Writing Tips (#TuesdayTips)
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TuesdayTips166
Who Dat?
Dialogue Attribution.
A couple of years ago, I posted a series of articles about writing convincing dialogue [#Tips 89,90,91]. In a very belated follow-up, today’s blog is about dialogue attribution – in other words, marking who said what. The bit of conversation outside the speech marks.
The process of attributing dialogue is something that rarely gets the attention it deserves. Writers are often praised for their skilful use of speech. A good scribe can paint a picture of a character with just a few spoken words. They can demonstrate their emotions without needing to actually tell you how they are feeling.
Most importantly, the reader should never lose track of which character is actually doing the speaking.
But none of that is possible without support from outside the speech marks.
Yet this is rarely mentioned, in part, because if it is done properly, it is essentially invisible to the reader. That lack of visibility is something that is key to this whole topic.
All You Need Is He Said/She Said.
It has been claimed by some that these two tags are all a good writer needs. If there are more than two characters, or they are both the same gender, then ‘Bob said’, ‘Alice said’ and ‘Charlie said’ should suffice.
This seems somewhat restrictive – and probably flies in the face of what you learned in school. There, we are taught to avoid repetition at all costs, and to expand our written vocabulary using synonyms. We are also encouraged to modify our tags to highlight what the character is feeling.- “Go away,” he said.
- “Go away,” he said angrily.
- “Go away,” he said wearily.
- “Go away,” he shouted.
- “Go away,” he shouted angrily.
- “Go away,” he whispered.
- “Go away,” he whispered urgently.
These examples above show the same two words uttered in seven different ways, with the character’s delivery of them determined by the words surrounding them.
Taken out of context, the first example is impossible to render. The voice you hear in your head when reading it probably says more about what you are feeling than the character is feeling.
But that’s the point, it’s taken out of context. In a book, that dialogue would be nestled within the story. Hopefully there is enough information surrounding it that you can infer the emotion based on what else is, or has, taken place.
So why this advice?
First of all, I think it is too absolutist. There’s no question that writing that is stuffed with synonyms for ‘said’ can feel amateurish. Read the dialogue below and see how it feels.
“I don’t believe him,” said Warren.
“Me neither,” agreed Sutton.
“Oh, come on!” Hutchinson shouted, exasperated.
“No, I think you are right,” interjected Hardwick.
“I don’t trust him either,” Ruskin piped up.
“He’s done this before,” Grayson added.
“Fine, I’ll prove it,” Hutchinson huffed. “I’ll bring in the photo of Elvis holding me as a baby in Vegas.”
“Will it be as convincing as that John Lennon look-a-like your Dad told you you’d met as a kid?” asked Sutton.
“That wasn’t my fault,” grumbled Hutchinson, embarrassed. “Dad always liked a joke.”
“The date on the photo was June 1981; he died in December 1980!” Warren laughed.
“Well this photo was taken in 1975,” Hutchinson insisted triumphantly. “When he was at the height of his powers.”
The above exchange is frankly exhausting to read (and even more so to write). The word ‘said’ is used only once, with a further 10 synonyms.
In my opinion (and it is my opinion, others may disagree), writers should strive to minimise synonyms for said, but not to exclude them entirely. Their periodic use lends variety to a piece of prose.
I see nothing wrong with the occasional use of ‘he asked’ when a character has asked a question – however, the presence of a question mark should tell us that it us a query, making it slightly redundant.
Stop shouting at me!
Like many writers, I shun the use of exclamation marks where possible (see #Tip115). If you need them to tell the reader that something is dramatic, you probably haven’t written it dramatically enough. However, they can have their uses in dialogue. They can be used instead of telling the reader a character is shouting.
For example.
“Warren, come here,” Susan shouted.
I think this looks more impactful with an exclamation mark.
“Warren, come here!” shouted Susan.
If the reader already knows who is doing the shouting, then you may be able to eliminate the dialogue tag entirely.
Susan shone her torch into the darkened room. “Warren!”
Dialogue attribution is an essential tool in any writer’s arsenal. For that reason, I am going to continue this theme in a later tip.
What are your thoughts on dialogue attribution? Can you think of any good examples of it done well?Until next time.
PaulIf you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.
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TuesdayTips165
I See You.
Character Visibility.
Welcome to this week’s #TuesdayTip. Today, I want to look at character visibility.
Specifically, whether a character is front and centre or ‘hidden’ in the background.
