I don't know who came up with that suggestion, but I couldn't agree more.
As a series writer in particular, I find it essential to have the backstories for each of my characters written out and easily accessible.

Doing so helps you remain consistent to the character and means that you don't have to keep on leafing through old manuscripts to find facts that you mentioned in passing once and half-remember (but your Amazon reviewers will know in exacting detail and castigate you for if you get them wrong). Sometimes, it even provides story inspiration.

I would suggest that a basic biography is essential for your primary protagonists and antagonists, advisable for more minor characters and at least a one or two line sketch useful for those characters that just wander in for a scene or two.

If you write a series, then you should definitely jot down at least a couple of lines for recurring characters.

How you choose to record those biographies is up to you. It could be as simple as a Word document or paper notepad, with a page of notes for each character or something a little more technical like a spreadsheet with a template, or a character chart. Some specialist writing packages have tools that help you keep track of characters.

The document should be a dynamic affair that you add to as you write. It's easy to get carried away writing, mention that somebody has a cat called Gertrude, and then, six-months later write a scene where they come home and are greeted at the door by a hungry ... Dog? Cat? Maybe called Colin ...?

It sounds like a bit of a faff, but it can pay dividends.
First of all, spending a little time planning a character - even if you are by nature a panster, not a plotter - can help you picture them in your mind's eye, making it easier to write them and find their voice.

Second, it can provide story inspiration.
Let's imagine that your character is a large, well-built male with plenty of testosterone. The door to an apartment is locked, and there were reports of what sounded like a struggle... There's a good chance that he's going to put his shoulder to the door. Inside there's a dead body etc etc.
Now let's imagine the same scenario, but your character is a petite female. She's never going to smash that door down, so she starts knocking on neighbouring apartments to see if anyone has a key. The older lady two doors down says somebody left the apartment moments before the police officer arrived.

Your female protagonist has just found out a key bit of information sooner than her male counterpart would have, since he might not have started door-knocking until after the body had been dealt with. Whereas the female officer has just alerted colleagues in the area to be on the look out for a suspect.

From a story-teller's perspective, either scenario gives you options to play with and could influence later choices that you make.

Third, as mentioned before, it helps keep you consistent throughout a book or series. There are some eagle-eyed readers out there, and whilst most are lovely and forgiving, human nature is such that others delight in loudly proclaiming on social media that the change in a character's eye colour between book one and book seven 'ruined the whole series for them' and they advise others to steer clear of such a sloppily written set of books (at which point they skulk back to Amazon and change their original gushing 5 star review to 1 star).

So what should you include?

Date of birth / age of character:
You do not have to state this in your book! But knowing roughly will help you write a character. How do they speak? Are they young or old? Are their references to pop culture broadly appropriate? If they aren't, have you discreetly justified the apparent discrepancy?
"Your knowledge of fifties swing music is pretty good for someone born in the twenty-first century".
"Yeah, my Nan was a huge fan, we used to listen to it when she babysat me."

Knowing their age may also inspire sub-plots. A younger officer not getting the significance of a clue that an older officer would take for granted, and vice versa.
In a series, characters may reach certain milestones over time - how do you reference this?

I'll write more about this in a later blog post.

Physical Description:
As much as you need or want, really.
Height, weight, build, fitness, disability (even something as minor as wearing glasses)
All of these can influence your story choices, as demonstrated above.

Eye, hair, and skin colour, piercings, tattoos, clothing etc.
Are they age or character appropriate? Could they be commented upon? Do they affect the way that others see them? Is there overt racism or implicit bias? Is an older woman with grey hair and a fondness for cardigans perceived as less dynamic than a thirty-something man in a sharp suit, with an even sharper haircut?

Perceived attractiveness:
This is a tricky one that should be used with care, but can be important to a story. Try not to embarrass yourself or your readers by being overly descriptive (I'm thinking especially of male authors who think that female characters spend hours in the bathroom mentally assessing their boobs by way of a detailed inner monologue). Our society is such that perceived attractiveness can impact on the way that people are treated, women in particular. Are 'attractive' characters assumed to be less intelligent? Are less-attractive characters over-looked by colleagues? Remember, unless the story is told from first person perspective, the perception of attractiveness should be from the character doing the judging. Leave your own peccadillos out of it!

