A hardback edition of Death Bed is available directly from my publisher as a Special Limited Edition, numbered and signed. Followers here will know that Geraldine Steel novels don't usually come out in hardback. In fact, this is a first!
Monday, 26 March 2012
Hardback
A hardback edition of Death Bed is available directly from my publisher as a Special Limited Edition, numbered and signed. 
Sunday, 25 March 2012
Violence in crime fiction
There are fashions in crime fiction. Tastes change and trends are influenced by individual success stories, hit television series and popular films. A few years ago Lynda La Plante became very popular, with sales of her books boosted by Helen Mirren’s brilliant performance of Jane Tennison on television. Publishers were suddenly looking for police procedural novels. Then psychological thrillers became popular, with a movement away from ‘cosies’. Publishers wanted manuscripts to be ‘gritty’ and ‘edgy’. The depiction of violence in crime fiction became increasingly graphic, bordering on horror. As PD James wrote, “The physical act of killing a human being has an awesome and horrible fascination. All that flesh to dispose of, all that blood to be washed away.”
At one time crime authors seemed to be vying with one another to produce the most dramatic impact with scenes of violence. Reading a crime novel about severed body parts being discovered, I felt that one particular author had abandoned plausibility for the sake of shock tactics. This ruined the book for me. The very next week there was a case in the news of severed body parts found strewn over the countryside. Truth is often more extreme than fiction can dare to be. Readers of crime novels are looking for thrilling stories and love dramatic shocks, but the balance must be right. Too much violence can compromise the credibility of a book, and descriptions that are too extreme can be off putting.
Of course different readers like different degrees of violence. Within reason, how palatable it is depends entirely on personal taste. You might reasonably expect readers of the genre to anticipate some violence in a crime novel. Yet some readers are quite squeamish, steering away from violence. There’s no denying that cosies are enduringly popular. Look at the shelf space given to Agatha Christie in bookshops and libraries. At the same time, many crime readers relish guts and gore in their crime novels. “I do like a bit of blood,” readers frequently tell me, often adding words to the effect of, “aren’t I awful?” And many of the most successful crime writers give precise details about their victims’ injuries. Medically trained, Tess Gerritsen writes clinical descriptions of blood and guts which can be very graphic. Patricia Cornwell is another bestselling author who writes dispassionately about gore, having worked for a medical examiner before writing crime novels.
Violence can be an important technique for raising the stakes for readers. Think about Shakespeare’s dark tragedy Macbeth with its murders, treason, infanticide and genocide. Despite the killing of a king, and the reports of violent battles and bloody murders elsewhere, the most memorable and shocking moments in the play are the few scenes when characters are murdered on stage, in full view of the audience. Showing violence creates far more impact than reporting it. Creating violent characters does not mean authors are violent people. PD James says that people have expressed surprise that she writes about violent murders, she is such a nice lady. (No one has ever said that to me!) In fact, authors of crime fiction are notoriously nice. All the crime writers I have met have been generous and gentle people, from Lee Child, Ian Rankin, Mark Billingham, Val McDermid and Jeffery Deaver, to aspiring writers struggling to complete their first crime novel.
There is no right or wrong answer to the question of how much violence should be included in a novel. Everyone draws their own line of what is acceptable, from Agatha Christie’s inoffensive intricate plots, to the bloody bodies in Tess Gerritsen.
At one time crime authors seemed to be vying with one another to produce the most dramatic impact with scenes of violence. Reading a crime novel about severed body parts being discovered, I felt that one particular author had abandoned plausibility for the sake of shock tactics. This ruined the book for me. The very next week there was a case in the news of severed body parts found strewn over the countryside. Truth is often more extreme than fiction can dare to be. Readers of crime novels are looking for thrilling stories and love dramatic shocks, but the balance must be right. Too much violence can compromise the credibility of a book, and descriptions that are too extreme can be off putting.
Of course different readers like different degrees of violence. Within reason, how palatable it is depends entirely on personal taste. You might reasonably expect readers of the genre to anticipate some violence in a crime novel. Yet some readers are quite squeamish, steering away from violence. There’s no denying that cosies are enduringly popular. Look at the shelf space given to Agatha Christie in bookshops and libraries. At the same time, many crime readers relish guts and gore in their crime novels. “I do like a bit of blood,” readers frequently tell me, often adding words to the effect of, “aren’t I awful?” And many of the most successful crime writers give precise details about their victims’ injuries. Medically trained, Tess Gerritsen writes clinical descriptions of blood and guts which can be very graphic. Patricia Cornwell is another bestselling author who writes dispassionately about gore, having worked for a medical examiner before writing crime novels.
