Posted in Articles, Blog Touring, Guest Posts

David Young On Trabants, Ketwurst and Blue Stranglers

Debut novelist David Young’s first Oberleutnant Karin Muller novel, Stasi Child is out now for Kindle, and here as part of his blog tour, David talks to LifeOfCri.me about a few of those things particularly loved by the East Germans.

 

imageEast Germany – or more properly, the German Democratic Republic (Deutsche Demokratische Republik in German) – is now a lost world, and many would say that’s for the best, trapped as its citizens were behind the fortified Berlin Wall and the inner German border.

But twenty-five years after the two Germanies reunited (the anniversary was earlier this month), there are still some things from the communist state that its former inhabitants hanker after. It’s spawned a form of nostalgia with its own name – Ostalgie. In my novel Stasi Child there are plenty of references to products and brands which were peculiarly East German. Some were so popular they still survive today.

Cars

My detective, Oberleutnant Karin Müller, and her deputy, Unterleutnant Werner Tilsner, drive around in an unmarked police Wartburg. But the most iconic East German car was the much-maligned Trabant. The Trabi can still occasionally be seen on the streets in eastern Germany today, even though it was made out of a strange product called Duroplast – a mixture of recycled cotton and resin. It had a horribly inefficient two-stroke engine, a top speed of 62 mph, and emitted between five to nine times the pollution levels of even an average 2007-vintage western European car. Nevertheless, they were much sought after, with citizens often on a years-long waiting list, so lucky owners maintained them meticulously. Wartburgs – a step up from the Trabi – were made of steel, and were even exported to the UK. Müller and Tilsner in Stasi Child would probably have driven a Wartburg 353 – nicknamed ‘Farty Hans’ because, like the Trabant, it was a two-stroke with copious exhaust emissions.

Food

In the original draft of Stasi Child, I had Müller eating a Ketwurst – a ketchup wurst (the German name for sausage) bought from an outdoor stand. The Ketwurst was an East German ‘invention’ – developed by the fantastically-titled State Gastronomic Research Centre – to rival the American hot dog. Then I discovered it didn’t come into being until 1977 or ’78, while the novel is set in 74/75. So instead she wards off her hunger with a quarter Broiler. The broiler was simply grilled or fried chicken and an East German fast food staple.

Other famous East German food products include the ones listed by my teenage characters in the second, parallel narrative of Stasi Child. For example, Nudossi (sometimes nicknamed Ost-Nutella) – a hazelnut and chocolate spread which actually has a higher proportion of hazelnuts than its western equivalent and is still produced today (it’s delicious!). Another is Spreewald pickles – pickled gherkins in glass jars produced in a wooded area 100 kms south-east of Berlin, which famously feature in the film Good Bye Lenin! Then there was the GDR’s answer to Coca Cola: Vita Cola, advertised as a ‘carbonated soft drink with fruit and herb flavoring’ and like its more famous western cousin, produced according to a ‘secret recipe’.

There are still restaurants in the eastern part of Germany where you can sample traditional East German dishes. One of them – the restaurant attached to the DDR-museum in Mitte – serves the favourite dish of Müller’s husband, Gottfried, Gebackene Apfelringe (baked apple rings). This features in a particularly harrowing scene in the novel.

Alcoholic Drink

Drinking alcohol was almost a national pastime in East Germany. The GDR’s official youth movement, the FDJ, even had a song about drinking beer. In the mid 1970s – when Stasi Child is set – an East German medical specialist estimated that 5% of adults in the GDR were alcoholics: four times as many as in West Germany. In my opening scene, Müller and Tilsner wake (in Tilsner’s marital bed!) with hangovers after downing too much Blue Strangler the night before. Blue Strangler in the early days of the GDR referred to 40% proof crystal vodka, and got its nickname from the blue label of the bottles (a later version actually branded as Blue Strangler was actually a grain schnapps of lower alcohol content). Although former East German detectives I spoke to insisted there was no drinking on duty or during a case, alcohol was part of daily life. East German women’s magazines even advised a special diet for those wanting to lose weight: the wurst and vodka diet!