Background:
How we are brought up can profoundly influence our choices and attitudes over the rest of our lives, but so can more recent life events. Take poverty for example. What affect would childhood poverty have on someone in later life? Would they be overly cautious with money once they earn a decent salary, or would they be a spendthrift, making up for everything they missed previously? What effect would poverty in later life have on a person who had a comfortable up-bringing? Knowing this can help you shape your character.
What about bereavement? Childhood or adult? Everyone reacts differently, so there is no 'correct' way to write this. But by considering it beforehand, you can remain consistent and your character will feel more real.

Religion, culture, sexuality and beliefs:
I've grouped an awful lot into this deliberately, as they tend to overlap. They can have a profound impact on the way that your character treats, or is treated by, others. How much you decide to work-out in advance will be determined by the needs of your story, and how much you feel it is relevant. But as always, knowing a bit more than you actually write down can help. And again, it can inspire plot points and avoid errors.
Take a practising Muslim character for example. It's easy enough to avoid basic errors such as them consuming pork or alcohol. But if you explicitly mention the date that your book is set, will that character be observing Ramadan during that period? If so, they are unlikely to join in with the breaktime donuts. Or perhaps they are itching to leave work on time so they get home and break the fast with their family?

Favourites:
Does your character have a favourite colour (that could influence their wardrobe), what about music, film and books? DCI Warren Jones loves cheesy 80s music - DI Tony Sutton teases him about it most books. Food? Warren is basically me, so he is a fussy eater. Again, I try to get something into most books. He and I also share a taste in biscuits.

Knowing your characters is so important to your writing. Not everything here will be relevant to every character or every book, and there are loads more things I could have suggested.

What are your thoughts? Is there anything else you think I should have included? Feel free to comment here, or on social media.

All the best,
Paul

Last week, I looked at DNA evidence. I explained what it is and how it can be used in your story, as well as the ways in which DNA fingerprinting is not necessarily a Gold Standard with no wriggle-room for writers to inject doubt into their story.
This week, I'm going to look at some other issues that you could perhaps use in your story.

Historic and Familial DNA matches
The UK has one of the largest DNA databases in the world. Those arrested for a crime routinely have their DNA profile taken and added to the database, as do members of law enforcement. (Note: The rules over the retention of samples has changed over the years, and differ between the home nations. You may need to consider reading up on the rules to ensure accuracy.)

When a DNA fingerprint is taken, it will be compared across the database, and matches to unsolved cases can, and do, pop up. In recent years, some cold cases that pre-date DNA fingerprinting have been reopened and DNA samples taken from evidence kept in storage (Note: For murder, cases are never actually closed, even when 'solved'. The evidence gathered should not be destroyed, so you can revisit a supposedly solved case). A satisfying number of offenders who thought they got away a murder or a rape 30 or 40 years ago, have been convicted when they commit an unrelated offence (eg drink driving) and have their DNA taken.

Recently, familial DNA matches have proven successful in identifying new suspects.
As explained last week, the closer two individuals are related, the more similar their DNA will be. Identical twins share 100% of their DNA (but not their fingerprints) and it is almost impossible using current technology to distinguish which twin a DNA sample has come from. Full siblings (including non-identical twins) share 50% similarity. An individual also shares 50% similarity with each of their parents.
As the distance between two individuals on a family tree increases, the similarity between them decreases. It goes without saying that this only applies to biological relations.

In this scenario, DNA taken from a crime scene doesn't match an individual on the database, but instead partially matches a person already on the database for another reason. The police can determine that their unknown suspect was a full-sibling, or other close relation to the person already on the database, and start looking at those people as potential suspects.

