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text 2017-09-30 09:00
Get all Moody with your Crime Writing
If people are saying they ‘couldn’t get into’ your writing, or that your characters felt a bit lifeless, then it might be that atmosphere or mood that is lacking in your work. Building mood and atmosphere grabs a reader and draws them in, making them feel as if they are ‘inside the story’, experiencing it physically. There is a subtle difference between these two terms:
 


 
Atmosphere  has come to mean the ambience, aura or feeling of a scene. It is the literary device which allows the action in writing to also have emotions which intrigue, excite, seduce, unsettle, disturb or beguile. Often atmosphere will add to the enjoyment of a read without the reader quite being able to work out why – they are 'internalising' it. An atmosphere can be established very quickly, but it can also change throughout, depending on the scene, plot or development of character.

Mood is subtly different from atmosphere but can further lift the atmosphere you’re creating. It is the ‘something in the air’ that helps ‘light and shade’ to be added to writing, working like a perfume, subconsciously sensed – the ‘je ne sais quoi of a good read, when a reader’s spine is tingled, or their heart wrenched, almost without them knowing it. Mood is usually dictated by the feelings of the protagonist or narrator.

There are some very simple ways of getting atmosphere and mood into your writing. The first is to use the senses. 

Smell – describe smells, both lovely and sickening, to add to atmosphere and ‘take’ the reader into the story
Sound – not just ‘grand’ sounds like an on-coming train or ‘obvious’ sounds like birdsong in countryside, but ‘lesser’ sounds; the crunch of gravel underfoot, the way a character constantly sniffs, the sudden, atmospheric howling of a dog in the twilight distance.
Taste. Don’t forget taste whenever something is placed in the narrator’s mouth. That might not take place often in your story, so also consider the other tastes that could heighten atmosphere, such as the taste of strong chemicals in the air, or the ‘taste’ of rain. Also use ‘interior’ tastes, such as the taste of the waking mouth or the taste of bile. And don’t forget the taste of a kiss!
Touch. This might seem the hardest to use well, but it's hugely important in adding mood and atmosphere. Surprisingly, touch takes place all the time. A breeze on the face, fabric on skin, the touch of another’s hand, the pressure of a wall against your back or cold flooring under your feet.

I believe there is a sixth sense…the sensations felt inside a person…their mood and perceptions. What does it feel like for the character to be in that setting or location? Is the dirty kitchen frustrating or irritating John, or does he ignore it completely? If so, why? When the two children enter the cave how do they percive it…why is it scaring or exciting to them?


The Pathetic Fallacy can entice the reader right into the mood of the narrator or other characters. Used sparingly by the skilled writer, the Pathetic Fallacy can be very effective. This term relates to the technique of attributing human characteristics, sensations, and emotions, to things that are inanimate, such as nature. The weather is used a lot within this technique. It can link extremely well with the symbolism you might want to pull into a story.  For instance, when a writer wants to build up an emotion in their character, they will place them in an appropriate setting – the angry character standing below a lowering sky with bruised clouds tearing above them, or the despairing character battling against a desperate, lashing storm. Rain is always falling at funerals – lightening slashes a tree as a gothic horror begins – fog descends as the protagonist becomes wandering and confused, as in King Lear, or lost in a long, fruitless quest, as in Bleak House. But this is a device that is notoriously cliched and often wrongly applied by novice writers, leading to something called 'empathic universe', which creates a melodramatic effect. You can tell if someone has overdone their melodrama, the mood overpowers the characters and even the story,  getting in the way of allowing the reader to empathize with the protagonist.  Be particularly warned if you are writing romantic fiction – remind yourself of the comic effect in Wallace and Gromit as Wallace’s bread was shown rinsing in his oven as his passion bloomed for Piella Backwell. If you use this technique to make people laugh, just be sure they are laughing with you and not at your writing. 


I haven't forgotten the sense of sight – describing how things appear is essential, even it if is over-used. New writers often believe 'describing' is something you really shouldn't do too much if you want to move your story on, and, indeed, today’s readers are not keen on long chunks of description…that died out with the crinoline! So the way to add atmospheric detail, especially in crime writing, is to slide it in surreptitiously as the action, interior monologue and dialogue continues to move the story on. Opening out the possiblilities by painting the atmosphere until it drips with meaning is quite the opposite of providing chunks of description. 
 
By looking closely at the most interesting parts of the whole – whether it’s an artifact, a character, a landscape or an interior – the atmosphere can be enhanced.
 
