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.

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.

In last week's #TuesdayTip (Tip149) I discussed how it is important to make your procedure authentic, rather than realistic; to craft a compelling story without burdening your readers with too much detail. This week I want to look at a related idea - how to get away with using artistic licence.
It's something that we all struggle with. Artistic licence is the need to 'break the rules' to create a compelling story. We often see this in police procedurals. An admittedly unscientific survey I conducted of the books on my bookshelf, reveals that the main character in most of these books (especially those in a series) is usually an implausibly high rank. A Detective Chief Inspector or Detective Inspector, or even a Superintendent. This dogged individual will visit crime scenes, interview witnesses and suspects, chase bad guys and even perform the arrest at the end. My own series of books centre around DCI Warren Jones, who does all of the above.
Unfortunately, in real-life this is far from what really happens. In the UK, inspector ranks and above are largely office-based. They are likely to be the Senior Investigating Officer (SIO) in charge of a major investigation, but it is an organisational role. They direct the case, but the legwork is usually carried out by detective constables or detective sergeants. Interviewing is a highly specialised role these days, conducted by interview specialists, which are almost exclusively DCs and sometimes DSs. SIOs will often visit a crime scene, but they are usually being shown around by other experts who have already been on site for some time. And they certainly don't go running after suspects and arrest them.
But for narrative purposes, a DI or DCI is an extremely useful rank. The implied level of seniority means that they can plausibly decide how the case is going to be solved, with a team below them to carry out the work, whilst still having to answer to those above them (a great source of narrative conflict). In theory, they see all the evidence and can piece together all the pieces to 'solve the case'. That's not how it works in real-life. In reality it is far more of a team effort, but for the purposes of story-telling readers (and viewers) need a 'hero' they can focus on.


I came up against another instance of reality getting in the way of my story very early in the series. My books are set in a fictional north-Hertfordshire town called Middlesbury, but Warren and his team are officers in the very real Hertfordshire Constabulary. About halfway through writing book one, The Last Straw I was doing some research and realised to my horror that ALL major crime in Hertfordshire and the adjoining counties of Bedfordshire and Cambridgeshire is investigated in one big building in Welwyn Garden City run by the three constabularies to increase efficiency and save costs. I had already set up the team structure as described above, with Middlesbury CID consisting of a Detective Superintendent in overall charge, my hero DCI Warren Jones as SIO and then a small team of officers below him. This places Warren in the centre, and limits the number of major characters that readers need to get to know. It also allows those characters to remain consistent from book to book, rather than each investigation being staffed by a different selection of officers assigned from a pool (conveniently, none of my main characters are on annual leave when each year's murder happens!).


As a writer, I therefore had two choices. Either ignore reality and hope my readers will forgive me because it's a cracking story. Or address it head-on. In my series, I decided to address it head on. I explain that Middlesbury CID (which is geographically quite distant from Welwyn Garden City and semi-rural) is a unique 'first response CID unit'. Middlesbury deals with major crime in the local area and recruits additional officers as needed from Welwyn. This is a complete fiction, as far as I am aware.
This set-up also helped me address the other big use of artistic licence; DCI Jones being the heart of the action. I've made it a bit of an in-joke, with Warren being acknowledged as probably the only officer of his rank who still interviews suspects and visits crime scenes (some of his peers are jealous that he gets to poke around crime scenes whilst they are stuck in budget meetings). Narratively, it also means that Middlesbury and Warren are always under pressure to justify their unique (and costly) status.
Touch wood, my readers seem happy to accept this and I have had few, if any criticisms. I've even had the odd retired police officer comment that 'it sounds like something we might do'.
So my advice is this:
If you are going to use artistic licence to break the rules, first know the rules so you can break them effectively. Then decide whether you are going to ignore this on the grounds "it's fiction, innit?" or if you are going to explain it away.
Lee Child once said that readers will forgive one big instance of implausibility. He was specifically referring to the fact that about once a year, Jack Reacher will wander into a small American town where there is a problem bubbling beneath the surface, which he will then fix in his own unique way (spoiler alert: there will be violence and mayhem and the evildoers will usually end up buried in the ground, before Reacher moves on, never to be seen again until it's time for the next book).
So, decide what your instances of implausibility are and decide whether you are going to keep them or fix them. And if you keep them, whether or not to address them head on.
Do you have examples of artistic licence? How do you think they should be dealt with?
As always feel free to comment here or on social media.
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 