How long does it take to return a DNA match?
The flippant answer is "as long as your story needs it to take".
However, you need to have some realism, so consider these following points.
Technical limits
The actual process of matching DNA fingerprinting has become faster and faster. In principal, DNA matches can be done in a few hours these days. But when is your story set? The time taken 5, 10 or 20 years ago was much longer (side note: A workmate stopped watching the X-Files in protest, when they did a DNA match overnight. This was back in 1998. The lab we worked in had a DNA sequencer capable of doing DNA matching with the correct settings and reagents - it took us days to do something similar).

At the time of writing, DNA is sent to a laboratory to be processed, it can't be done at the scene,

If you are writing a techno-thriller, you can play a bit more fast and loose with this and pretend that there are machines that can test a sample on site and give a quick answer. When Osama Bin Laden was killed, it was claimed that his identity was verified by comparing his DNA to his family members, before his burial at sea within 24 hours of his death. Given the speed with which this was done, one can probably assume that they had access to some pretty sophisticated technology.

Is there a queue?
Laboratories are typically overwhelmed with DNA samples, and so your sample may languish in a queue for weeks or months before it can be processed - the length of the backlog varies enormously, depending on jurisdiction, workload etc. Would your sample be seen as a priority, or is it just another serious crime - take a ticket and join the queue?
This is an invaluable tool for story-tellers. My DNA results come back when the story needs them to - I simply justify it in the narration. If they return very quickly, it's because they authorised the cost of a fast-track service (since the UK government abolished the world-class Forensic Science Service in 2012, most DNA testing is done by commercial firms now). If it takes a bit longer, it's because it wasn't seen as a priority or the laboratory is over-worked. Just make it sound plausible and nobody will care :-)

​How long can DNA last?
This is a question without an easy answer. In ideal laboratory conditions (stored in a freezer, dissolved in a buffer etc) you can assume that previously extracted DNA will last forever. Samples on a properly stored dress, for example semen stains from a historic rape, can also last for decades.
Improperly stored samples are more problematic (or potentially more useful for your story!). Blood-soaked clothes etc are now kept in paper evidence bags. Microbial contamination of clothing can lead to condensation being produced; in a plastic bag this potentially leads to droplets of moisture interfering with microscopic spots of blood etc. Imagine a scenario where the exact position of blood spatter on a suspect's clothing supports a sequence of events; then imagine what would happen to your case if droplets of moisture dampened and smeared those stains...

Outdoors, the elements can play a significant part. Contact DNA left behind by a person may be washed away, and strong sunlight may physically destroy the DNA. Dead bodies can remain useful for the purposes of identification for a long period of time, but if exposed to the elements, again decomposition can eventually destroy the evidence, or degrade it so that it is less easy to use. If a body is buried, then depending on how it was buried, and the soil it was buried in, DNA can be extracted for a very long-time indeed. Even if the body has been reduced to a skeleton, some genetic material may remain in the bone marrow etc. That's typically where the DNA is extracted from when scientists examine Neanderthals or other, ancient human remains. Otzi the iceman was preserved in ice for over 5,000 years, making extraction and analysis of his DNA relatively easy.

Mitochondrial DNA
If a body is very badly degraded, and a full extraction of cellular DNA impossible, then scientists can sometimes extract something called mitochondrial DNA. Mitochondria are tiny structures inside our cells that help the cells release the energy needed to carry out their functions. They carry their own, small quantities of DNA. Just like the normal DNA within cells, this will mutate over time, so that people who are more distantly related will have slightly different mitochodrial DNA to those who are more closely related. This type of DNA can also be extracted from the shaft of a hair, when the follicle is no longer attached.

The problem is that mitochodrial DNA is only passed through the female line (it is carried in the egg, not the sperm). In other words, from mother to child. This means that siblings who share the same mother will have the same mitochondrial DNA as each other and their mother, and their grandmother etc. But they won't have the same mitochondrial DNA as their father or grandfather etc.
Does this create new possibilities for your story?

I hope you have found this interesting and useful.
Please feel free to share and comment, either here or on social media.
Until next time,


Paul

Those of you of a certain age will remember the 1994 OJ Simpson trial. Mr Simpson was accused of killing his estranged wife Nicole Brown, and her friend Ron Goldman, at her home in Los Angeles. After a bizarre, slow-motion car chase, he was apprehended and tried for their murders.