Interestingly, when the 1989 protests which led to the dismantling of the Berlin Wall and East Germany began, alcohol consumption slumped to historic lows within a matter of weeks.

 

Stasi Child by David Young is out now in ebook. The Paperback will follow in February 2016.

Posted in Articles, Blogging

#TeaWithLeigh

12049428_10153151341282844_2841710274308182234_n“The quintessentially British tradition of afternoon tea is usually credited to Anna, 7th Duchess of Bedford in the early 1800’s.”

Or so says the menu of Anna’s tea room, as I peruse its thick, heavy-set and gilded pages trying to make a decision.

You see last month I was a very fortunate (and very smiley) reviewer who was invited by No Exit Press to experience the delights of afternoon tea with accompanying champagne at The Grosvenor House Hotel, Park Lane, London. There were several other reviewers and bloggers there along with Guest of Honour, author of the DI Geraldine Steel and DI Ian Peterson serial thrillers, Leigh Russell.

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Me with Leigh

We gathered initially in the Library where I presented Leigh with her very own “Blood Axe” (albeit a plastic one with no blood, although I did provide some red paint) and after a few fun photos

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Fellow reviewer Kirstie Long protecting her champagne from Leigh’s new Blood Axe

we were directed to our tables to order.

Tea was the first order of the day, and there were plenty to choose from, however as a person whose preference is “builders brew” that comes mainly from Yorkshire, I think I was a tad over ambitious in my selection, but in the spirit of adventure I had to try their Flowering Red Amaranth tea, just because it sounded so intriguing.image

After tea, some seat shuffling and a few more photo’s we were given a palate cleansing tropical fruit coupe, before being served with finger sandwiches, mini pastries and deliciously sweet desserts, before the final course of warmed plain or raisin scones with a selection of jams and clotted cream. All of which was absolutely gorgeous, and surprisingly more filling than you may think.

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Cakes, pastries and sandwiches

For four hours we laughed, ate, drank, (did I mention the champagne?) asked questions, talked books and reading, and Leigh’s upcoming releases. I had a fabulous time. In stark contrast to the dark themes of her regular #1 bestselling thrillers, Leigh is a delightfully sunny person to be around, is welcoming to all who enjoy reading, and supportive of those still aspiring publication. If you get chance to catch up with her at any of her regular book signings, or events (details of which can be found on the No Exit Press website) I highly recommend you do so.

 

 

 

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DI Geraldine Steel 7 – Out Now in e-book & paperback
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DI Ian Peterson 3 – Out now in e-book. Out in paperback 25th November
Posted in Articles, Blog Touring, Guest Posts

Rob Sinclair talks Thrillers: Books vs Big Screen

As part of his mini blog tour for Rise Of The Enemy, author Rob Sinclair talks to LifeOfCri.me about books and the big screen.

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Thrillers: Film versus books

I’m a huge thriller fan, whether it be books or film, and it’s probably no surprise therefore that so many of my readers have commented how they think the Enemy Series would translate so naturally onto the big screen (any Hollywood producers reading this, just give me a call). So which is best and why?

I’m not sure I have an answer to that. I love both books and films for different reasons. Books are special to so many people. With a book you transport yourself into your own world. Ok, so it’s the writer’s words you’re reading, it’s his or her characters, but those characters come to life for each and every reader and they do so in a different way. The way every reader feels about the book and the characters, how they see the setting in their heads, how they view the characters and the emotions the characters feel, is an entirely personal experience. That’s what makes a book so powerful. And as a writer, the part that I get real satisfaction from is really exploring the psyche of my characters. I like getting into their heads and drilling down to the very core of who they are. On screen, and in writing a screenplay, you just can’t get to that same depth because such a large part of the unspoken elements of the plot are purely visual.

