Tip Tuesday Round Up: The noir appeal4 min read
A weekly round up of writing advice and inspiration
” I like my serial killer. He’s probably my favorite character in the whole book. Violence begets violence and is untenable as a sustainable political tactic in the real world, but the beauty of literature is that it doesn’t have to play by the same rules as civil society. A novel is free to be as violent as it wants to be.”
For The Lit Hub last week, Dan Lopez explains how he takes his current anger at the world and channels it into his serial killer protagonist, and how indulging these inner demons can help finding perspective in the real world.
“In spite of, or rather because of, their unrealities, crime narratives’ depictions of the past continue to beguile and delight, transporting disillusioned modern readers into ever more distant romantic locations, in echoes of an upper-middle-class past that never really was.”
The Oxford Student takes an in-depth look at the enduring appeal of crime fiction, from Agatha Christie to the updated Sherlock.
“Real life is constrained by endless webs of rules and regulations, so memorable fictional detectives offer an element of escapism by taking the reader places and showing them things that would otherwise get them fired, arrested, or killed.”
Signature Magazine dissect the success of our most popular detectives: the mind of Holmes, the charisma of Poirot, and all the other ingredients required to make a memorable crime protagonist.
“This emphasis on character development through therapeutic labeling has crucial consequences for the thriller narrative. First, the world — always a scary, unstable place in suspense fiction — is made more so with female characters who wrestle with disorders that throw into question the reliability of their storytelling.”
The Washington Post investigates the new trend of a certain type of female character in popular contemporary crime fiction, from the mentally troubled to those with chequered pasts.
“I think as a child it was that fascination with telling lies and telling stories. I still think that is what crime fiction is about — it’s about trying to work out who is telling a lie. And in the best crime stories, everybody is telling a lie.”
In an interview for The Bookseller, novelist Emma Flint describes how she took a true crime case and turned it into a novel, and how to twist your reader’s sympathies in order to keep them guessing.
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