How to Write a Crime Novel
Have a detective, obvious right?
Happy New Year, all, and thank you for your continued support. One of the books I was gifted for Christmas, and I am excited to read, is the new Robert Galbraith book, JK Rowling, for those who don't know. This started me thinking about the skills you need to write a crime novel.
Having published my novel, The Retribution Killer, last year, I thought I would share some tips I picked up during my research.
The reader can solve the mystery.
Whether it is murder, missing persons or any other premise for your crime novel, the audience should have an equal chance of solving the crime as the detective.
Nothing is more satisfying as a reader than working out the twist before the book tells you.
The crime writer then has a clever juggling act to provide clues as the book progresses, but not so many that the perpetrator is recognised in the first five chapters.
The ideal reaction would be for a reader to want to reread the book to see if they can spot the clues when they know the end.
The culprit should be discovered by deduction.
I have read books where the culprit is discovered, and you think, no way that isn’t possible. I am not talking about the wonder if you didn’t see something coming, but the plain that does not work moments.
Beta readers are your friends here; they should be able to tell you if the result is impossible.
The detective should also discover the culprit through their deductive powers, not through an accident or a coincidence. No reader literally wants a culprit to fall into the detective’s lap.
The novel needs a detective.
I know, obvious, right. But, there has to be a character following the clues so the reader can also follow.
This, however, does not have to be your typical detective; this could be a mother looking for her child’s killer. A woman who is seeking answers to her husband’s disappearance. It doesn’t matter who the character is, but your book needs a detective.
A familiar culprit is best.
I have read books where the culprit was someone we only met briefly in the novel. For example, Chris Carter wrote a book where the culprit was one of the tech guys at the scene with maybe ten lines of the story.
However, this is rare. Most detective novels work best when you have seen all aspects of the culprit, looked them in the eye and still didn’t see they were guilty.
You need at least enough information about the perpetrator to recognise them when they are revealed.
Short Passages
There are always exceptions to all rules. However, generally speaking, your crime novel should have no long descriptive passages.
Crime readers like a quick, fast-paced plot — a story where they can skip through pages, taking in all the clues and all the action. A rapid pace also helps the reader not quickly discover who the culprit is.
James Patterson has made millions from writing short chapters with no description. He isn’t my thing, but you can’t detract from his accomplishments. You can fly through tens of short chapters at a time to read a James Patterson book.
There are many other aspects of writing a crime novel that you need to consider, but if you stick to these main ones, you could write a bestseller.
If you enjoy this email, please share it so more readers can find it. If you need advice or writing tips, I would love to hear them. Drop them in the comments or email me by hitting reply to this newsletter.
Until next week, stay safe
Sam 😊
The character that lasts is an ordinary guy with some extraordinary qualities. -Raymond Chandler