The court case, filmed and shown on prime-time TV, had many memorable moments including Simpson struggling to put on a leather glove found at the crime scene.

But most notable for many was the way in which this case was one of the earliest, high-profile, uses of DNA fingerprinting. In fact much of the prosecution case rested on this evidence, and so was arguably fatally damaged when the defence placed enough reasonable doubt in jurors' minds about the reliability of the DNA evidence for them to acquit.

Much has been written about the rights and wrongs of this case, and I've no intention of rehashing it here. The aim instead is to help writers consider the importance of DNA evidence in their stories, the narrative possibilities it opens, and to debunk a few myths.
Full disclosure - I am not a forensic scientist. However I am a former molecular biologist, who worked with DNA for many years in a research setting (non-crime related). In recent years, I have taught biology to secondary school pupils.

Quick introduction to DNA (feel free to skip if you are already confident)
As tempting as it is for me to waffle on for pages about my favourite molecule, DNA, as a crime writer all you need to know are the following basic facts:
All living organisms have a unique set of instructions that tell the cells making up their body how to build the proteins they require to build themselves and carry out the chemical reactions necessary to sustain life. These instructions are written as code using a chemical called DNA. It is often referred to as genetic material.
In humans, these instructions are carried in almost all of the cells that make up our body.
We inherit half of our instructions from each of our biological parents and will pass on half of our instructions to our own kids (our partner will contribute the missing half).
Because the half of our instructions that we pass on is random each time, the precise combination of instructions that an individual receives is a unique mixture of both parents DNA, so siblings with the same parents are still genetically unique (the only exception to this rule is identical twins - non-identical twins are no more similar than regular brothers and sisters.)
Individuals that are more closely related will have more similar DNA: full-siblings share more DNA than cousins or half-siblings etc (more about this next week).

You are unlikely to need to know more details than this for your crime novel, but if you want to learn more, BBC Learning have a terrific introduction https://www.bbc.co.uk/bitesize/guides/z3mbqhv/revision/3 .

What do we mean by DNA evidence?
Back in 1984, Professor Sir Alec Jeffries, working at the University of Leicester, discovered a method of comparing DNA samples to see if they came from the same or different individuals. He called this technique DNA fingerprinting. Over the following decades, the technique has been improved so that it is quicker, more accurate and requires smaller samples of material.

Humans leave their DNA wherever they go. At a crime scene they may leave obvious samples behind - eg blood or semen stains. However as the sensitivity of the technique has increased, the amount of biological material required has decreased. Those samples can now be too small to see with the naked eye.

But a CSI doesn't need a person to leave something as obvious as body fluids behind. Here are some of the samples that they can extract DNA from.

​Epithelial cells (skin cells). We all shed skin cells to a greater or lesser degree, wherever we go. There is sufficient DNA within those cells for analysis. If you touch a surface, you may not leave a clear enough fingerprint for matching - but you can still leave traces of your DNA behind.
Hair. Head and body hairs do not have any genetic material, so cannot be tested - but sometimes the follicle, the tiny skin structure that the hair grows out of, remains attached to the hair and these cells can be tested.
Saliva. The skin cells on the inside of your mouth are constantly being replaced. Some of these cells can be found in your saliva. If a suspect bites, kisses or licks a victim, they will leave some of these cells behind.  If they bite into an apple, or smoke a cigarette, again they will leave something behind.

Former forensic technician Melissa Kreikemeier has written an excellent blog post about how good different body fluids are for extracting DNA from. Her blog is well worth a visit.

How trustworthy is a DNA match?
To put it bluntly, two good quality DNA samples can be matched with a probability measured in millions or billions to one. What this means is that the likelihood that two samples (perhaps one from a crime scene and one from a suspect) came from two different people, and just appear to have both come from the same person, is a billion-to-one chance.
Rarely these days would a barrister try to convince a jury otherwise.
So, slam-dunk right? No scope for a crime writer to credibly twist and turn the story and introduce any doubt? DNA evidence has killed the crime novel!

Not at all!