That said, on the flip side, it’s the visual potency of films which I love. In many ways they can be a lazy alternative to books, and films definitely engage the brain in a different way than books do. But I still love them. I love the sweeping visuals that you can get, and the painstaking and gritty detail that we get to see in action scenes which has so many more levels to it than you could ever write down on a page. And films can be incredibly emotional too. We don’t get to be inside the characters’ heads in the same way as in a book – as there simply isn’t the inner narrative – but when you get a top-notch script and top-notch actors in place, there’s no doubting that you can feel a wide range of emotions watching a good film. And we feel great connections to actors and actresses because of this. It’s why they are such big A-list celebrities.

As for my own books, in many ways I think they are perhaps something of a hybrid between traditional book and film. I love both formats and have been influenced greatly by both and even though the books I’ve written are very definitely novels and not screenplays, in my head they play out more like a movie, with a big emphasis on visuals. My writing evolved in many respects as a collection of scenes, much like you’d get in a screenplay. I think that’s just the way the plots are formed in my head and the way that I translate them onto the page. I think of a scene, I flesh out the scene as much as I can in my mind, and then I write it out.

So which is best: book or film? Well, the jury is still out as far as I’m concerned. But it’s on my to-do list to re-write each of the books of the Enemy series into screenplays. I think they’d all work in that format and I’m excited to see how they look and feel. And maybe one day, when the big screen version of the Enemy series hits your local cinema, you can come and tell me which version you liked best.

image003Rise of the Enemy is available to buy now.

 

Posted in Author Q&A's, Guest Posts

Asked and Answered – Christopher Fowler

CFowler2A while ago I got to ask a few questions of the delightful Christopher Fowler.

Chris is a prolific writer of books of many genres, who is currently most notable for his series about the adventures of octogenarian detectives Arthur Bryant and John May, and their increasingly antiquated, much maligned and yet highly successful Police Department,  The Peculiar Crimes Unit.

His latest book Bryant & May: The Burning Man is out now.

 

LOC: The Burning Man marks the end of the second overreaching story arc’s in the Bryant and May series, what’s next? will we be seeing more from our favourite octogenarian pairing?

CF: The cat’s out of the bag now, Jo…I’ve been signed to more, but I’d always planned to go on – and I’d planned a way of doing so even though it appears that I’ve written the characters into an impossible corner.

LOC: My personal favourite of the series so far has been White Corridor, because of its shorter timescales, and for taking Bryant & May out of their comfort zone.  What’s your favourite Bryant & May novel and why?

CF: Ah – that’s one of my ‘precinct’ tales, where you deliberately limit your options. They’re hard to write but very satisfying. I plan to do another soon. If you look at the timescales you’ll find that nearly all of the stories take place over one week and in exactly 50 chapters. I really love ‘The Burning Man’, but then I tend to be proudest of the latest one anyway.

LOC: I have a long drive to work each day and regularly listen to audio books.  I’ve ‘read’ all of the previous Bryant & May novels this way.  Tim Goodman is a fantastic narrator, how much input did you have in selecting him, and into the production of the audio books?

CF: I didn’t, but as soon as I heard him I knew we were in a safe pair of hands. I think they’ve done an unusually fine job on the books, and I hope Tim stays in there for a long time.

LOC: If they were ever brought to the Film or the TV screen, who would you like to see in the roles?

CF: Well the rights have been sold several times, once with Derek Jacobi attached. I think Toby Jones would be a great Bryant. There’s a theme tune for the show on YouTube and on my blog, written by Des Burkinshaw. Crippen’s on it! 

LOC: What’s your writing space like, and do you have a regular writing routine?

CF: I have two very different writing spaces, one in London, in a minimalist space on an entirely glass table with no papers anywhere, the other in Barcelona on a pre-Franco voting ballot-table covered in papers and ink stains.

LOC: What are you working on at the moment?

CF: I recently finished ‘The Sand Men’ a paranoid and very sinister thriller set in Dubai, which comes out in October (I think) from Solaris. And ‘Bryant & May: London’s Glory’, a collection of their forgotten cases, comes out in time for Christmas this year.

LOC: What’s the best piece of writing advice you’ve ever received?

‘CF: You don’t need to explain why people fall in love, you just need to know that they do.’ That, and ‘Dialogue is not conversation.’