In crime novels, there is usually a culprit of some description. There are also red herrings. Fans of crime fiction are often very careful readers. They are looking for clues as to who the antagonist is. I’ve discussed previously the placement of red herrings [Tip153] but sometimes you want to mislead your readers even more. You want readers to work for the pay off. One way to do this is to keep them guessing about whether the guilty party is front and centre throughout the story (hiding in plain sight) or perhaps is a smaller character, maybe one that seems to be little more than a supporting actor.
Although there are very few hard and fast rules about writing crime fiction, one thing you have to do is introduce the culprit early on – don’t cheat and bring them in two chapters from the end.
So, do you have them as a key part of the narrative, or do you slip them in barely noticed?
The same goes for red herrings. Do you make them an obvious suspect and spend most of the book making the readers guess ‘are they or aren’t they’, only to fall at the final hurdle? Or do you slip them in discreetly early on, but have them just noticeable enough that the reader starts to feel clever because they think they’ve spotted someone you are trying to hide?
Some of the best books I’ve ever read skilfully combine both approaches. A character who is so obvious that I am almost dismissing them, because surely the writer is trying to mislead me? Alongside an apparently minor character who I start to feel suspicious about, solely because I think ‘well they must be there for a reason …’.
Another approach is to have more than one culprit. The obvious suspect turns out to be the evildoer, but they are dismissed at one point because they couldn’t have done it (eg they had an alibi) or their motive collapses. You then reveal that they did do it, but for a different reason and enlisted the help of someone else, either to give them a false alibi or to carry out the deed on their behalf. Lovers of True Crime see this all the time. The woman whose husband is killed whilst she is twenty miles away in a crowded bar, turns out to have been murdered by her lover so that they can live happily ever, after is a typical example.
Just one final thought. I have focused here on the culprit, but what about the unexpected hero? This has to be done with care, to avoid stereotypes and ‘saviour tropes’ (eg the damsel in distress is rescued by the big, handsome man). However, when done well, it can work brilliantly . For example our protagonist luckily avoids danger or has unexpected clues fall into their lap, and it is eventually revealed that they had an unknown helper all along. Especially if the helper is the person you’d least expect to be on their side.
What do you think about character visibility? Do you like the culprit to be hidden in plain sight or a part of the background? As always, feel free to comment here or on social media.
Until next time,
Paul.
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.
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TuesdayTips164
Block Buster
Ideas To Thwart Writer’s Block
Boo! Spooky Special!
Welcome all, it’s Halloween, so how better to celebrate than a spooky Block Buster – a short exercise to either bust your writer’s block, or just a fun writing challenge to practise your skills?
As writers we are sometimes accused of having over-active imaginations. Today’s exercise involves giving free-reign to our fears and crafting something suitably creepy or scary.
First, choose one of the following story prompts.- It’s the dead of night. The house is empty when you awaken unexpectedly. What was that noise? It sounds like a floorboard creaking!
- You’re standing at the kitchen sink. It’s dark outside. The security lights come on unexpectedly and you see a shadowy figure.
- You’re out shopping. Across the store you lock eyes with a stranger who looks familiar. A person who died many years ago…
- It’s the middle of the night. You live alone or with a partner. You have no children. So why is there the sound of a baby crying …
If none of these prompts grab you, take a look at this webpage from MasterClass.com
Now write a story using that prompt.
Things to consider:- First person or third person? (ie are you the star of the story, or are you writing about a different character?)
- Will it be a horrible gore fest, or are you more interested in a psychological thriller?
- What will the resolution be – is there a straightforward explanation, or is it something more sinister?
- Or will there be no resolution, leaving it up to the reader’s imagination?
Remember the rules:
- Set yourself a time limit.
- Write without stopping, editing or overthinking.
- Write whatever comes to mind and don’t worry if it doesn’t make sense.
- It doesn’t matter if it has nothing to do with the scene that you are stuck on.
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.
Until next time,
Paul
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TuesdayTips163
Block Buster
Ideas To Thwart Writer’s Block
Spin It Off.Today’s #TuesdayTip is another Block Buster – a short exercise to either bust your writer’s block, or just a fun writing challenge to practise your skills. It follows on from last week’s tip about Spin-off series (#Tip162).
