My Top Ten Crime Writing Tips

 By Gillian Hamer

Gillian Hamer has published three cross-genre thriller novels via Triskele Books – The Charter, Closure and Complicit. She is now working on the third book in her Gold Detective series after the successful release of Crimson Shore and False Lights. She's a founder member of Triskele Books and an avid reader of crime novels. 

Here, Gillian imparts advice and tips she has accumulated over more than a decade writing in her favoured genre - for any writers who may be considering trying their luck in the murky world of crime and thrillers.

Knowing your market.

Read widely and varied - by that I'd suggest as many authors as possible, not necessarily as many books. If you’ve read one book by Rankin or McDermid, then move on. Find what else is out there. That means reading the classics but also being aware of current market trends too. For example, I had a meeting with an editor of a major publisher who liked my writing but thought I needed to make my style darker. ‘Read Tess Gerritsen, she said, try Kathy Reichs (both authors I’d never previously read) - those are the writers who are selling now.’ Sample everything out there and see what style suits your writing.

Location.

Not something you may expect in the top ten of my tips on the genre – but I’m a firm believer that getting the setting right and creating a backdrop that stops the reader in their tracks is as important as a strong lead character. Written well, location can become a character in its own right. And I’m not alone in my view. Think of Dick Francis who based all his books around horse racing or Colin Dexter’s use of Oxford as a fabulous backdrop or Ian Rankin’s view of Edinburgh. Try to think of somewhere original. Research or visit the area. Make the reader connect with the place if they know it – or close the book wanting to visit. Having a solid foundation for your crime novel will improve your chances of success.

Conflict, conflict, conflict.

Plot and getting it right are crucial in crime writing, central to that is the subject of conflict. Without conflict there is no crime, in fact without conflict there is no drama in any genre. Always take care to make sure your plot has enough tension and conflict to keep the reader hooked, but also enough breathing spaces to keep the story real. Getting the level of drama in the right place, at the right time, is another consideration when trying to create a plot with tension, twists and turns. You want to amaze the reader, not frustrate them.

Killer Opening.

It is more vital in crime fiction than any other genre to grab the reader's attention during the first page, first paragraph or even the first line. Readers expect shock and awe in the first chapter and they don't want to be disappointed. So, make sure you kick off the book in the means you want to continue.

Killer Ending.

It is also vital to ensure that the reader stays with you for the journey and comes to the end, not only entertained but satisfied with the summary and conclusion. If you're writing a crime series, the best way to ensure your reader reaches for the next book is to ensure you get the end of the previous one right on all counts.

Killer characters.

While plots are crucial to the novel, they can be easily forgettable, and by the nature of crime fiction can often feel very similar. Characters, on the other hand, never leave us: Poirot, Marple, Lecter, Rebus. Characterisation is crucial in crime writing – whether that’s the goodie or the baddie. There are a wealth of new UK writers who have this nailed. Ann Cleeves with Vera for example. A character who shouldn’t work, who we shouldn’t like, and is the antithesis of everything we expect – and yet Cleeves is steadily building mass market popularity. A lesson in how to be different and competent at the same time.

Research your genre.

There's a lot of emphasis on research when writing crime. Whether it be police procedure, medical terminology or historical resources - it's vital you get it right. Credibility can be a huge stumbling block. And whilst, most of us won't know how it feels to be a pathologist or a murderer, being as accurate as possible is vital in keeping the reader's attention. If you want a forensic scientist to excel in their field, for example, and baffle your reader, make sure you study the subject yourself, not simply rely on the Wikipedia. Maybe do a forensic science course as I did. Make sure you sound as much of an expert as your characters. If you don’t get it right, your readers will – and you’ll be caught out.

Pace and Style.

Getting the pace and writing style right is another crucial element. Crime thrillers need to be tightly written, no flowery language to muddy the waters, and as a general rule you can look to reduce your first draft by at least 10%. Be ruthless in your edits. If a scene doesn't move the story on, then cut it, keep the style taut and the pace tight.

Aim for Perfection.

Today, if you have any hope of getting your work noticed, published, acknowledged – it has to be Great (with a capital G!). And that is what you have to aim for no matter how many drafts it takes. Soak up advice, good or bad, and don’t disregard a single opinion until you’ve considered it carefully. Of course, it doesn’t mean every single person who comments on your work is right – but make sure they’re definitely wrong before ignoring any advice.

Practise Makes Perfect.