Even more amazingly, adding detail to scenes that have a high drama content actually increases the tension. Creating detailed description stretches story out while offering the writer a chance to use good language skills to create a vivid atmosphere. 

So this is the strange truth…the more detail you chose to include, the less boring the writing becomes…moving into close-up is absorbing and paints the imagery of the story. 
Here’s a moment from the first skeleton draft version of my crime novel In the Moors;
 
I was drawing closer to the bogs. Far away into the west, an ancient clump of willows sprouted out of the bog. I raised my collar against the wind. As I marched towards them, I saw the faint outline of police tape on thin metal poles. This was a scary place to be at night.
Take your time’ is one of my favourite phrases. I offer this advice my students, and so I guess I should take it myself. In that first draft, I was pummelling along, looking neither to the left nor to the right. My character, Sabbie Dare is walking into a dangerous situation. I can’t stop the action – it's going at full pelt. But there are ways of holding it up while maintaining the dramatic atmosphere. I must take as much time as I dare to allow Sabbie to describe what she observes and confront her own thoughts, by which she can build the mood of the scene…
 
When I lifted my chin away from my footsteps, I could see I was drawing closer to the long-abandoned areas, murky water held together with sedges and bulrushes. These bogs went on forever, impossible to tell one blackened hellhole from the next. I had no idea how to find the location I wanted.
I turned a full circle, skimming the horizon.  Far away into the west, an ancient clump of willows sprouted out of the bog. The trunks were glossy black against the reddening sunset. Each branch, thick as a Sumo wrestler’s leg, skimmed the water’s surface before turning upwards to the sky. The patterns they formed brought symbols to my mind – cages and gallows and rune signs. My skin goosed up along my arms. 
I pulled my jacket close about me and raised the collar against the wind. As I marched towards them, I saw the faint outline of police tape on thin metal poles, inadequately closing off the area.
The sun was slipping below the horizon like a thief in an alley. I had hoped I wouldn’t need my torch, but now it drilled a swirling vortex into the space ahead, illuminating the path with its paltry light. The slurry surface of the abandoned bogs gave me the clearest indication of where the path lay. I leaned forward as I walked to get the maximum light from the beam. The wind was whipping up, now darkness was falling. My cheeks and nose felt numb. When I looked up again to check my progress, the willows had gone.
I stared in horror. I wasn’t used to such dark magic. The grey horizon was hiding their silhouette. A gurgle of panic, like quickly swallowed porridge, rose in my gullet. The trees were somewhere ahead of me, but I hadn’t thought to take any sort of marking of where they lay – which of the many paths I needed.
My boot slid off a clump of slimy leaves. It filled with bog-water. I clutched at the air, struggling to keep my balance and the torch fell from my grasp. I watched in dismay as it sank beneath the oily sheen. My eyes stung with tears. Instantly the wind chilled them into ice. 
This was a dreadful place to be at night.

In this fuller version,  I slowed the action by writing into the gaps
which I left out in my rush to get the first words onto the page. I added hints of the sounds that are around her, and of the smell of the moors, with words such as murky, slimy and oily.  Touch sensations work exceedingly well to draw a reader into an image, for instance, how Sabbie is effected by the freezing conditions. I tried to be unpredictable, especially in my choice of and simile. I allowed the falling darkness to imprint its mood on her emotions.  I ‘seeded in’ description by using symbolic imagery which might add to the mood. Rather than abstract nouns such as ‘Sabbie was scared’  I used 'show'...A gurgle of panic...My eyes stung with tears... And I've tried to draw out the experience by making things harder for Sabbie, placing obstacles in her way and allowing the loss of her torch into the bog to feel like the very last straw.
 
Sometimes, finding the one perfect detail is all you need. Think about the ‘core’ of each scene. For example, your scene is an inner city waste land. Don’t try to describe all of it, your reader’s eyes will glaze over. Instead, focus your imagery on, for instance, one blighted buddleia, seemingly imbedded in nothing more than rocks and dust, where no butterfly has ever ventured. 

Your first draft is going to be rushed (and possibly messy) – you are trying to get down your thoughts. You might need to go back later to include atmosphere and mood. When you do, you’ll find these will also enhance your ‘writer’s voice’, and help you further understand what is behind your story.

Nina Milton’s crime series "The Shaman Mysteries" are published by Midnight Ink and available from Amazon.
 

