morally ambiguous world. He dedicated his career to the genre, influencing generations of writers after him. His very name became synonymous with his terse, pungent style.
Crime writer Niall Leonard: Random House Niall Leonard cover Photograph: Random House The crime novel, as a visit to any good bookshop will tell you, is a huge category, and I would never claim to know the definitive method of constructing and writing one; I can only go from my own experience of writing for TV shows like Silent Witness and Wire in the Blood, and the crime novel trilogy that started with Crusher.
The best place to start is with a story that fascinates you as a writer. If you feel excited writing it there's a far better chance your readers will feel excited too. Real life is always the best source of stories, but never rely on newspapers or TV for the whole truth: Recycling other writers' work is not good writing any more than reheating a supermarket meal in a plastic tray is good cooking — research is essential if you want your tale to ring true.
That means getting as close to an original source as possible. If you want to know what happens in a post-mortem, go to a hospital and talk to a pathologist. If you want to know about police procedure, speak to a detective at your local station.
Be persistent, and you'll find a contact. Experts love talking about their work to intelligent, interested listeners and that's true of ex-criminals too. Good research will lead you to stories far more interesting and original than anything you could dream up at your desk.
That said, never let authentic details drown out your story; your job is to entertain your readers, not lecture them. To write a crime novel, of course, you need a crime. The murder story is as old as the Bible if you count Cain and Abel and the crime I chose to kick off Crusher.
Next you need a protagonist to unravel the mystery — not just whodunnit, but why. You might use a copper, or a criminal, a private eye or as in Crusher a relative of the victim who feels compelled to seek justice. It might even be a combination of all three, if you want to get clever — but the audience will always want to follow a character who drives the story forward, whether they are doing good deeds or bad.
Next, you need a motive for the crime — or preferably several motives, all equally feasible. In Crusher the possible motives were jealousy, anger, or cover-up. These various motives in turn suggest various suspects: All these motives should spring from their own stories, so when your protagonist unpicks them even the false leads have a satisfying payoff.
Rather than waiting for the answers to fall into his or her lap your hero should pursue these leads actively, by talking to suspects, uncovering lies, and examining the evidence for clues.
The trick, of course, is to try and make these clues obscure and ambiguous, so they only make sense in hindsight when the villain is revealed; that's what gives the most satisfaction to the attentive reader. In the same way, it's more satisfying for the reader if the killer features in plain sight from very early on ideally with a 'rock-solid' alibi rather than appearing from nowhere towards the end of the story.
This annoying cop-out is known as deus-ex-machina, from old dramas when an actor playing a god would be lowered by a crane onto the stage to tie up the play's loose ends, and it leaves your audience feeling cheated.
Always try to resolve your story through the actions of your characters, rather than by coincidence or accident. If you know before you start writing exactly who did what and I always have to it's relatively straightforward to hide the clues that will lead to the ultimate revelation; but sometimes as you are writing a new more satisfying resolution to a storyline will occur to you.
In that case you have to work backwards through the text planting new clues that lead to the new payoff.Jul 28, · Tips for Writing Compelling Back Cover Copy by Jodie Renner, editor, author, So your back cover copy or book description needs to: – Grab readers’ attention – in a good way Writing a Killer Thriller and Fire up Your Fiction, which has won two book awards so far and is a finalist for 3 more.
Look for the third book in Author: Crime Fiction Collective. 10 Tips on How to Write Believable Crime and Murder Scenes March 2, in Writing for Life with 78 Comments We’re starting a fun series covering a number of weeks featuring guest posts from professionals who work in medical, police investigation, and .
10 Tips on How to Write Believable Crime and Murder Scenes by Garry Rodgers give writers tips on how to write believable crime scenes. 78 Responses to “10 Tips on How to Write Believable Crime and Murder Scenes” Angie Dixon March 2, if you’re writing a crime novel, your target audience probably has a very high percentage of.
Writing tips for kids from children's authors Children's books How to write the perfect crime story To write a crime novel, of course, you need a crime.
How to write a romance novel: Avoid romance writing mistakes. Start with these 9 romance writing tips: 1. Know the romance genre (and your own subgenre) inside out 2.
Choose love story ideas that allow character development This policy covers how we use your personal information. We take your privacy seriously and will take all .
Either way, crime novels are popular. No matter what bookstore you enter, you’ll find a crime section. With so many novels written in the crime genre, it can feel like an easy one to write in, but as with anything else, it only looks easy when it’s done well.