You learn by experience. The more you write, the better you become. Every chapter, every draft, every novel … you will improve. Think about building your skills, engaging with fellow writers, researching the industry as well as the genre, or maybe getting expert editorial advice. All those things will increase your maturity as a writer and get you one step nearer to establishing your goal. Remember, writing can be a lonely place, but you’re not alone.

And on that note, I’ve asked a few up-and-coming crime writers what their one top crime writing tip would be.

Scene Building … JJ Marsh.

I hate violence. Which is tricky to avoid as a crime writer.
So with a violent scene, I try it both ways.
I write it twice - from victim and perpetrator perspective. Sometimes, even from the POV of an observer.

When I read the whole thing back, my instinct tells me which voice should relate the incident.
It all comes down to the effect I want to have on the reader.

JJ Marsh, author of the Beatrice Stubbs series. 

www.beatrice-stubbs.com

POV … Frances di Plino

When writing your antagonist’s parts of the book, you have to inhabit his or her head to the extent that you understand why they act as they do.

Frances di Plino – author of Bad Moon Rising, Someday Never Comes, Call It Pretending and Looking for a Reason

http://www.francesdiplino.com/

Action … Chris Curran

When you're writing a fight scene or a physical struggle, always act it out.

Chris Curran – author of After the Darkness and Her Turn To Cry.

https://chriscurranauthor.com/

Background … Sheila Bugler

Read as much crime fiction as you possibly can. Understand the different sorts of crime fiction and where your work fits within the genre. Laura Wilson's regular crime round-up in Saturday's Guardian newspaper is a great way of discovering new crime fiction writers.

Sheila Bugler, author of Hunting Shadows, The Waiting Game and All Things Nice
http://sheilabugler.co.uk/

For more ideas and tips on writing crime and thrillers, check out this post on The Writer's Workshop

Meet the Editors – Lorraine Mace

Let’s start with you – how did you become an editor?

I started as a Writers Bureau tutor (fiction and non-fiction) just over six years ago. Many of my students asked for on-going help with novels after they’d completed the course and also recommended my services to their writer friends. As a result I set up a private critique and editing service.

What kind of editing do you do?

This depends on the clients’ needs. I have some regular clients, who spell out up front exactly where they would like me to concentrate my efforts, but generally my reports cover grammar, punctuation, plot, theme, pace, voice, opening hooks and cliff-hanger ends to chapters and scenes. I also work with a number of non-fiction authors. In all cases I comment on what is working in the manuscript, as well as what isn’t.

How do you approach working with a client on a manuscript?

I like to establish upfront what the client expects and how (and whether) this can be accommodated. I am flexible on the type of help given. For example, an experienced writer is in need of different feedback and assistance to that required by a beginner writer.

How would you describe a successful author/editor relationship?

For me, trust is the key ingredient. Unless the relationship is built on trust there will always be difficulties. As a writer myself, I know how important it is to seek feedback from people whose opinions I value, but who don’t expect me to follow their ideas blindly. I want my clients to feel the same way. When I make suggestions for changes, that’s all they are – suggestions. It is up to the author to decide how, or if, to follow through on the ideas.

How does the situation differ when you’re editing non-fiction?

It doesn’t differ that much. I’m still looking to bring out the author’s voice and help to make the work interesting and have a page turning quality. I have a number of non-fiction authors who have been successful with their submissions to publishers after working through their manuscripts with me.

What kind of genres do you prefer to work on?

I don’t have a preference. My reading taste is eclectic and that follows through into my editing life. My goal is to help people tell their stories in the most entertaining way, be it fiction or non-fiction.

I’m intrigued to know how you get into the writer’s voice, how you know what kind of words might work, what sort of sentence rhythm will fit and how you know it will still sound like the author, not the editor.

I make a point of reading the entire manuscript before I pick up a pen. In this way I get a feel for the author’s voice. On second reading, I underline passages where the voice shines through. On third reading I begin editing, marking out the parts where the author’s voice falters and commenting directly on the text as to why I believe the passage isn’t working. I never suggest anything that doesn’t tie in with the sections marked out highlighting the author’s unique rhythm and style.

Robert Gottlieb says the editor’s relationship to a book should be an invisible one. Do you agree?

Absolutely. The end product should reflect the author and not the editor.

In the age of independent publishing and authors doing it for themselves, does the future look rosy for editors such as yourself?