LOC:Who inspires you?

CF: Gad, where to start? People in the street; I’m a good observer (harder than it sounds). Lots of writers from Dickens to Joe Orton to JG Ballard, and a lot of female American crime writers from the 1950s.

LOC: You obviously have a great deal of love for London, and its myths, magic and legends.  How do you go about discovering these and carrying out research?

CF: I walk a lot, have an insane collection of strange London books (‘The Lost Cinemas of Camden Town’, anyone?), and have a tendency to make connections that only seem obvious when you put them together. Then once I have a hypothesis, I go out and see if it could be true. In ‘The Burning Man’, it seemed obvious to me that there was a connection between Guy Fawkes and the banking riots.

and for the LifeOfCri.me quick fire round…..

Bryant or May? Both, plus London

Fact or Fiction? Both, plus Surreality

London or Barcelona? Both 

Historical or Modern? Both, plus Future

Crime or Sci-Fi? Both, plus alt. timeline

TV or Film? Both

Book or E-Book? Both

 

You can find more about Christopher Fowler can be found on his website christopherfowler.co.uk  where he blogs on a daily basis or you can follow him on twitter @Peculiar

Posted in Articles, Guest Posts

Britta Bolt, Brown Cafés and Amsterdam.

Britta+Bolt-detailIt’s been around 18 years since I last wandered the streets of Amsterdam for Koninginnedag (Queen’s Day) but the imagery in Britta Bolt’s Pieter Posthumus novels brings the memories flooding back….

Writing here for LifeOfCri.me, Britta Boehler and Rodney Bolt, the duo behind Britta Bolt talk to us about Amsterdam’s ‘Brown Cafés’

The ‘brown café’ or ‘brown bar’ is an Amsterdam institution. De Dolle Hond, in our Posthumus books, is a fine example. The ‘brown’, people will tell you, is because of tobacco smoke that has for eons stained walls and ceiling. Shift a picture frame in an old establishment and the chocolate-coloured wallpaper appears white beneath it. Some of these bars – like de Dolle Hond – date back to the Golden Age, when the Dutch had a saying: “If a Hollander should be bereft of his pipe of tobacco he could not blissfully enter heaven”. In today’s more healthy world, the dark wall-colouring is more likely to be the result of a coat of paint. But the basic ingredients of a brown café remain: wood-panelling, dark wooden furniture, a burnished bar. Décor is unfussy – though sometimes it’s been around for centuries, so you might be sitting beneath a priceless lamp, beside a time-stained oil painting. Something startlingly modern may join the flotsam and jetsam of past years, but the word ‘designer’ is anathema. There’ll be wooden barrels along one wall, perhaps, old prints, posters for a local theatre, quirky bric-a-brac reflecting one person’s obsession with football, love of Amsterdam, or downright curious taste – for these cafés often belong to the individuals who serve you. Some have been in the same families for generations. All very like De Dolle Hond. Among our real-life favourite brown cafés are De Dokter, which Rodney found closed one evening because the owner was at home putting up Christmas decorations, and De Englese Reet, which, because the eldest sons of each successive generation of the owner’s family are all given the same name, has had a barman called ‘Teun’ for nearly 100 years.

 Published by Mulholland, Lives Lost is available to buy now.  Read the LifeOfCri.me review here….

Posted in Articles, Blog Touring, Guest Posts

Blog Tour: What She Left by T R Richmond

What She Left is a cleverly constructed fractured timeline novel, that re-builds the life of deceased journalist Alice Salmon, using the digital footprint left by herself and those she knew.  As part of his blog tour, T R Richmond writes for LifeOfCri.me about using multiple character first person narration.

Writing in the first-person offers benefits and challenges to a writer.

It allows you to really get inside the head of a character, exploring their brain’s innermost workings. The downside is you can only ever include what’s in their head. If your character hasn’t thought it, seen it or done it, it’s cheating to include it. 

When I was planning What She Left, I wanted to have my cake and eat it. I wanted to see the world as all my characters did. So I wrote the book from multiple first-person perspectives. 