A few weeks ago, I attended the brilliant CrimeFest - a fantastic festival of crime writing held in the city of Bristol each May (www.crimefest.com/). One of the panels included former Police Chief turned crime writing advisor (and now respected novelist in his own right), Graham Bartlett (policeadvisor.co.uk/).
Something he said during the panel stuck with me. He described how police procedurals should be "Authentic not Realistic".
That three word phrase beautifully encapsulates the balance that writers of crime fiction - in particular procedurals - need to strike.
Speak to any detective and they will candidly tell you that a real-life investigation is actually quite dull. A typical murder investigation will involve a huge team of officers, all with specific tasks, aided by a bevy of support workers, both police and civilian.
Even in 'simple' investigations, there is an overwhelming need to ensure that the case presented to the Crown Prosecution Service, and eventually the courts, is strong enough to secure a conviction. That means collecting and then scrutinising all of the evidence available - because if the prosecution don't do that, you can be certain the defence will!
These days, that evidence can mean scores of physical forensic submissions from all of the associated crime scenes as well as trawling through hours (perhaps thousands of hours) of video evidence, mobile phone data and dozens of lengthy witness statements.
If one were to realistically portray that in a novel, it would involve huge numbers of characters spending hours in front of computer screens or performing lengthy scientific procedures.
Frankly it would be dull!
Instead you want to craft a pacy story with twists and turns that hook your reader, which skims over this detail yet feels authentic. In other words the procedural aspects of the tale are correct. They feel plausible and if you were to look at them closely are broadly accurate. But they are not presented in mind-numbing detail.
So how is this achieved?
First: Know your stuff.
Familiarise yourself with what would actually take place in such an investigation. Research the procedures and protocols that your characters would need to follow. Brainstorm all the steps that would take place in an investigation.
Second: Be selective.
You are not writing a manual for trainee detectives. Look at the above and decide what needs to be explicitly included and described and what can be referenced as having happened "off-screen", or what can even be cut, given that your readers are probably broadly familiar with what goes on "in the background".
For example. In reality hundreds of fingerprints will be taken from a crime scene. These will be found using a variety of different methods, will be of variable quality and will need to be compared to one another, to suspects and to existing prints. This will be largely automated, with varying degrees of human input. To describe this in exacting detail will likely send your readers to sleep. So unless there is something unusual in the procedure that adds to the story, you can push this to the background and simply have your detectives receiving the results.
Third: Over-write then cut back.
Editing is your friend! When writing a scene, I will often write it in extreme detail. This helps me visualise it and ensure I am accurate. Sometimes, it even sparks off new ideas that I wouldn't have considered otherwise. But then the scissors come out. I strip the detail back to the bare minimum - remember, it is your duty to tell a cracking yarn, not impress the reader with your extensive knowledge. Kill your darlings! Remember every sentence has to earn its place - don't just include it because it took you hours to research and write.
Four: Get it right! If you are going to include a detail about procedure, make sure it is accurate (or adequately justified). Many of your readers (and reviewers) are voracious readers of crime fiction. They have a pretty good understanding of what is and isn't possible or likely and they don't like it when you make errors (especially through laziness). Experts such as Graham Bartlett can give professional critiques of your work if you wish, but even if you don't want to pay for their services, there is a wealth of advice out there on the web or in books (some of which I have reviewed previously Tip127, Tip130, Tip140). There are even Facebook groups such as Cops and Writers (it's a private group, you will need to search and ask to join), where you can post questions and other writers or law enforcement professionals will make suggestions.
Five: Don't forget you are telling a story. Novels (or TV for that matter) are a balancing act between the tale you want to tell and the detail you need to include. As narrator, it is up to you to control the pace of the story. The amount of detail (about anything, not just procedure) will dictate the speed of the story. Lee Child is extremely good at this. I vividly remember a fight scene in one of the earlier Reacher novels. It's a heart-pounding, dynamic action scene, then in the middle he spends several paragraphs describing and explaining how a bullet leaves a gun. That sounds like madness, but it was genius. It was the literary equivalent of a sudden cut to slow motion, and when the action resumed it felt all the more frenetic. Therefore, think about whether you really need that detail, or if it enhances the reader's experience.
Six: Don't forget the red herrings! The reason readers love investigative crime fiction is that they are trying to second-guess the detectives and solve the mystery themselves. But they don't like to be handed it on a plate. Keep them guessing. That applies not only to the culprit, but also to which pieces of evidence are crucial or which may become significant a hundred pages further on. The classic TV series Columbo told you in the opening scenes who the killer was. The joy was from trying to work out which detail becomes the clue that helps Columbo solve the case. So you need to conceal that clue or divert your reader's attention. Therefore, you need to make sure that detail doesn't stand out like a sore thumb. If your book is very light on detail and procedure, but you spend three paragraphs discussing how a smart speaker can record snippets of background noise, then your readers are probably going to guess that at some point the detective is going to listen to those recordings and recognise the killer's voice!