 

Source: kitchentablewriters.blogspot.com.blogspot.co.uk/2015/09/the-seven-novels-that-entirely-changed.html?spref=fb
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review 2017-09-01 14:46
great read
TERMINUS: A thrilling police procedural set in Scotland - Pete Brassett

The fifth book in the series and no less tension and suspense than the others. The detectives have a new case that involves a strange figure from Norway. Can the police finger this man before he commits further grave crimes?

Exciting and in parts funny. One to keep.

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review 2017-06-05 13:59
Let There Be Light
Let There Be Light: A true story - Karolina Robinson

By: Karolina Robinson

Publication Date: November 21st 2016

Format:  Paperback

Pages: 256

 

 

 

 

 


Blurb:

 

“This story has haunted me all of my life, through the daily flashbacks and nightmares.
It has taken me some time to build up the courage to let this story out of my heart.And now, with every single word I can live free. Finally.”

– Karolina –

 

In this book we follow the true story of Karolina ( the author herself) , as a brave young girl in Lithuania and her mother in their journey to escape her abusive father , in hopes of building a new life , only to fall down in a toxic one , full of mental and physical abuse, because of her mother’s new boyfriend then husband Tom …
a story of gangsters , abuse , struggle , but mostly hope .

 

 

Get the book : Amazon

 

 

 

5e2ae-7b92e-210f2-add-to-goodreads-button3


 

 

My Review:

 

” After all those years of pain and fear, after all those years living with anger and hate, there was light ,
The light was right within me”

 

This sentence alone is enough to tell you what kind of person Karolina is , a ray of light in a dark twisted world , my heart ached for her throughout this story and prayed for her , by the end of the book and after each page turned , my admiration for her grew , a kind person and a strong spirit . and now as an amazing author who wrote

such a wonderful book i have that much more respect for her .

 

Some of the people who took part in this story made my blood boil , from the abusive dad , to Tom . The mother too , yet i was able to like her by the end of the story . but it truly makes you wonder how such people live with themselves . abuse is a daily thing in some people’s lives all around the world , physical and mental , whether it’s against men , women or kids doesn’t change how disgusting it is , my heart and thoughts goes to the victims .

 

Yet there are others who restored my hope in humanity , Cross , who was an amazing person and good to Karolina , The teachers in her new school ….
Karolina and her love for her mother and life is inspirational .

 

The writing style is very simple and easy to dive into , i was able to finish this book in one sitting ,

 

knowing these events are true made the process of reading this that much more intense and enabled me to put it down , even after i finished it it stayed with me .

 

I’m starting to feel like i rambled a lot , but there is so much i want to talk about ! yet i don’t want to spoil all of the events . I would recommend it to anyone who enjoys interesting , easy reads with intense events.

 

and i would like to thank the author for providing me with a copy of this book .

 

five-stars

Source: wordpress.com/post/thevillainlegacy.wordpress.com/1397
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text 2017-05-14 14:28
Off the Peg; how Ottessa Moshfegh wrote Eileen



If you’ve been thinking of dashing off a thriller in the hope of great success in the book market, then I would have been the first person to stop you. “Never jump on a bandwagon”, I’d have said, along with, “ignore books like Alan Watt’s The 90-Day Novel. You can’t ‘dash off’ great writing.  But Ottessa Moshfegh ignored such sane suggestions and went right ahead and wrote Aileen, one of the best Mann-Booker short-listed novels I’ve read in a long time. 
 
After writing with a novella and beginning a debut collection of short stories, she decided not to “wait 30 years to be discovered” and came clean about her writing methods In a recent interview. “I’m smart and talented and motivated and disciplined… I thought: I’ll show you how easy this is.” 
 
Having worked through Watt’s advice, she wrote for 60 days to produce an ‘off the peg’ novel. But Moshfegh is too good an author to churn our rubbish. “It turned into a work of its own”, she explains.
 
Soon as I opened Eileen, I was hooked on the wonderful voice created in this disturbingly dark novel. The narrator is old, reminiscing the past. It’s 1964 and Aileen, at twenty-six, is already on the shelf. She works as a clerk in Moorhead, a penal institution for young men, where she's in lust with Randy, one of the guards; off duty she stalks him, knowing full well he’d never look at her and convinced she would never agree to have sex with him anyway…her first time “would be by force”.
 
 
http://themanbookerprize.com/books/eileen-by-ottessa-moshfegh
Aileen's self-loathing forbids her to wash regulaly. She dresses in her dead mother’s old clothes and eats frugally, believing herself to be fat and ugly inside and out, purging her system with laxatives. She joins her drunken father each night in drowning out the cruel world. But secretly, she’s saving her father’s pension and dreams of escape.