Spin-off TV series are all the rage these days, with original series based on characters or settings from existing film or TV franchises. Marvel’s Loki, Hawkeye and The Falcon and the Winter Soldier all take characters from the Marvel Cinematic Universe (which is itself inspired by the original comic book source material) and give them their own platform. Harlan Coben has written a novel, Win, based on Windsor Horne Lockwood III, a popular supporting character from his Myron Bolitar series. And a damn good read it is too!
Today’s exercise therefore, is to write a short piece based on a minor or secondary character from an existing work. The parameters of this activity are up to you.- Will it be a short story or a character study of a couple of paragraphs?
- How minor is the character? – are they a named, secondary character, or just someone standing in the background?
- Will it be a retelling of an event, or will you write something entirely unrelated eg a day in the life of one of Jabba the Hutt’s musicians?
Remember the rules:
- Set yourself a time limit.
- Write without stopping, editing or overthinking.
- Write whatever comes to mind and don’t worry if it doesn’t make sense.
- It doesn’t matter if it has nothing to do with the scene that you are stuck on.
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.
Until next time,
Paul
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TuesdayTips162
Returning To The Well.
Spin-off Series.
If you have watched TV in recent years, you have probably noticed the plethora of so-called ‘spin-off series’ – original TV series that take their inspiration from a tiny part of an existing film or TV franchise. Results are mixed, obviously. The Disney corporation has become especially adept at this in recent years, with multiple TV series based on Star Wars or the Marvel Cinematic Universe.
The seed of the new series can vary enormously. Sometimes that link is very explicit, other times less so. For example, the Marvel series Loki centres on Thor’s brother, portrayed several times already in various Marvel film entries, such as the Thor films or The Avengers by Tom Hiddleston. Before then, Marvel’s Agents of S.H.I.E.L.D took a very minor character from the Marvel film series, Agent Coulson, and crafted a show around him that ran for seven years and 136 episodes. Both of these examples (and numerous others besides) often have lots of cameos from other characters in the franchise. Early in its run, Agents of S.H.I.E.L.D would often have actors from the film series briefly reprise their role in an episode.
At the other end of the spectrum, the critically-acclaimed Mandalorian series is based, indirectly, on a very briefly seen character in the original Star Wars film trilogy (the armour-clad bounty hunter Bobba Fett). He is only in a couple of scenes in The Empire Strikes Back (Episode V) and Return of the Jedi (Ep VI). His backstory is further fleshed out in the prequel film, Attack of the Clones (Ep II) – of course the twist here is that the Mandalorian in the eponymous TV series is not Bobba Fett, rather a bounty hunter from the same race as Boba Fett. The concept of Bobba Fett led to the exploration of a whole new corner of the Star Wars universe that is familiar in look and feel, and follows the ‘rules’ of that fictional creation, without being heavily reliant on existing characters from the original source material.
Of course, this is not a new phenomenon. Spin-off or tie-in novels from TV and film franchises have been around for decades. I own hundreds of Star Trek novels (and have read even more). The most common are ‘additional episodes’, if you like, of the various Star Trek TV series. I have many dozens of Star Trek: The Next Generation (ST:TNG) books which could easily have been a TV episode. Excitingly, the freedom of the format allows the writers to tell stories that can’t be filmed, either because of expense, limitations in visual effects, or in later years because the actors that portrayed these beloved characters are no longer with us. I also own books that create new characters, set within the Star Trek universe. Peter David’s New Frontier series, which first appeared in the nineties, featured a new starship and entirely original characters. It was unquestionably part of the existing and ongoing ST: TNG universe, with ‘cameos’ from Captain Picard etc, and it followed the ‘rules’ of that universe. As a huge fan of the TV series, when reading the books, my mind’s eye easily conjured up images based on the TV series’ aesthetic.
So, where is this going? As a writer, we are often looking for inspiration, and a spin-off from an existing work can be a great way of creating of original material. You may be fortunate enough to have an existing work of your own that you can expand. For example Harlan Coben has taken characters from his incredibly popular Myron Bolitar series and given them their own novels.
Otherwise an option is to take inspiration from someone else’s creation. Unfortunately, unless you are writing not-for-profit fan fiction, using intellectual property that is still under copyright without permission will likely land you in hot water. Neither Lucasfilm or CBS are going to look kindly on you writing spin-off novels set in the Star Wars or Star Trek universes (please note, I still await the call from Pocket Books to write a Star Trek-based detective novel). Even older franchises can have some limitations – some of the characters from the later Sherlock Holmes books will remain off limits for a few more years. But there are plenty of older, public domain, novels. Dracula and Frankenstein’s monster have been reimagined many times, with other characters from those novels sometimes taking centre stage. The much-lauded crime writer, PD James, continued Jane Austen’s Pride and Prejudice with her own Death Comes To Pemberley.