Do you have any tips for writing authentically, rather than realistically? As always feel free to comment here or on social media.
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

With a bumper crop of bank holiday's coming up, you have a choice to make: Mow the lawn or sit on your bum and binge-watch boxsets (not during the coronation, obviously, that would probably be treason). Assuming you choose the latter, this week's #TuesdayTip is another TV recommendation.
In Tip129 I reviewed the fantastic 24 Hours in Police Custody. Channel 4's incredible documentary series that follows the investigation of a major crime from the 999 call to the outcome of the court case.
Night Coppers looks at the other side of policing. This time, Channel 4 are following the uniformed response officers who are policing Brighton's nightlife. Unlike 24 Hours in Police Custody, this isn't about investigative techniques. It won't directly help you craft your detectives. However, policing is a collaborative effort and all detectives came originally from the street, so it's important not to neglect or dismiss your non-detective characters as faceless 'uniformed officers'.


The series largely showcases the challenges of policing drunks in a city renowned for its nightlife (my wife and I refer to it as 'Brighton's Biggest Bell-ends', given some of the idiots that these poor officers find themselves dealing with). However they also get called out to crimes in progress, and are the first on scene at serious incidents that may require detectives at a later date.
For me, the show is full of little nuggets of detail. From the way the officers address each other and chat, to the equipment they have on their belts and the strategies they deploy to de-escalate a situation and hopefully avoid the need to arrest. The show can be extremely funny at times, with some of the officers genuinely witty. Other times we see the grind of the job and the toll of years of chronic under-investment by the government, not only in the police, but other key services.
They say that the police are the service that 'can't say no'. The officers find themselves dealing with the fallout from a failing mental health service and the people they meet are a mixture of the mad, the bad and sometimes just sad.
It's well worth a watch.
Select episodes are available for streaming on the All4 service from Channel 4.
Visit https://www.channel4.com/programmes/night-coppers for details.
What do you think? Do you have any recommendations for shows that are worth watching for crime writers?
As always, feel free to comment here or on social media.
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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Today's #TuesdayTip is another book review. This time it's the brilliant "The Real CSI. A Forensic Handbook For Crime Writers", by Kate Bendelow.
Bendelow has the unusual distinction of not only being a currently serving forensic scientist with Greater Manchester Police, but she is also the author of two novels featuring CSI Maya Barton. Because of this, the handbook is very much geared towards writers.

I was really impressed with this book. Although it has been around for a few years (2017), it's still going to be pretty much up-to-date for a few more years yet, and of course a lot of things don't change. These sort of books tend to fall into two categories - what I call 'dippy books', where you dip into or out of them using the extensive index to find the specific topic you want to read about, and 'cover to cover' books, where you sit down with a cuppa and read from the beginning to the end.

Unusually this book is both. The first chapter, 'A day in the life of a real CSI' is a chapter to be read in one sitting. As are the next couple, 'Dealing with death' and 'Crime scene preservation'. After then, the book is divided into more broad chapters with lots of subsections, such as Fingerprints, DNA, Footwear, Trace evidence, Fire scenes, Drugs and toxicology, and Firearms. You can either read the whole chapter, or home in on a subsection, such as "issues affecting fingerprint quality".

​The science is well written and detailed and aimed broadly at a general audience. Those who haven't studied science since they were at school may find themselves Googling the odd term that they aren't familiar with or accessing the glossary at the end, but generally speaking it's pretty accessible.
Another advantage that this book has over some in the field, is that Bendelow is still working as a CSI, rather than looking back on a career or observing from afar. This is real boots-on-the-ground stuff and helps dispel the myths as portrayed on TV or in fiction. Obviously, as writers we are more concerned with telling a story than 100% accuracy, but it's always best to learn what the rules are before you decide to break them.