Moshfegh knows precisely what an unlikable character she’s created. In Vice Magazine she said; “My writing lets people scrape up against their own depravity, but at the same time it’s very refined … It’s like seeing Kate Moss take a shit.” To a degree she seems to be writing from experience; in the past she’s had both drink and eating problems.
 
The story is told through the device of the interior monologue, or if you prefer, the “retrospective first-person”. The sensation of reading is that of a half-whispered story over a cup of tea…the need to tell someone the secrets of your past, before you die. Reading the first half of the novel as my train pummelled over the Pennine way (and the second half as it roared back to West Wales), it was if Eileen reached one of her thin wrists out from the pages and dragged me into the last week of her life before she left her small town and escaped to New York. 
 
Eileen sees the world from a bleak perspective which has a constant edge of humour. In the packed carriage of my train, I experienced those embarrassing moments – laughing out aloud – time and again. Eileen is a very funny novel. The black irony kept me gripped as much as the promise that her drear life was leading to dreadful violence.
 
Right from the start, I knew Eileen was not going to come out of this journey as the innocent victim. “This is not a love story”, Aileen says. “I was not a lesbian”, and, “I didn’t eat good food until my second husband”  In a delicious nod to Chekhov’s foreshadowing device; “Before I go on describing the events of that Saturday, I should mention the gun.” She hints that there will be terror and bloodshed, and I believed her implicitly because these are her memories, and her urge to confess is palpable.
 
The festive season is steadily approaching; the contents page tells us that it will all over by Christmas Eve, but the sad festivities are subverted wonderfully by Eileen’s repressively dark mind. It’s her job to decorate the institution’s Christmas tree, while at home, there is not a bauble to be seen, just a dead mouse in her glove compartment.
 
At this point, Rebecca, a stunning, red-headed graduate, comes to work at Moorhead. Eileen is swept up into a kind of obsession when Rebecca shows an interest in her. Both girls are drawn to an inmate, Polk, who has killed his policeman father. Eileen watches Polk masterbate while in solitary confinement, but Rebecca has access to his notes and, in her role as the new psychologist, believes she can penetrate the young man’s mind to find the truth about him, a decision that is the catalyst to action.
 
So, if you’re about to start a novel using Watt’s 90 day, or any other formulaic method, do read this book first, checking it out against the standard tips, like Joanna Penn’s: Grab the reader by the throat, have a crime, don’t write likeable characters, have an ending that slaps you in the face. Huge ticks with these. Or my own tip: rock the boat half-way through, as Moshfegh does with her Rebecca character. 
 
This is a psychological thriller, and that’s given Moshfegh good sales, a popular following and some great reviews – Anthony Cummins in the Telegraph was left “dumbstruck by her sly, almost wicked storytelling genius”. But she also has her critics. Lydia Kiesling in her Guardian review thought that; “there is something about this novel that, like its heroine, is not quite right…The prose clunks; Eileen is a little too in love with her own awfulness.” Yes, I noted that failing too, early in the text. Things like, I was very unhappy and angry all the time. Moshfegh has fallen into the trap of ‘telling not showing’. But it’s a very little slip, the sort we all make at some point when writing hundreds of pages of story. Mostly, the book is all ‘show', a vivid picture of 60’s USA, of the edges of society, of mental health, and of how easy it is to lose one’s own integrity, or have it stolen away.
 
Eileen might be thought of as an unreliable narrator, but I found nothing but the truth in the heated depths of the text. I believed in her completely. She may be flawed, but she felt like an intensely real, if bleak, creation. In that, I seem to agree with Moshfegh; “Eileen is not perverse. I think she’s totally normal … I haven’t written a freak character; I’ve written an honest character.”

And honest character who has committed the most awful crime, that is...

 

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text 2017-04-01 09:35
Murder, They Wrote – Three Novelists Writing about Murder

MURDER, THEY WROTE  –– THREE NOVELISTS WRITING ABOUT MURDER

 

When Graeme Macrea Burnet was interviewed on radio news, he was asked how he felt about being shortlisted for the 2016 Man-Booker with his crime novel.

“It’s not a crime novel,” he replied. “It’s a literary novel about crime.”