This has always struck me as the most honest form of narration, because in reality we’re all the first-person narrators of our own lives. 

Our own take on events, our own view of the world and our narrative seems sacrosanct to us, but it runs alongside everyone else’s – at times diverging from theirs, at times converging with theirs. Some facts are inalienable, but we all see things differently – hence disputes over so-called ‘facts’. Hence why life contains so many grey areas. 

Such issues of perspective and reliability are as relevant in journalism as they are in fiction. When it comes to choosing which news to read, listen to or watch, we have to ask ourselves: Whose version of events is the most accurate? We have to ask ourselves: Who can we trust? We have to ask ourselves: are we looking for our existing world view to be reinforced?

The internet has been a game-changer when it comes to the reliability of news. Anyone can share information now and, while this “democratisation” brings benefits such as quickening the dissemination of news and challenging the exclusive cabal of information providers, it also means we’re exposed to heavily subjective material. 

Many journalists are as passionate as ever about objectivity and balance, but as “consumers” of news it’s vital we ask who the narrator is of any particular piece of work. What’s their agenda? Because, however objective a piece purports to be, if you follow it back far enough, it’ll be the brainchild of someone with inherently subjective opinions. The solution, perhaps, is to develop broad tastes when it comes to journalism, as we’re always advised to with fiction. That at least gives us a counterbalance, exposing us to multiple sides of any particular argument. Remember, in journalism as in life, there’s no such thing as an entirely reliable narrator. Hence why fiction written in the first-person can feel so authentic.

T. R. Richmond

 

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Click here to buy

What She Left by T. R. Richmond is published by Michael Joseph on 23rd April, priced £12.99

Meet Professor J Cooke on Tumblr and Alice Salmon on Facebook

Posted in Festivals, Guest Posts, IcelandNoir

Iceland Noir 2014

Penguin publishing phenomenon James Oswald, author of the acclaimed Inspector McLean novels recently attended the second Iceland Noir festival at The Nordic House, Reykjavik. Here he gives LifeOfCri.me his view of the whole weekend.

Norraena Husid - The Nordic House, Reykjavik - Home to IcelandNoir
Norraena Husid – The Nordic House, Reykjavik

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Reykjavik in November is dark. That’s probably the first thing you notice. I’m used to getting up before it’s properly light, but usually the dawn starts to spread as I take the dogs out, check the livestock and get my breakfast. Here the blackness is total as the alarm goes off, still pitch over coffee and bacon, and treacherous on the walk from Hotel Holt to the Nordic House across a bog of noisy ducks and sulphurous smells.

And yet somehow I don’t mind. I’m here for the second Iceland Noir, the newest kid on the crime fiction festival block and fast becoming one of my favourites. The festival has grown, now filling two days with panels and signings rather than just one. It’s still organised by the tireless Quentin Bates, Ragnar Jónasson and Yrsa Sigurðardóttir, aided this year by Lilja Sigurðardóttir. And what a great show they put on for us.

As might be expected from a crime fiction festival set in Iceland, the influence of Nordic writers and writing featured in many panels.  Topics included Nordic Influences, Works in Translation and my favourite (perhaps biased here) Is Scotland Nordic? (answer – no). All the panels were well attended and the discussions lively. I would liked to have attended them all – something that would have been possible as they are run one after the other and with enough time in between to have a quick coffee (and pop outside for that rare glimpse of daylight). Alas, technology had other ideas and I missed several re-recording a lunchtime interview after the German journalist’s mini disc recorder decided it didn’t like what I was saying.Photo by murderiseverywhere.blogspot.co.uk

Perhaps the best thing about Iceland Noir though is not the panels but the time between them, when everyone mingles outside the hall, chatting about books, Reykjavik, the endless darkness and a hundred hundred other things. English is the default language, which I find rather humbling. Plenty of Brits make the journey over the North Atlantic – this year’s UK writers included (in no particular order) Peter James, Zoe Sharp, Michael Ridpath, David Hewson, Craig Robertson, Louise Millar, Sarah Ward, Mari Hannah, Susan Moody,  and William Ryan – but there was notable home grown talent from Ragnar and the two Sigurðardóttirs, Solveig Palsdottir, Viktor Arnor Ingolfsson and many more whose names stretch my ability to find strange letters on the keyboard. This year saw Swedish author Johan Theorin make the journey, along with Finland’s Antti Tuomainen and Norway’s Vidar Sundstol, and ex-pat American David Swatling came over from Amsterdam with his fascinating tale Calvin’s Head. Truly Iceland is a meeting place of nations.