Violence can be an important technique for raising the stakes for readers. Think about Shakespeare’s dark tragedy Macbeth with its murders, treason, infanticide and genocide. Despite the killing of a king, and the reports of violent battles and bloody murders elsewhere, the most memorable and shocking moments in the play are the few scenes when characters are murdered on stage, in full view of the audience. Showing violence creates far more impact than reporting it. Creating violent characters does not mean authors are violent people. PD James says that people have expressed surprise that she writes about violent murders, she is such a nice lady. (No one has ever said that to me!) In fact, authors of crime fiction are notoriously nice. All the crime writers I have met have been generous and gentle people, from Lee Child, Ian Rankin, Mark Billingham, Val McDermid and Jeffery Deaver, to aspiring writers struggling to complete their first crime novel.
There is no right or wrong answer to the question of how much violence should be included in a novel. Everyone draws their own line of what is acceptable, from Agatha Christie’s inoffensive intricate plots, to the bloody bodies in Tess Gerritsen.
Tuesday, 20 March 2012
The Appeal of Crime Fiction
Crime fiction has been gaining popularity in recent years, and there are no signs of this trend coming to an end. In 2011 an unprecedented third of titles long listed for the Booker Prize were crime novels. For the first time the Top Ten titles borrowed from libraries were crime novels. Not only that, crime drama dominated television drama.
“Most of us would be hard pressed to say anything in defence of real life crime, so how can we account for the popularity of crime fiction?” is a question I raised in an interview I gave on Crimespree. The truth is that crime in fiction is not the same as crime in real life.
It is disturbing to read about violent crime in the news, but in fiction the rules are different. The good guys win and justice is done. Philip Hensher writing in the Telegraph in 2011 put it like this. “We turn away from the unspeakable, inexplicable horrors of the newspapers, events with no resolution, into a world where a single running policeman can put everything right.” If only real life were like that!
This escape into a world where justice prevails is one reason for the appeal of crime fiction.
“Most of us would be hard pressed to say anything in defence of real life crime, so how can we account for the popularity of crime fiction?” is a question I raised in an interview I gave on Crimespree. The truth is that crime in fiction is not the same as crime in real life.
It is disturbing to read about violent crime in the news, but in fiction the rules are different. The good guys win and justice is done. Philip Hensher writing in the Telegraph in 2011 put it like this. “We turn away from the unspeakable, inexplicable horrors of the newspapers, events with no resolution, into a world where a single running policeman can put everything right.” If only real life were like that!
This escape into a world where justice prevails is one reason for the appeal of crime fiction.
Tuesday, 28 February 2012
Writing Short Stories
With several bestselling novels on the shelf, I recently turned my hand to writing short stories. Well, one short story so far to be exact. You wouldn’t think writing a short story would be too tricky for someone used to writing manuscripts of nearly 100,000 words. That was certainly my expectation. Wrong! It’s hard to present a brief snapshot without being superficial or resorting to clichés and it was a sobering reminder that every form of writing demands different skills.
First of all, there's the idea. In a novel, one idea can carry your writing for six months, or even a year, but each short story needs its own new idea.
How do short story writers come up with so many ideas?
Then there's the issue of character. There wasn’t enough time to give much detail, and no space for character development (it was a very short short story), and it’s hard to be unpredictable without leaving an unresolved contradiction.
As in novels, plot was important, but I wasn’t sure how much time I could afford to spend setting the scene, and how short the final twist could be.
But the biggest surprise to me was how the style of my writing changed when I was writing a short story.
If I ever dare show my one short story to anyone, I’ll post it here. I’m not sure if I will, but one thing I am sure of is that I now have even more respect for short story writers than I had before.
First of all, there's the idea. In a novel, one idea can carry your writing for six months, or even a year, but each short story needs its own new idea.
How do short story writers come up with so many ideas?
Then there's the issue of character. There wasn’t enough time to give much detail, and no space for character development (it was a very short short story), and it’s hard to be unpredictable without leaving an unresolved contradiction.
As in novels, plot was important, but I wasn’t sure how much time I could afford to spend setting the scene, and how short the final twist could be.