I have to confess, as a crime novelist, that did put my back up, a little bit. I don’t believe it’s for writers to announce they’ve created a literary novel…that’s for posterity to decide. In my view, ‘literature’ is something that lasts and grows as it ages…books like Homer’s Odyssey, Orwell's Animal Farm or Barbara Kingsolver’s The Poisonwood Bibles which I blogged about here. But it got me thinking. His Bloody Project (Contraband 2015) cannot yet, in my view, be literature. So is it crime fiction? 

 

The great P D James said that a good crime novel should also be a good novel. All human life is found in the killing of one human by another. So writing about murder surely is always crime fiction! I’m going to look at three recent books that I loved reading to find out if that’s true.

 

Belinda Bauer

http://www.belindabauer.co.uk

Belinda Bauer doesn’t seem to have any qualms about calling herself a writer of crime fiction. I’ve previously reviewed her work on my blog, and here she is again, with her 6th novel, The Beautiful Dead (Bantam Press 2016). I loved her first book, Badlands, but I did feel the end was a bit weak, a bit unbelievable. This time, no worries about that! I loved the way Bauer took a ‘smoking gun’ in the form of a pair of handcuffs, which the main protagonist, TV crime reporter Eve Singer, has become obsessed with as she’s tracked and taunted by a serial killer she’s featuring on her news items. I expected them to be used in some way to secure her life when it was eventually under intense threat, as I knew it would be! But when those handcuffs were put to use on pg 319 of the book, I stood from my seat and crowed in joy. What a twist! What a perfect ploy! A great, twisting surprise is essential in a crime novel. But Bauer also delivers elegant description, strong metaphor and deep investigation of the human condition. She examines what being a killer is – how close each of use could get to murder. A crime novel? Decidedly, but great, contemporary fiction, too. 

 

Helen Dunmore is known for her lyrical poetry and her award-winning fiction, including the best-selling The Siege,  which is set during the Nazis' 1941 winter siege on Leningrad  So I wasn’t surprised to find that in her most recent book she turned her hand to a cold war thriller, set in England in the early 1960’s. In Exposure Penguin, 2016)  Although she uses three points of view…the hardened old double agent, the fresh, young candidate pushing a pen in the office of MI6, and his wife, mother of two young children, a typical stay-at-home mum, but a woman with a sharp mind. The shock of the killing towards the end of the book demonstrated for me that  one of our most outstanding writers (Good Housekeeping review) can

‘do’ murder and do it well, focusing on the victims, both of the spying industry, and of the machinations of corrupt individuals.  Is this literary fiction? Or a spy thriller? I can’t honestly see why it can’t be both.

 

Graeme Macrae Burnet’s His Bloody Project didn’t win the Booker in the end. But Burnet’s book is the one that I enjoyed the most from the shortlist. I enjoyed it so much, that I now have a little more sympathy with his comment about literary fiction.

His novel is centred around a vicious triple murder – a man, his teenaged daughter and his baby son – by an angry young boy who lived in the same crofting community in 19th Century northwest Scotland. Burnet uses several point-of-views to create the novel, starting with the gripping account by Roderick Macrea as he languishes in jail, waiting for his trial to begin. This account is the gruelling and bitter story of his short life as a crofter. Although he shows promise at school, he leaves early to start working with his widowed father, who is perhaps a bit lacking in the smarts department, unlike his son. Life is backbreaking, crushing. And the powers who own the land turn a cold, heartless face away from the punishing routine that puts meagre food in the crofter’s mouths. Very soon, as the story is related, it becomes clear why Roddy kills. He is drawn to do so, from the moment he has to batter an injured sheep to a humane death. The second half of the book are accounts from the defence lawyer and the early 19th psychologist he has called in, and from newspaper articles about the trial.

 

I could not put this book down. Firstly, I needed to know why and how the murders happened. Lastly, I needed to know if his kindly lawyer managed to secure Roddy clemency from the gallows.

Is His Bloody Project a piece of crime fiction, Mr Burnet? I would say so. A piece beautifully written, and a deeply investigated book which looks into the nature of murder. It's also a book that may stay loved over generations and thence become ‘literature’, but at the moment, it’s crime fiction.

 

A romping good read, but also, like Bauer’s and Dunmore’s latest fictions, it’s about murder. They’ve all written about the deadliest of crimes, and I cannot see what is wrong with admitting that they’ve ended up with great stories that are crime fiction.

 

 
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