Could a spin-off be the inspiration for your writing? What spin-off series do you think work particularly well? What spin-off series would you really love to see?
As always feel free to share here or on social media.
Until next time,
Paul.
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.
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TuesdayTips161
TV Review:
The Force: Manchester.
Today’s Tuesday Tip is another TV review. This time it’s The Force: Manchester.
There have been several seasons of this fly-on-the-wall policing documentary, dating back to 2015. We have been watching it weekly in repeats on the Pick TV channel, however it is available across several different streaming platforms.
Previously I have reviewed 24 Hours in Police Custody (Tip#129), an occasional series which looks at an individual investigation from 999 call to trial. I then reviewed Night Coppers (Tip#145) which focuses on response police officers doing the night shift in Brighton.
The Force: Manchester again deals with uniformed response officers, but covers day and night shifts across Greater Manchester. Like Night Coppers, this is less about the investigation, more the day-to-day policing and the incidents that police are called to. There is a good mix of roads policing, drugs raids, mass disturbances (including policing volatile football matches), dog searches and domestic disputes.
As always, there is good entertainment to be had in some of the bizarre interactions officers deal with, as well as scenes that will make you feel anger or despair. As a writer, it is again full of useful nuggets of information and little details. What I really like though, is the candid nature of the officers when talking to the camera. One particular roads policing officer is very open about his thoughts regarding bad and dangerous driving. Other officers are openly exasperated at the time wasted by domestic disputes (note: I’m not talking about domestic violence – rather ‘my neighbour keeps on moving my wheelie bin’ etc). As more than one officer observed, there are too many people who are incapable of resolving disagreements in an adult fashion and automatically call the police.
The show is several years old now, so one can only assume that the ongoing budget cuts have made things even worse, especially with the Covid crisis.
Definitely one worth watching.
Have you watched any decent documentaries or fly-on-the-wall series that you would recommend?
As always, feel free to comment here or on social media.
Until next time.
Paul
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.
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TuesdayTips160
Dualling Narratives.
Using Multiple Timelines.
For this week’s #TuesdayTip, I am looking at stories told in two or more different time frames. There are lots of different versions of this particular narrative device, each with their own strengths, weaknesses and challenges. I have dabbled myself, writing a short story some years ago for a charity anthology, Dark Minds, and I have some other projects on the go 🤫.
The most basic use of this device is to simply have two parallel storylines that are linked in some way, with one of them set earlier than the other. Typically, there is a ‘modern’ story, which bookends the tale, perhaps the protagonist introduces the story, then we see the events that took place earlier, before returning to the modern times.
The film Titanic is a good example of this. After the discovery of the picture in the wreck of the ship, 100-year-old Rose contacts the dive team. She then recounts what happened 85 years previously, which we see as the storyline that forms the bulk of the main narrative, before we finally return to the present where Rose wraps up the story.
This is typically fairly easy to write. There is little crossing-over between the two timelines, so little danger of the reader becoming confused.
A rather more complex version sees the two timelines told in parallel, with frequent switching between the two. This is where it can become more challenging. It is important to remember that books are rarely read in one sitting. Many people will read a few pages at a time, for example in bed, and might take a break. Therefore it is important to ensure that the reader is confident within a few pargraphs of restarting which timeline they are currently reading. You can of course start each chapter with a date and/or time – but what if the reader put the book down after reaching a section break, rather than a chapter break? How will they know which timeline they are currently reading when they pick the book up again?
In some ways, filmmakers have it easier than authors in this respect. In Titanic, the clothing and opulence of a 1912 ocean liner is easily distinguishable from contemporary 1997 and of course Kate Winslet playing a 17-year-old Rose looked different to her modern-day counterpart, played by a heavily made-up 87-year-old Gloria Stuart. The Guy Pearce film, Memento, is able to easily avoid confusion between two different timelines, one played forward and one in reverse (a clever plot device designed to replicate the protagonist’s short-term memory loss and inability to form new memories), by shooting one in black and white and the other in colour.For novelists, such trickery isn’t possible. So how can a reader tell, within a few paragraphs, which storyline they are reading?
The most obvious is simply the events that are taking place. The two timelines may be so different that it is immediately obvious when the story is occurring. But what if that isn’t enough? Can you seed clues in?