1. It needs to be a good sample: If exposed to the elements or incorrectly stored by the police, DNA will degrade over time. As the quality of the sample declines, so does the probability that the match is real.
2. It needs to be a pure sample from one individual: Until recently, if two people's DNA was mixed together - eg a victim and a suspect both bled at the scene  - then this was referred to as a mixed-profile. It was impossible to isolate one person's sample, so it couldn't be proven that the suspect was present. In recent years, advances have meant that this is no longer insurmountable, but it's still early days.
3. Contamination: As the volume of sample required for a DNA-profiling has decreased, so has the possibility of contamination. The white suits that CSIs wear, along with face masks, gloves, booties and hairnets don't just protect the technician from icky stuff, they also protect the crime scene from them. CSIs shed DNA like anyone else - as does your detective, so think about whether they would be bumbling about a scene with no protection. Perhaps more importantly, this means suspect and victim DNA can also be transferred from one scene to another. CSIs/Detectives shouldn't move between crime scenes or between the scene and interviewing a suspect without disposing of their protective equipment first. Without proper care, a victims DNA could easily end up on an innocent suspect or vice versa, establishing a forensic link where none actually exists. Cases have been thrown out when both the victim and the suspect were transported (separately) in the same vehicle. Could this be a plot point?
4. Chain of evidence: All evidence from a crime scene must be logged. Sample bags must be sealed and dated. If the bag is opened, it needs to be resealed, initialled and dated again after use. Failure to follow this procedure can and does result in evidence being deemed inadmissible, because it can't be trusted by the court. How could you use this? A way to get you out of a bind when a case is 'too easy' to solve to make a good story? Perhaps corrupt officers deliberately plant evidence at a crime scene?

The possibilities as a writer are endless, and if you think they seem implausible, OJ Simpson's defence team used three of these scenarios to cast doubt on the DNA evidence used at his trial.


Next week, I will look into some more ways that DNA evidence can be used in an investigation and ways in which you can incorporate it into your story.

As always, please feel free to chip in your own thoughts either here or on social media.


Take care,
Paul 

One of the wonderful things about reading is hearing the characters' voices in your head. The experience of every reader will be different, which can be a challenge for those adapting a popular novel for screen or radio, but aside from that, this unrivalled intimacy with a character is why readers are so passionate.

However, before a character lands on the page they belong to the writer, and it is up to them to steer the reader towards the way that the character sounds in the author's head.

Why is character voice important?
Last year, I read a well-regarded debut novel that I was given at a book festival. The story was thought-provoking, the characters interesting and the plot nice and twisty. But one thing pulled me out of the novel - the characters all sounded the same!
The characters in the book ranged from posh, cultured barristers, to inner-London teenagers all with different upbringings from a range of social classes and ethnic backgrounds. But they all spoke in the same way that the author does (I have heard them give a talk). I thought that was a real shame.

Giving each character their own voice is important. Before I start to write a person, I try to picture them in my head, and 'listen' to them speaking. After almost ten years of writing the DCI Warren Jones series, I can see most of the regular team in my mind's eye and so when they speak I have a feel for how they would sound. However, each book also has a new collection of characters, each with their own way of speaking. 
This doesn't have to be arduous. 
In my current work in progress, I have a character that is a hardened thief, with several spells of prison behind him and a history of violence. He's a skinny, rat-faced man, from eastern England, and frankly, he's an arrogant git who speaks with a sneer; he's seen it all before and (thinks) he knows what the consequences will be, and he's not that bothered.
A different character is recently bereaved. He's never been in trouble with the police, he's scared, he's weary and he's upset. These two men are similar ages, from the same region of England, so their dialect is the same. But they sound different.

Giving your characters their voice.
There are three broad ways that a writer can define their character's voice.

In the narrative
First of all, you can tell the reader what they sound like! A bit of descriptive text when a character is introduced is absolutely fine. 

The man's Merseyside accent had softened somewhat from his years living in the south, but Warren could still hear traces of it in the vowels.

The woman mumbled her assent, her voice thick with shame.