Yes, it does. However, sadly, there are too many writers who rush to publish without employing an editor. I’ve read several self-published novels recently, with excellent storylines, but poorly edited, resulting in plot holes you could drive a train through and underdeveloped characters moving woodenly through the plot, delivering dialogue that simply isn’t credible.

Writers often agonise over blurbs and synopses. Would you be the kind of person who could help a writer distil the essence of a story?

I have a system where I show authors how to get down to the heart of their stories and will then work with them to produce attention-grabbing synopses.

What do you write?

As Lorraine Mace, I am a non-fiction author of books, articles and features. On the fiction side, I write short stories for magazines and novels for children. As Frances di Plino, I write crime thrillers.



http://www.lorrainemace.com/

Bad Moon Rising by Frances di Plino

Bad Moon Rising by Frances di Plino

Someone who I trust and respect recommended this read. At first I was not convinced it was something that I would enjoy. But, I gave it a bash. Agreed it isn’t light reading, but I couldn’t put it down. I had to force myself not to speed read. (I have a dreadful habit of peeking down the page when I am reading an exciting passage).

DI Storey and his apparently misogynistic sergeant are investigating grisly murders. The DI is a troubled soul and insights into his frustrating personal life, punctuate the narrative.

Storey’s monumental misjudgement of his ex-wife’s intentions seems a tad clumsy at first, but then strikes you as endearing and somewhat sad. His rational, inspective self is compromised. The diversity of the characters belies the comfortable, familiar links we find between them. I found it absorbing to watch relationships develop between colleagues, professional people and family members.

I had nearly all the main characters banged to rights in the build-up, and enjoyed the hints sprinkled throughout. Some were blatantly intended to send you off up some dark alley reeking of red herring. Other, quieter off the cuff remarks had me bleating ‘Aha’ and nodding wisely as I believed I had cracked the case before the DI. Only to change my mind three pages down the line.

The killer has his own tale and we are offered more about his twisted beliefs that having sex with a living person is sinful. The description of his self-flagellation is brutal and we learn more about his perverse ideas for cleansing the souls of those that sin. What intrigues you is that the killer appears to be deliberately leaving behind damning evidence.

The conclusion is harrowing. The twist is unanticipated, the characters are realistic, the story is original and the next one is eagerly awaited. 

Julie Lewis





Bookclub comments/reviews


I agree with all the above, especially the tendency to rush the story. I read it again, as soon as I'd finished. It is a cracking read, a real jigsaw puzzle of connections and suspicious gaps. The thing I enjoyed most was the whole exploration of misogyny. I think the themes are layered and complex, to do with how our views are shaped by our childhood, by the media, by our peers. It seems to highlight our sense of empathy for others - there's an agonising moment when one victim is forced to thank her killer - gave me a shiver. At least Larry and Dave show that not all mindsets are set in stone. But for one character, it's far too late.
JJ Marsh



I also agree with the review. Bad Moon Rising was one of those books where your hands ache from gripping the page (Kindle) and reading as fast as you can. Loved it. Hope Frances is a quick writer because I can't wait for the next one.
KB Walker


The review is right in line with my own thoughts on BMR. Its deeply disturbing subject, treated expertly by the author as she delves into a twisted mind, had me turning the pages right to the end. Let's hope we hear lots more about DI Storey!
Liza Perrat


I have read this book and loved it. The pace is CRACKING. I flew through it, barely pausing for breath as I read. The killer is proper nasty and the twists and turns were more than enough to satisfy this avid fan of crime fiction. It was brutal in parts, which made me pause occassionally, but as an exploration of mysogyny I think it has to be brutal. Most importantly for me, Paulo, the main character, is a wonderful creation and certainly strong enough to carry an entire series. I hope to see him again soon.
Sheila B


I agree with all that has been said so far - Frances di Plino is certainly an author to watch in the future. She has a rare ability to elicit empathy in the reader, not only for the beleaguered police officers, but also for the complex, damaged murderer, who is drawn with an expert eye for psychological detail. A great crime debut, and hopefully the first of many!
Jo Reed


A spot on review. The phrase page turner may be a cliche, but it's almost impossible to avoid when describing BMR. Di Plino explores some very grim issues with a skilful touch and even had me, most reluctantly, feeling some sympathy for the brutal killer. I think the darkness of the crimes at the heart of the novel is made tolerable for the reader because the investigating policeman, D I Paulo Storey, is such a warm and complex human being. I'll be looking out for his next appearance
Chris C