Crucially, you don’t want to be explicit. Subtlety is key. You want to give a ‘flavour’ of the time period, rather than screaming ‘this bit is set in 1998’.
For example, imagine a story in which two police investigations take place, a few years apart, with the same detective driving both.
The first thing to do, is to ask yourself what is the same about the two stories (and may thus create confusion) and what is different (and therefore can be used as a marker to differentiate the two).
Here are some quick suggestions:
Characters involved. Perhaps some of the secondary characters change between the two situations? DC Plod wasn’t involved in the first investigation, so when they speak it is obvious that the book is currently focusing on the later investigation.
The weather/season. The first investigation took place in winter, the second in summer. So when a character grabs their thick coat, or grumbles about the aircon not working, it places the story appropriately.
Character evolution. If the timelines are several years apart, how have the characters changed? Have they aged? Is one of them now a parent? Are they bald?
How has society changed? TV and films will take great care to get the correct period detail. A character’s mobile phone will look a lot different in 2010 to 2023. It will also have different fuctions and apps. You can use these differences to subtly set the scene.What are your thoughts on stories set in dual time frames? Have you seen any clever tricks that can help a reader easily place themselves in a particular timeline? As always feel free to share here or on social media.
Until next time,
Paul.
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.
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TuesdayTips159
TV Review:
Gaia: A Death On Dancing Ledge.
Today’s Tuesday Tip is another TV review. This time it’s the three-part documentary Gaia: A Death On Dancing Ledge.
The programme is available on the BBC iPlayer.
The documentary, presented by Zara McDermott, explores the mysterious disappearance of nineteen-year-old Gaia Pope-Sutherland.Many of the documentaries I recommend delve into the mechanics of investigating serious crime, such as police procedure and forensics. This one is a little different. As writers of crime fiction, we often portray ultimately successful police investigations. Also, we can sometimes skirt over the victims’ stories to focus on the detectives. This series redresses that balance, somewhat.In a nutshell, Gaia went missing from Swanage, Dorset in November 2017. She was missing for eleven days, before being found dead. The initial police investigation was described as ‘amateurish’ in that the officers handling the initial report incorrectly categorised her as low-risk, rather than high-risk, perhaps leading to her unnecessary death. During the search, three individuals were arrested on suspicion of murder, although they were subsequently released without charge and Gaia’s death ruled non-suspicious.
That in itself is an interesting story. But the backstory leading up to these tragic events is a convoluted, dark and heart-breaking tale. Gaia’s family and friends are at the heart of this story and McDermott is an engaging and sensitive presenter. She delves deep into the circumstances surrounding Gaia’s disappearance and death, and goes to some very dark places, unearthing an online culture of abuse and toxic masculinity.
I recommend this documentary as a reminder that the police don’t always get it right, and that behind even a seemingly accidental death, there is often a complex and upsetting story.
Did you see the programme? What did you think? Have you any other recommended shows?
Feel free to comment here or on social media.
Until next time.
Paul
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.
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TuesdayTips158
The Camera (Or Audio) Doesn’t Lie.
The other day, I was thinking about how much the way we write has changed in the last 100-odd years. There are the obvious changes to the process. Few modern authors write long-hand, or use a typewriter, and largely that has made our craft easier and more stream-lined. Computers are a God-send to people like me. Even as I bash out this blog post, I benefit from the ability to delete or change words, sentences or even paragraphs. The kindest thing one can say about my handwriting is that I have my own font; if I was limited to a pen and paper, the waste bin would soon be over-flowing and whoever I employed to turn my final manuscript into typeset for my publisher would need the skills of an archaeologist deciphering ancient cuneiform runes (case in point, my computer has just corrected the spelling of cuneiform – it has an ‘e’ in the middle. Who knew?).
In recent years, I have started using the specialist writing package Scrivener (#TuesdayTip80). I’m not saying that Agatha Christie would have written better stories if she had used it, but it may have made her life easier and she might have had a better work-life balance.Then there is the internet – a tremendous time-suck that probably decreases my productivity in many ways. But on the flip-side, having so much information instantly available certainly saves me hours or days of traipsing to the library or writing to experts to make sure I have small details correct.