In addition to the panels, there were a couple of crime writing workshops hosted by William Ryan, and a Reykjavik Crimewalk, guided by Úlfhildur Dagsdóttir, which sadly I missed but everyone seemed to enjoy. Saturday evening everyone piled into an exclusive restaurant housed in an old theatre building for the festival dinner, topped off by a topical crime quiz in which, inevitably, the winning team cheated. It was all very good-natured though, as seems to be the way when a bunch of crime fiction authors and readers get together.

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And so the festival closed. Or at least it would have done had not Yrsa Sigurðardóttir organised a coach trip on the Sunday, out to the Snaesfellnes peninsula to visit the places that had inspired her novel ‘My Soul to Take’. The weather (and light) seemed against us as we set off, but magically the clouds rose and the sun came out as we reached the village of Arnastapi. A quick leg-stretch and cliff-top walk, then on to Hellnar. The cloud was still too low to see the glacier, so instead we were taken to a series of volcanic caves straight out of Jules Verne’s epic Journey to the Centre of the Earth. If only we could have come out at Stromboli and not into a chilly arctic wind.

Iceland Noir has grown from its initial start last year, but retains its cosiness and relaxed atmosphere. Sadly it won’t be on in 2015, relinquishing its date in an ever more filled calendar for Shetland Noir. It will be back in 2016 though, and so will I. Even in the darkness Iceland is still a wonderful place.

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Posted in Articles, Blog Touring, Guest Posts

Anthony Quinn:- The nuances of using fact to create fiction

Anthony Quinn, author of critically acclaimed debut novel Disappeared, returns with his new novel, The Blood-Dimmed Tide, the first in a series of three historical novels set in Ireland during WWI and the War of Independence. Here he talks to LifeOfCri.me about the nuances of using fact to create fiction.

AQ photo from Mysterious PressI’m very much a believer in writing first and researching later. The danger of writing historical fiction is that as a writer you run the risk of disappearing down a wormhole into another era, never making it back with a clear-cut, compelling tale to relate. I’ve been obsessed with WB Yeats and the Sligo setting for years, and in writing The Blood Dimmed Tide the temptation was to succumb to excess and include a rich tapestry of historical minutia.

However, writing historical fiction, especially a mystery story, should be like steering a boat with a leak in high seas. Many loved items have to be chucked overboard with every page you write. Amusing anecdotes and fascinating details that don’t animate your principal characters and move the plot along have to be discarded with impunity.

For this reason, I resorted to thumbing through Yeats’ biographies only when there was a gap in the plot that desperately needed filling, or a scene that required fleshing out with something concrete. That sense of urgency which comes with keeping the literary boat from capsizing at all costs is a protection against procrastination and getting lost in the past.

Another great challenge in writing The Blood Dimmed Tide was remaining faithful to the historical record of Yeats and his life-long muse Maud Gonne. I was uneasy with the idea that I was possibly doing them a great disservice by entangling them in a plot involving occult societies, spies, smugglers and corrupt policemen.

However, Yeats has been much derided for his ‘creepy’ obsession with the supernatural, and his interest in the magical powers that might be acquired through esoteric knowledge has alarmed many literary critics over the years. It eased my conscience to think that I was at least portraying this side of his character sympathetically. This was what I promised WB Yeats at the start of writing The Blood Dimmed Tide. Whether or not I delivered is another matter.

