A Note To My Scientific Self...

Because it's fiction, right?

So I decided I wanted to write crime.

Now, I have a scientific background and that means I value accuracy. All right, it’s tempered by the fiction half of my brain which, by definition, is fuelled on making things up. I’ve never been one to let the facts get in the way of a good plot and you won’t have to look far in my books to find an example, but there’s a balance to be struck. For example, I made up a series of caves along a stretch of coastline in Majorca, but it was limestone and caves are found elsewhere on the island — just not the bit where I wanted them.

Crime fiction — specifically, police procedural crime fiction — is posing me problems. I’ve been spending a lot of time in the past few weeks reading up on procedure. There are some fabulously informative documents out there — I thoroughly recommend the Murder Investigation Manual and the Guidance on Major Incident Room Standardised Administrative Procedures, (both available online). These and many other documents will give you chapter and verse on exactly how an investigation proceeds.

If you spend time reading them, you’ll learn one thing — that much of the work in policing is dull, time-consuming and anything but glamorous. If I’m true to life and have a cast of dozens in our investigation, each of whom might play a tiny part and each of whom requires to be introduced as a character, at briefing meetings, I’m going to end up confusing my reader. If I allow a realistic timescale for the analysis of forensic evidence, I’m going to leave my investigators and readers twiddling their thumbs (or looking through reams of evidence which proves totally irrelevant).

Large-scale, heavily-staffed, drawn-out investigations don’t lend themselves to gripping fiction. So what does a writer do?

The answer, of course, is compromise. We have to acknowledge that we’re writing fiction, not true crime. Reduce the cast of thousands to a core handful. Show only the detective work which leads forwards, rather than along blind alley after blind alley. And assume the all forensic tests are going to be rushed through as a matter of urgency.

I’m not sure this sits easily with me, as yet, and there’s no question that the rigours of a crime novel are less comfortable than those of contemporary romance — it’s as if I’ve been writing free verse and suddenly find myself having to write sonnets. But I shall persist…

Where is the Whodunnit?

Dark deeds in a brooding landscape...

In my last blog I gave you a quick — and not especially teasing — clue about where I’m proposing to set my new series of detective novels. The answer, of course, is Cumbria, and the picture I posted was a well-known view of Ullswater looking towards Gowbarrow Fell, where Wordsworth saw his daffodils. Not that there were any there on that spring day, though they abounded everywhere else. Maybe one of the books should be The Case of the Missing Daffodils. 

Why Cumbria? Well, to begin with, it had to be somewhere I know well. There are a few options here but the most obvious among them, Edinburgh, has been done to death, so to speak. Besides, I don’t feel that the city offers quite the same range of opportunities for crime scenes. 

It came down to a choice between Cumbria and the Highlands, and the Lakes won. Why? Because there’s a range of different types of place in a relatively small area, along with terrific access and vast numbers of people coming in and out. There are wild hillsides where it would be oh-so-easy to have an “accident”. There are lakes where you can disappear, crowds in which you can be lost, a coastline into which you can smuggle your contraband — and a motorway by which you can make a sharp exit.

A wonderful place to dispose of the body.

I did try to research exactly how many people are murdered in Cumbria in a year and by what method, but I failed. My guess is that the majority of homicides here are pretty run-of-the-mill , as they are in most cases. The National Centre for Policing Excellence’s informative Murder Investigation Manual points out that: “Between them, domestic homicide and confrontation homicide account for just over half of all homicide cases. Within the category of domestic homicide, killing by a current or former spouse is by far the largest group. Compared with these types of homicide, all others are infrequent. None generally have an incidence greater than ten per cent and many are much less frequent than that”.

That’s not particularly creative — but then, it’s always been this way and it’s never stopped crime writers focussing on, and extending, the very few genuinely complex and puzzling murders that aren’t committed in the heat of the moment. So if we’re to create a series of genuinely intriguing and original crimes in a single, rather steady, location, we have to step away from reality. 

So here I am, metaphorically  speaking, looking down on a broad range of environments from a Cumbrian fell, and musing. Where in this wonderful county will the first mystery take place?

First Steps Along the Slippery Slope

Not so much whodunnit as whereisit?

Last week I shared my decision to switch genre — not, in fact, a particularly difficult thing to do, given that the writing of one type of novel shares very many of the requirements of another. Of course there are differences in the formula and the readers’ expectations, but the similarities are greater. If you ca create plausible characters, if you can structure  plot, if you can rack up the tension and produce a satisfactory ending…it doesn’t really matter what genre you write in. 

As I’ve said before I do read a lot of crime, although I avoid anything too grim and gory. And writing romantic suspense requires many of the key elements of any crime novel. With this in mind my research into crime writing of this week was a refresher rather than going in cold. Much of it is things I knew but had never thought about — such as what, exactly, constitutes a crime novel. And, under the definition that the genre encompasses everything that revolves around a crime, I’ve already written three. 

One thing that did strike me is that there seems to be a split in the how-to-write-crime ranks. One camp champion the plot as the driver of the novel, with its twists and its turns and increasingly desperate (it seems to me) ways to kill someone. The second focuses on the characters of hero and villain, especially in longer series of novels. 

Anyone who’s read one of my books will know exactly which is my dog in this fight. It’s character for me, all the way. The limitation of the romance genre was that the relationships between the two main protagonists have to be tied up at the end of the book, and moving into a different genre frees me from this. This allows me to plan a series of relationships which extend over several books, and which aren’t required to have that element of romantic love. Friendships can wax and wane, professional partnerships forged and fractured, in a realistic time frame. 

 I’ve begun with my two main characters and I know how their relationship will develop over what I hope will be the first three books in the series. And I’ve decided where to set my books. I’ll tell you that next week — but in the meantime, in true detective tradition, I’ll offer you just a tiny clue with the picture.