But the biggest surprise to me was how the style of my writing changed when I was writing a short story.
If I ever dare show my one short story to anyone, I’ll post it here. I’m not sure if I will, but one thing I am sure of is that I now have even more respect for short story writers than I had before.
Sunday, 26 February 2012
Limited Edition
Wednesday, 22 February 2012
The Importance of Editing
This may be a controversial, politically incorrect statement, but we are not all equal. On the contrary, we should celebrate our differences.
Of course I’d like to subscribe to the contemporary obsession for levelling every playing field and turning us all into socially successful, wealthy, talented, beautiful ‘individuals’ with perfect teeth and figures. But look around you. For some of us, all we need to do is look in a mirror.
I learned early in life to recognise my own strengths and weaknesses, more or less. Yes, it was disappointing. I would never be a straight A student in every subject. I wasn’t the most popular girl in the class. So winning a Novel Prize for scientific prowess, or being paid for smiling at a camera, weren’t for me. It’s just not true that anyone can achieve what they aspire to, with enough dedication and passion.
I’m not arguing against dedication or passion. Far from it. You can get a long way on self belief and enthusiasm.
But the pursuit of success isn’t always easy. We can expect to weather a few setbacks along the way. Yet primary school teachers no longer talk about ‘trial and error’. It is ‘trial and improvement’ because we cannot allow children to perceive themselves as capable of making mistakes.
As Albert Einstein said, “Anyone who has never made a mistake has never tried anything new.” What’s so terrible about the odd blunder or two? And how are children ever going to cope as adults if we bring them up to expect they will go through life without ever ‘getting it wrong’?
The same applies to writers. If you want to produce a successful book, you should be open to criticisms and suggestions. Whether or not you agree, and decide to follow them, is your choice.
I have no particular allegiance to the traditional publishing model, although it has worked very well for me. We can all think of examples of excellent and shoddy books brought out both by traditional publishers, and self-published. But one major benefit of following the traditional route is that manuscripts are professionally edited and proof read before publication.
We don’t want to see people put off reading because they come across carelessly written books. With so many leisure activities available, this matters more than ever before.
For details of how to submit your writing for editing, email leighrusselledits@hotmail.co.uk
Of course I’d like to subscribe to the contemporary obsession for levelling every playing field and turning us all into socially successful, wealthy, talented, beautiful ‘individuals’ with perfect teeth and figures. But look around you. For some of us, all we need to do is look in a mirror.
I learned early in life to recognise my own strengths and weaknesses, more or less. Yes, it was disappointing. I would never be a straight A student in every subject. I wasn’t the most popular girl in the class. So winning a Novel Prize for scientific prowess, or being paid for smiling at a camera, weren’t for me. It’s just not true that anyone can achieve what they aspire to, with enough dedication and passion.
I’m not arguing against dedication or passion. Far from it. You can get a long way on self belief and enthusiasm.
But the pursuit of success isn’t always easy. We can expect to weather a few setbacks along the way. Yet primary school teachers no longer talk about ‘trial and error’. It is ‘trial and improvement’ because we cannot allow children to perceive themselves as capable of making mistakes.
As Albert Einstein said, “Anyone who has never made a mistake has never tried anything new.” What’s so terrible about the odd blunder or two? And how are children ever going to cope as adults if we bring them up to expect they will go through life without ever ‘getting it wrong’?
The same applies to writers. If you want to produce a successful book, you should be open to criticisms and suggestions. Whether or not you agree, and decide to follow them, is your choice.
I have no particular allegiance to the traditional publishing model, although it has worked very well for me. We can all think of examples of excellent and shoddy books brought out both by traditional publishers, and self-published. But one major benefit of following the traditional route is that manuscripts are professionally edited and proof read before publication.
We don’t want to see people put off reading because they come across carelessly written books. With so many leisure activities available, this matters more than ever before.
For details of how to submit your writing for editing, email leighrusselledits@hotmail.co.uk
Tuesday, 21 February 2012
Limited Edition!
I am VERY excited my publisher is printing a Special Limited Edition of Death Bed in hardback, individually signed and numbered. These are only available from http://www.noexit.co.uk/dbspecial/ This is a collector's item - or would make a great present (maybe even an investment as there are only 200 and they are not expensive!)
Subscribe to:
Posts (Atom)