Blood Dimmed jacket

I hope I am saved by the fact that many of Yeats’ friends found him unknowable. Irish writer Sean O’Faolain famously said of him: “There was no Yeats. I watched him invent himself.” In that sense, he is impossible to capture within the covers of a biography, which is a great problem for his biographers, but a golden opportunity for a novelist.

Yeats will always remain an enigma. He was one of a group of extraordinary and mesmerising figures that made London at the turn of the century an emporium of exotic cults and psychic societies. He was the closest thing we have to a supernatural sleuth, always seeking answers, always probing the evidence before him, always odd and unpredictable in his behaviour – which I hope makes him the perfect hero for a mystery story, especially one that involves ghosts, spies, smugglers and corrupt policemen.

The Blood Dimmed Tide is published by No Exit Press and is available now in paperback and as an e-book.

Posted in Articles, Blog Touring, Guest Posts

Back To School: The Art of Thriller Writing by Dreda Say Mitchell

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As part of the blog tour for her new thriller Vendetta, Dreda Say Mitchell talks to LifeOfCri.me about the art of thriller writing.

Dreda I’ve worn a number of hats in my career and one of them has been teaching. In the classroom, one of the favourite catchphrases (after folding your arms) is “Now children – what have we learned today?” Another hat I wear is as a journalist and we’re all familiar with the top 5 tips or lessons feature. Meanwhile, in my work as an author, I’ve shifted direction with my new thriller ‘Vendetta’. What better way to prove that I can multi-task than by compiling a top 5 lessons I’ve learned from writing thrillers?

1. Characters

Characterisation is an important building block of any kind of fiction but in thrillers it’s an essential feature. Thriller readers tend to read a lot of books and they’ve got an eagle eye for cardboard cut outs and stereotypes. Heroes and villains may (or may not) be exaggerated versions of people you meet in everyday life but they still need to be grounded in reality. The question to pose is not, would a character behave in a certain way – but could they? In ‘Vendetta’, our hero Mac might go well beyond the bounds set by his job and personality – but is he a believable person?

2. Plot

A well-crafted thriller plot is rather like a Swiss watch and fits together like a jigsaw puzzle. It needs to be compelling enough to keep the reader hooked and provide them with evidence to work with, while at the same not cheating by dodging the rules of the genre. This is a very difficult trick to pull off. In ‘Vendetta’, Mac’s lover has been murdered and he has to find out by whom and why. The reader has to be there to help and work it out along with him but to share his shocks and surprises.

 3. Pace

Literary writers are allowed to spend ten pages describing a situation in which nothing in particular happens or theorising about the human condition but that doesn’t work in thrillers. The reader expects the author to get a move on. One classic method of doing this is to give your hero a set time limit to solve his case before it’s too late. In ‘Vendetta’, Mac’s got less than a day. The clock is ticking.

4. Series

A thriller doesn’t need to be part of a series to be effective, but as the saying goes, it helps. Once a reader decides a character is working for them, they like to learn more about them and see how they operate in different circumstances. I decided a series was how I wanted to write but I wasn’t interested in the lone hero model. In addition to Mac, there are two other main characters, Rio and Calum along with lesser characters. In the next book, ‘Death Trap’ I turn my attention to Rio as the main protagonist and in the novel to follow that, it’s Calum. When I decide some of minor characters have legs, there’ll be reappearing too.

5. The X Factor

We’re probably all familiar with people we know who seem to have it all. The ideal spouse and family, the great job, the interesting life – and yet it doesn’t seem to work for them and they’re booked with counsellors on a regular basis. Thrillers can be rather like that. Compelling characters, plot, lean, taut and effective writing, all of which leads up to that classic showdown in the final chapter. Yet it doesn’t fly, your attention wanders and it becomes one of those books you leave lying around, always meaning to finish. The frustrating thing for writers and readers alike is that no really knows why this is. I’m hoping that ‘Vendetta’ has the X Factor

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VENDETTA by Dreda Say Mitchell is out now in paperback and eBook, published by Hodder, £6.99. For more information visit www.dredasaymitchell.com and follow Dreda on twitter @DredaMitchell

Find out what I thought of Vendetta, with the LifeOfCri.me review here