One of the things I like about this book is that the writing is very personable, with plenty of examples of true life cases. Both infamous tales that you may have heard of, and those that Bendelow has encountered personally in her day job. What demonstrates that Bendelow is herself a writer, is that almost every section ends with thoughts about how a writer could use what she has just described or things to be careful of.

Overall, I was very impressed and very much recommend it to both writers and those who just want to know a bit more. And to quote the wonderful Lynda La Plante 'Every crime writer should have a copy of this book on their desk.' Who am I to disagree?

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,
All the best,
Paul

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Welcome back, and a Happy New Year! This week's #TuesdayTip is a review of a fantastic book I received for Christmas.
Murder Investigation Team - How Killers Are Really Caught - is a brilliant account from recently retired Scotland Yard detective inspector Steven Keogh.
Released in 2022 (and containing data up to March 31st 2020 when things changed somewhat!), this is an in-depth insight into the process of solving murders and taking them to trial.
Although it deals specifically with the Metropolitan (London) Police Service, who divide Greater London into autonomous Murder Investigation Teams (MITs) and thus might be operationally slightly different to the way other police forces deal with such crimes, most of it is generally applicable to other forces in England and Wales.


Unlike some books, which are more like reference guides designed to be dipped into and out of, this can be read cover to cover (which I did over three days). I was really impressed with it, and heartily recommend it to authors writing British Police Procedurals, and non-writers who want to learn more about what really goes on. Keogh's writing style is both personal and personable and very accessible, without feeling patronising for those with previous knowledge. It feels almost as if he has been invited to give a lengthy talk to a room full of interested laypeople. And I mean that as a compliment and endorsement.

Divided into chapters, he first takes us through some of the technicalities of what is murder, how it differs from manslaughter and some of the potential defences or partial defences (ie when you would push for a murder prosecution, when you might decide no offence has been committed, and why a person might be convicted of manslaughter, rather than murder). He also describes the structure of an MIT (it might be subtly different in other forces) and the roles of individuals.

The remainder of the book is broadly chronological, dealing first with the crime scene(s). This includes forensics and what they are specifically looking for. Of particular note is the section on phone data. Keogh is fascinated by this and voluntarily took on this role in many investigations, so he has real expertise.
The next chapter is the longest and concerns the investigation itself, but is sub-divided. He looks at investigative thinking, lines of investigation and the arrest and interview of suspects. In this subsection, he describes how modern interviews are conducted. There is then a section where he answers some of the questions that people regularly ask.
Finally, there is a chapter describing a trial and the aftermath.

Throughout the book, he illustrates his points with anonymised case files. As a mark of respect, he doesn't name any victims or suspects, although afficionados of true crime will probably recognise some of the more well-publicised cases. He also has regular "Myth Busters" and "Did You Know?" facts. All crime fiction writers accept that the relating of an investigation in exacting detail would be rather less exciting than they hope for, but I'm a firm believer in the adage that to break the rules, you need to know the rules first. Knowing how your book needs to differ from real life for dramatic purposes can help you choose what liberties to take, whilst minimising the gnashing of teeth (and smart-arse Amazon reviews) of the armchair detective.

The book is refreshingly honest. Keogh is not afraid to admit to mistakes that he and his team have made, and the learning that came from them, and whilst the book is understandably very pro-police, he admits to failings. He is also quite happy to point the finger where necessary at the impact of government cuts, the sometimes cut-throat and often underhand or callous tactics of defence barristers, and the sometimes inexplicable decisions made by juries. Throughout it, he is clearly in awe of the dignity shown by victims' loved-ones.

My wife, who is not a writer, commented that she is looking forward to reading it next because it looks really interesting. I think she'll thoroughly enjoy it, and so will you.

Steven Keogh runs The Murder Academy website that looks at True Crime and the solving of crimes.