I came very close to messing this up a couple of years ago. All of my full-length novels have been recorded for audiobooks, narrated by the brilliant Malk Williams. He did the first four in the summer of 2018, and since then has read each summer's book a couple of months after it has been released as an ebook. When preparing for recording, he often contacts me to clarify things such as my preferred pronunciation for names etc.
This is the message he sent me as he started preparing to record Forgive Me Father in the summer of 2019:

"You waited until page 169 of the 5th book in the series to mention that DS Hutchinson is a Geordie!!! ... In other news, Hutch has really lost his accent since moving to the home counties!"

That's 100% on me! DS Hutchinson has always been from Newcastle in my head, but I never actually communicated this to any of the readers until book 5. Since then, I have taken to mentioning that Hutch has lived in eastern England for so long he's lost his accent - until he's had a few pints, or he's watching Newcastle United play :-)

In their unspoken thoughts 
This of course depends on the point of view that the story is being told from. For first and second person, this comes naturally. You are literally living in the character's head, and so the same rules apply as for dialogue (below); it's more like a conversation.
For third person, it depends on the context. And of course, you may also have to consider different voices for different characters. 
Some will be in the form of inner dialogue (I'm not being subtle here!):

Toby ran towards Hamish. "Is that a claymore?" he asked himself.
"That wee man'll never take me," thought Hamish, preparing to remove Toby's head from his shoulders.

Some will be more external.

Claire looked down the menu. So many choices; she didn't even know what half the dishes were. She stole a glance towards Jenny.
"I'll have the chicken dopiaza, with pilau rice and a garlic Naan," said Jenny, barely even looking at the laminated card.
"Sounds great, I'll have the same," said Claire, forcing a note of confidence into her voice. She hoped it wouldn't be too hot, she didn't like spicy food.

Hopefully, it is clear in this example that Claire is nervous and unsure of herself, perhaps eager to please, whilst Jenny is more confident.

In their spoken dialogue 
This is perhaps the trickiest to get right, and the one which the novel that I mentioned at the beginning failed at.
Dialect is the key to this. How would your characters speak? If you are unsure, listen to people from that region speaking on YouTube.
The most important thing is to avoid really obvious errors. For example, 'Mum' is commonly used throughout most of southern England. However 'Mam' is used in the north. 'Mom' is usually seen as an Americanism, but is actually quite normal in Birmingham (central England), but not Coventry, just a few miles down the road. Without sliding into parody and stereotype (Scots do not say 'Och Aye' every sentence, and Scousers only tell you to 'calm down, calm down!' if you are really upset or auditioning for Harry Enfield), try and slip in the odd word or phrase to add a little texture to the person's spoken communication.

However, it is easy to over do it. Unless it's important for the narrative, try not to make the dialogue incomprehensible to most of your readers. A famous author recently came in for some criticism when the dialogue in their book was too heavy-handed. They chose to render entire tracts of conversation in a 'working class' dialogue, dropping Hs, shortening words, skipping consonants etc, until it was a mess of randomly-placed apostrophes and the reader found themselves going back over it repeatedly to try and parse what they were saying. Dare I say that should have been flagged by an editor?

Similarly, foreign words are an excellent way of bringing a character to life, but again it can be a bit of a tightrope. I have read most of Tom Clancy's works and he and the continuation authors have many foreign characters. By the end of the book, I tend to recognise the Russian words for please, thank you, hello and goodbye, plus a couple of curse words, but don't feel like I have just had an advanced language class!

An important caveat to this concerns the situation your character is in. Most of us consciously, or subconsciously, adjust the way we speak to match the audience we are talking to. I speak differently to a class of schoolkids than I do in the staffroom, or at home. I also speak differently when I am with my family and friends in the West Midlands than I do when with my partner's family in East London or Essex. This can be especially pronounced for people that work in a environment with colleagues and clients that are largely different to their own background. Perhaps consider this.

With all of that said, I hope you find this useful. Don't get too stressed, and if you are unsure, ask beta readers to focus on that as they read. They'll know if it sounds inauthentic or doesn't feel right.

As always, feel free to comment and share, either here or on social media.

All the best,
Paul