Monthly Online Book Magazine - December 2008

Crammed with page after page of great Christmas gift book ideas!

  December 2008 Issue

Fast track to Crime Writing

Lee Weeks

Lee Weeks, author of The Trafficked reveals how to become the next big thing in Crime Writing

"I had never read a crime thriller until I wrote one. I sent off my ‘woman’s story’ for appraisal, only to have it returned and be told I had written a thriller and that the love interest in the story - my detective - was the natural lead.   Whilst I was mulling over whether I wanted to alter my precious manuscript, my life turned upside down, my marriage ended and I had to find work. With no hesitation I redid the first three chapters with a detective in the lead and sent them off to an agent – Darley Anderson. He took me on straight away and gave me a year to write it. Now, in the second year, I have two books published and am writing a third. I have succeeded in making a living from it and am doing the job I love. I was not an expert in any shape or form when I started but I have had to fast track my skills. Here is how it works:

Structure

My books are aimed at the commercial market rather than the literary end and this is the formulae I apply: A shocking first chapter that hooks, short chapters throughout, surprise on every second page and shock every fourth. I always end each chapter with a hook to get them to read on. Always put the reader first – as this is entertainment. You have to give the story its proper and just conclusion and you can’t just kill off one of the  main characters because you’ve had a bad day (my agent reminds me of that now and again). Nothing must get in the way of the pace. Absolutely nothing must be written unless it moves the story forward and is necessary.  It must have lots of dialogue, punctuated by action, which is great at moving the story. Don’t go on about the weather (that’s what my agent says when he means there’s too much description).

Analyze what kind of a writer you are – are you plot led or character led? Is the plot vital to you or are you happy to let your characters grow and see what happens along their road (the very thought of that drives me insane. I have to know exactly where my characters are headed. I always know the ending.)  Basically, you have to use the tools you are given.  Don’t write a screenplay if you know you are rubbish at dialogue.

They say write about what you know but that loosely means write about what you are interested in and what is within your capabilities. You have to be a good journalist, be able to listen to people and put yourself in their shoes. We have all had that instance when someone will describe something so vividly that you think you are there too. Just write that down and use it. You don’t have to murder someone to write from the point of view of a serial killer but you have to do a lot of research and have a good imagination. Foreign settings are too tricky unless you have been there or are going, don’t do it. People are very knowledgeable these days especially in the world of CSI and forensics – do your research.

Plot 

You need a theme: jealousy, greed, justice, envy etc. Keep that in mind and come back to it when you get lost. If you are already lost and don’t know where to start, try rewriting one of your favourite books or films. Take the basic plot and change the setting, change the viewpoint or the time.

Before you start

I spend a month researching the facts and working on a strong outline because the more cemented things are in my head before I actually start writing - the better.  I’ll show you how it works for me.   I started my third book with an idea to write about a Gap year expedition that goes wrong. First question:  where? Thailand maybe?  Okay . What’s the history in Thailand? The Golden triangle. Okay, where would the Gappies be likely to be volunteering? The refugee camps set up to help the Karen tribes’ people who also happen to be good opium growers. You see where it’s all going?  Ask yourself questions and the answers will fill in the gaps in your story. 

Characters 

Know everything about them: star sign, favourite colour, where they went to school, what motivates them in life? Sayings? Habits? When you first introduce a character play up one particular strong trait so that it sticks in the reader’s mind.  I have my characters’ details pinned on boards around my office. You must always know their history. What would motivate them to behave the way they do? I often ask myself - but why would he do that? The answer usually leads on to really interesting sub plots. Keep your hero a lot like yourself- it’s just too hard to understand how someone thinks when they are the opposite to you. Add bits of new information about your key characters in every book. Let the reader get to know them over the series.

If, like me, you are looking for a series character and you are going to want to make a career out of it, consider what would make it still work for you in eight books time? I would have had a hard job to keep working on Johnny Mann if all his stories were about a local police station because I like foreign settings, international plots and plenty of action.

Details

Keep a notebook and section it out. Under headings like: the weather, conversations, faces, personalities, scenery, and emotions. If there’s a starry sky, if there’s a storm in autumn, if someone’s facial expressions stick in your mind, write a description of it. Try a bit of poetry – nothing is so evocative.  I often use the television (because we are strange enough without stalking people and making notes) for instance, when I am looking for a stereotype x rugby payer, or a retired policeman talking about a current case. These notes are so useful to have at your fingertips and use when you are in a massive hurry and wish you had more time to express it better. Be methodical and organized. Gone are the days when writers could sit and think for days – it’s a literary zoo out there – get scribbling...

Get serious about it

Stop mucking about rewriting the first three chapters and start viewing it as a job. If you are in the headless chicken mode and you need serious help with structure, characterization etc., then go to the library and borrow all the books you can on ‘how to write a novel’, join writers groups and sign up for writing courses. There are also PC programs to help you get going with your novel and some publisher’s web sites help, plus there are many more internet research tools. 

One last thing

So many people are much too precious about their writing. If the action really starts on chapter seven then ditch the first six chapters. Don’t actually ditch them of course, store them on your PC in a library of ‘bits I have reluctantly cut out’. Later on you will very probably split them up, sprinkle in some dialogue and use them – recycling is the key – nothing's thrown away. Get real and acknowledge your strengths and work on your weaknesses. But get motivated and get moving. It’s all possible.

Lee Weeks is the acclaimed author of The Trophy Taker and The Trafficked.

The Trafficked is a devastating crime thriller that plunges into the world of the deadly Mafia clans of Hong Kong following Detective Johnny Mann as he attempts to rescue a kidnapped girl and foil a sex trafficking ring that reaches from London to the Philippians.

The Trafficked is published by Avon Press RRP £6.99. To order your copy please follow this link http://www.avon-books.co.uk/trafficked.aspx