For today's #TuesdayTip, I have chosen to review a TV documentary series that I highly recommend for those seeking an authentic insight into UK policing.
If true crime is what you are after for your TV viewing, there is no shortage of programmes to choose from. There are whole channels that are devoted to it. But the quality varies enormously, from the down-right sensationalist to the truly insightful. Unfortunately, you can't always be certain what you are tuning into. Some of the US series in particular are quite bad.
Furthermore, police procedure varies enormously between the US and the UK, so if you are looking to write a UK police procedural they are of limited use. That's not to say they should be dismissed out of hand; I've certainly found inspiration for plot ideas over the years.
However, if you want an authentic UK-based series (specifically England and Wales - Scotland and Northern Ireland have slightly different justice systems), I heartily recommend 24 Hours In Police Custody. Aired on Channel 4 in the UK, many (but strangely not all) programmes are archived on the free All 4 streaming service.

The name of the show is something of a misnomer, and is why I was rather late to the party, only finding it during lockdown. It conjures up images of fly-on-wall scenes from cameras above the custody desk as an endless parade of drunken idiots are booked into the cells for the night - think Big Brother, but everyone is wearing a grey tracksuit. However it is far from that.
Based primarily in Luton, it follows detectives from Bedfordshire police as they solve serious crimes. Camera crews follow them from the initial 999 call right through the investigative process, including interviews with witnesses and suspects, candid discussions with the detectives and specialists involved, and occasionally victims' loved-ones. Forensic specialists are shown going about their business and if necessary, the science explained. Sometimes body-worn camera footage is also shown. My wife and I sometimes joke that you can guess who is guilty, as they are the only person who hasn't had their face pixelated for legal reasons!
An individual episode might span several years, with the programme only aired once all the legal proceedings are completed (and the outcomes are given before the end credits). There are a couple of special episodes that pick-up detectives revisiting a cold case many years after the original crime was committed.

As a writer of police procedurals, I have found it invaluable. The interview scenes are especially useful. Conducted by trained interview specialists, the days of banging the table and trying to intimidate the suspect into a confession are long gone. In fact, most interviews are 'no comment'. However, there is a real science to effective interviewing, plus a raft of legislation that has to be adhered to.
Equally insightful is the CID office and the team briefings. This is where you get a real sense of the scale of a major murder investigation. As writers, we tend to keep our cast of characters limited, so that readers don't get confused with too many names, and all characters get a chance to shine. In reality there are dozens of police officers and civilian specialists, each of whom plays their part. You should aim to reflect this in your books, without swamping the story with detail and too many featured characters.
It also captures the sheer banality of most murders. Generally speaking, the victims knew each other, and it's less about working out who the suspects are than figuring out what role they played in what transpired. Yet it is still a fascinating watch. Occasionally the investigations are more of a whodunnit, especially some of the special episodes that might have several parts.

If you want your writing to be realistic, you would do well to watch a few episodes of this excellent show.
Do you have any recommendations for useful documentaries? Feel free to comment here or on social media.
Are you a writer with a tip to share? Don't be shy, I'm always looking for guest bloggers or ideas for future posts.

I am going on a brief hiatus for the holiday period. I'll be back in the new year. Until then, happy holidays!
Paul 

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Today's Tuesday Tip is a book review - Crime Writing: How To Write The Science by Brian Price.
Brian Price is the author of the DC Mel Cotton series. He is also a retired environmental chemist and biologist. In this gem of a book, he sets out to provide a manual to help non-scientists write science in a compelling and accurate manner.
I picked up a copy of this book some time ago, and have been dipping in and out of it since I bought it. It is a fantastic resource, and one that's well-worth the investment.
The breadth of topics covered is exceptionally broad. As one would expect, there is a lot of forensic science, but the book goes well beyond that. For example, the first two chapters cover poisons. This is an area in which Agatha Christie was famous for her in-depth knowledge, however Price goes beyond slipping someone a mickey or poisoning their cream tea. He covers a wide-range of toxic substances, including some common industrial and environmental poisons. A third chapter deals with ways of inducing unconsciousness.


I hang around on a number of writers' forums and how to render a victim insensate is a frequent source of both discussion and frustration. You'd be amazed how many people still think that a bash to the back of the head will produce temporary unconsciousness, from which the hero will awaken, sometime later, with a sore head and 'a mild concussion'. He discusses a number of different substances or methods to stun someone, and dispels the many myths perpetrated in crime fiction.
Later chapters deal with explosives and firearms, methods for killing a person and the all-important disposal of the body and (hopefully) getting away with it.


