Authors reluctant to tackle a “real” novel and who choose to write “less demanding” mystery/romance/fantasy fiction may be in for a surprise. Jennifer Kitses for LitHub recently discussed why genre fiction is not necessarily easier to create and, more to the point, what lessons it teaches.
The elements of noir she thought of as genre-specific—“high-stakes encounters, a mystery to solve, a protagonist in danger”—are key elements of good storytelling, regardless of genre, she says.
Readers of this blog will recognize in her words the sentiment of late Swedish crime writer Henning Mankell, which appear on my website’s home page: “Every good story has a mystery in it.” Think Hamlet—a murder and a ghost story. Think Macbeth—a murder and an inciting female. Think the Greeks.
Kitses cites seven lessons from attempting her own crime novel:
1) don’t be afraid of adding tension – and remember that what ramps up the tension is not necessarily some violent episode. It can be a character’s own ongoing situation. A perfect example is Gin Phillips’s recent Fierce Kingdom, in which the tension is almost unbearable, while all the protagonist is doing is hiding herself and her four-year-old behind a rock. That situation may be internal, as when Melissa Scrivner Love’s Lola has to turn on her own brother.
2) give the reader a chance to breathe. Personally, I had to put Gin Phillips’s book down from time to time because of 1). This is one aspect of pacing, and many authors give their readers a break by introducing humor—among the detectives, with secondary characters. Tami Hoag is excellent at this in her Kovac and Liska novels.
3) chapter endings shouldn’t feel like endings. The last lines of one chapter should carry your readers into the next, keeping their curiosity piqued through artful (not cheesy!) cliffhangers.
4) let your reader know whom to root for. Thrillers commonly use multiple points-of-view to present the story. Poorly handled, that can dilute your readers’ focus. Tammy Cohen’s recent They All Fall Down keeps her character Hannah front and center by writing the chapters from her point of view in the first person, whereas chapters from other points of view are third-person, filtered through the narrator’s voice.
5) love your secondary characters. It’s great when they’re real, and not just moved onto stage like cardboard cut-outs. Nick Petrie’s character Lewis is a good example; I grinned when he showed up in Petrie’s second novel, Burning Bright.
6) keep research in perspective. Research can be a way to avoid actual writing. Because I like research, I have to avoid the Too-Much-Already quicksand. What works for me is to do enough to start sparking ideas. After that, I confine myself to just-in-time research as I go along. When you do begin to write, your reader doesn’t need every detail. Feel free to hit the highlights and feel confident about the firm base underneath.
7) remember you’re writing fiction – just jettison plot developments that aren’t working. Characters too. I’ve swept up characters from the cutting-room floor and put them in short stories. Lessens the pain.