But there is one thing that modern writers have to consider that perhaps was less important at the turn of the last century – namely needing to consider what happens when the book leaves the page. I’m not talking necessarily about TV, stage or film adaptations. Or even radio dramas – few books are ever translated to those media. But audiobooks are a huge growth area. I’ve mentioned before some of the challenges that audio narrators faced – take a look at my summary from a discussion with my long-time narrator Malk Williams (#TuesdayTip69). But there are a few other things that you need to consider, should your book ever be translated into a different format.First – it is extremely common for writers of crime fiction and thrillers to describe the crime or murder that has taken place and then spend the remainder of the book trying to solve the crime. I often put mine in the prologue. In prose, the culprit’s identity is easy to conceal.
“The killer stabbed the victim, screaming ‘I hate you’, repeatedly.”
gives nothing away. But this subterfuge is obviously harder to pull off when the killer has a distinctive voice – how will your audio narrator hide the fact that the murderer is the only female Scouser in the book? This is even more tricky on screen, or in a dramatic performance. How do you conceal the identity of the actor?Second, what about unreliable narrators (I mean the character, not the highly-skilled professional reading it aloud)? Or books that rely on the reader assuming that one character is the person being described, when in fact it is another? In audio, this can be solved by asking the narrator to simply do a straight reading, rather than using different voices or actors for each character. But again, this is a lot more tricky in dramatisations, especially visual. I can think of at least one thriller where the big twist at the end is that the first-person narrator is actually somebody different to who the reader thinks it is. It’s done amazingly in the book, but how do you portray that on screen without giving the game away?
There are no easy answers here. My advice is that you simply write the best book you can, and let others worry about if the story is filmable. Only a tiny percentage of books will ever be dramatised, so don’t worry too much. That being said, there are lots of clever tricks that writers can use to conceal a character’s identity in a way that will also work on screen. If you have any suggestions, please feel free to comment here or on social media!
Until next time,
All the best,
Paul
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.
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TuesdayTips157
TV Review:
Code Blue: The Killing of June Fox-Roberts.
This week’s #TuesdayTip is a recommended watch. Code Blue: The Killing of June Fox-Roberts, available free on ITVX in the UK.
https://www.itv.com/watch/code-blue-the-killing-of-june-fox-roberts/2a5302
I’m recommending this two-part documentary because not only is a fascinating fly-on-the-wall documentary following a horrific and tragic murder investigation, but because it shows the police investigation beyond just the usual ‘forensics and following leads’ that we see in many of these shows.
I’m not going to give away too many details, in case you are unfamiliar with the investigation and want to follow it through to the end. But in summary, June Fox-Roberts, a 65-year-old grandmother, was found by her daughter dead in her home near Pontypridd, South Wales in November 2021. She had been dismembered and beheaded with an axe and an attempt had been made to clean up the scene. Her limbs and head were missing.
The documentary follows the police from the very start of the investigation, and includes lengthy interviews with June’s family as they come to terms with the horrific circumstances of the killing. As a writer of crime fiction, I found it a useful reminder of the human cost behind such crimes. The investigation itself was pretty standard fare; it yielded little in the way of new procedural details for me to incorporate into future books, although others may find it more useful. That being said, if you are looking to build a realistic investigative team for your books, the various job titles for the different specialists are worth noting and it was interesting to see the meetings between detectives and forensic and search experts as they formulated their strategies before commencing their tasks. All too often in fiction you could be forgiven for believing that a body is found and within half-an-hour, the paper-suit brigade are traipsing around the crime scene hunting for clues.
You might not want to incorporate all the details of these meetings in your book, but references to them taking place adds authenticity. Since this occurred in November 2021, there were some interesting clues as to how the police, like the rest of society, were learning to live with covid; some officers were without masks, whilst others clearly felt more comfortable with them.
Most of all, the candid interviews with family and police gave me insight into the impact on all concerned. It was clear to see that for many of the officers involved, the scene that greeted them was something they could never unsee. June’s daughter, who found the body, was clearly still in shock months later. She admitted that she hadn’t really started grieving properly. June’s other daughter had to endure cruel speculation on social media that she was the culprit and her interview was heart-rending.
As crime writers, it is important not to forget that there is a human story behind the crimes we portray. And that everyone involved, whether it be the victim, their loved-ones or the professionals that deal with the crime, will be impacted in some way.
Did you see the programme? What did you think? Have you any other recommended shows?
Feel free to comment here or on social media.
Until next time.
Paul
If you are a writer with a tip to share, or fancy writing a fictional interview between you and one of your characters, please feel free to email me.