The reason I recommend this book so highly is its accessibility. Price makes no assumptions about the reader's prior scientific knowledge. Sections are short and snappy, and he includes copious mini case-studies, from both fact and fiction. He also includes practical and legal issues - for example, it's all very well coming up with a fiendish and scientifically plausible way to murder your character, but have you considered how likely it is the killer will actually get their hands on a controlled substance that only medical professionals have access to?
The book is designed as a study guide, and so there is an extensive bibliography at the back pointing towards original sources and further reading, and it is fully indexed.
This isn't a book designed to be read cover-to-cover, rather it is for dipping in and out of, and picking up as a quick primer on a topic; if nothing else it will give you the necessary keywords to search the internet in more detail. It's primary purpose is to introduce the basics and dispel some myths, hopefully helping writers avoid mistakes or perpetuating misconceptions. As a teacher, I would heartily recommend this book to students for its clarity, and as an author, would recommend it to any crime writers, fledgling or experienced.


One last thing. As a science teacher and experienced writer, much of what was in the book wasn't entirely new to me. Yet I still found it a source of inspiration. Flicking through the contents pages, I found myself drawn to random topics or fascinating case studies. And you know what, I wouldn't be surprised if my next books have some plot points inspired by what I've read!


You can learn more about writing science accurately and contact Brian Price at www.crimewriterscience.co.uk. You can read more about Brian's writing by visiting his website https://www.brianpriceauthor.co.uk/.

Some months ago, I was perusing one of the various Facebook writing groups that I frequent. This particular group is a resource for crime and thriller writers that provides assistance in getting the details correct when writing about the police. Writers post questions or ask for specific advice from law enforcement officers, or others with experience. Sometimes, fellow writers make suggestions for how to fix a particular plot problem.
One participant was asking for specific details about how an FBI field office would be laid out. This is what this group excels at; those small, tiny details that add realism or stop authors making basic errors that can come back and bite them later. I've used the group  a couple of times to ask questions about firearms - after all, I'm a Brit, what the hell do I know about guns? However, the group is full of US police officers and what can be politely described as 'gun enthusiasts'. They answered my question in detail within hours.
Unfortunately for the thriller writer interested in the FBI, the post resulted in an avalanche of replies, many from serving police officers who claim to have worked alongside the FBI, or even FBI special agents - and they all contradicted each other! Because, it seems that individual field offices vary enormously. Which kind of makes sense really; imagine if someone wrote a post asking for a description for 'how a school is laid out'. You'd get thousands of answers, each one different.
The original poster was clearly getting flustered. They were desperate to get the details right, but there was too much information overload.
So my advice - just make it up!
When struggling to research a topic, consider how likely it is that members of your audience will be knowledgeable enough about that topic that your ignorance will be obvious enough for it to matter.
Plenty of people (even in the UK) know enough about guns that if I didn't get those details correct, plenty of them would be happy to correct my ignorance publicly in my Amazon reviews (and you just know that my faux pas would be conclusive evidence that I am such a blithering idiot that my book is only worthy of 1 star).
On the other hand, ask yourself how many of your readers will actually have been to an FBI field office?
I'd suggest spending time getting the gun details correct, but spending next to no time finding out how a field office is laid out. It's unlikely that anyone in a position to know for certain is going to award you 1 star, or castigate you on social media.


Just use your common-sense, and write with authority.
The field office is an office. It's unlikely to be very much different to any other type of office. Filing cabinets, office chairs, a communal coffee area, desks of computers and photocopiers. The aircon probably rattles, one of your co-workers pinches your milk all the time, and somebody is in charge of the Secret Santa and the sweepstake for the World Cup.
But that's not FBI enough. So how about the seal of the Department Of Justice on the wall, alongside a print of the official portrait for the current president?
FBI agents tend to strut about with their guns on their belts all the time, but if they also have Tasers, they are probably in a charging rack. Lots of FBI stuff is very secretive, so there is probably a sound-proof office somewhere. Terrorism is a constant threat, so there is probably a metal detector, maybe even sniffer dogs and visitors will wear big, distinctive lanyards. Everyone else will probably be encouraged to wear their ID badge at all times.


I have no idea if any of the above is true, but I'd wager that if I wrote it with enough confidence, few of my readers would ever question it.
And that's why they call it fiction...
What are your thoughts? Can we sometimes 'just make it up', or is absolute accuracy a must?
As always, feel free to comment here, or on social media.
Until next time,
Paul