The Police Procedural Novel

Police Procedurals: are the Crime Fiction sub-genre that focuses on the police methodology. This includes true-to-life details about forensic investigations and a medical examiner, other police roles.

It is most often told in first person narration from one of the specialists.

In modern-day events, you could excite your reader with the flashy terms used and the equipment that reveals the truth about what really went on in a crime scene.

There is a lot of research needed to be done beforehand, so you are familiar with the correct usage of the flashy terms used. But don’t use too much and imply that the reader is stupid. As we already know from previous posts that the reader is intelligent.

Sub-Genre – Spy Thriller

The Spy Thriller

The hero/heroine of the story is usually a spy in another country, and working for a sort of intelligence agency. From the beginning, there is a significant crisis or threat that looms above the nation of the agency. This sub-genre would read like a fast, action-packed adventure. This should have you turning the pages at some speed, and barrel rolling towards the climax.

Some knowledge of the politics, religions, finances, wars or status of the second country would be an advantage. Works by Tom Clancy and Robert Ludlum are a few of my favourites.

Not centring on murder or violence is permissible and liked.

This is a challenging market to crack into as it is commanded by John le Carre, who has the substance one would need to make it credible.

Sub-Genre Cosy Mystery

The ‘Cosy’

Within this sub-genre of crime fiction is the cosy mystery. As a reader, the cosy mystery invites the crime and detective to solve an infamous crime but leaves out the blood and guts, bad language and sex. It supplies a happy ending. So a cosy mystery crime novel may be thought of as ‘Light Crime.’ However, has no lesser climax that the others in this genre. This sub-genre was made popular by Agatha Christie’s Miss Marple and the murderer’s town of Midsomer. It is often set in middle-class small towns.

A new and upcoming crime writer, like myself, could convincingly write a cosy mystery, without too much prior knowledge of forensics, pathology or any other science.

To write a thoroughly convincing novel, you would have to look carefully at the puzzle that the detective must solve. If it is too apparent, then the reader will be tired easily. However, if it is too far-fetched and absurd, then the reader will make a not never to read any more of your work.

Top Poisons used in Crime Fiction

Many poisons are used in various situations as you don’t leave a bullet or need a gun. Different traces are evident from the collection of the chemical and its uses.

1. Belladonna – The name means ‘pretty woman’, but this poison is genuinely a devil in disguise. Its use is to relieve symptoms of Parkinson’s disease. But the smallest dose can also be fatal. It is a plant that is about five feet tall and ingesting any part of the plant will result in dilated eye pupils, blurred vision and sometimes blindness. If left untreated, then death will follow quickly.

2. Strychnine – This is also known as Nux Vomica. It also produces seeds that provide some of the most dramatic and painful symptoms. The symptoms are violent convulsions, a rise in blood pressure, difficulty in breathing, a slow heart rate followed by paralysis of the airways that results in death. This chemical is also used to alleviate indigestion, increase appetite and treat constipation.

3. Henbane – This is a dangerous killer that is sometimes known as ‘the devil’s eyes’ It has been used in black magic and witchcraft and is said to look and smell of death. Merely smelling the toxic leaves causes symptoms of dizziness, stupor, insanity, dry mouth, dilated pupils in the eyes, delirium leading to a coma and then death. Medical uses include treatment of rheumatic aches and pains.

4. Hemlock – A dirty and unattractive plant that has spotted dirty-red stems that smells of urine. The symptoms of ingestion can result in paralysis, the collapse of the respiratory muscles and death. This chemical is not used for current medical purposes, although it was used in the treatment of rabies.

Your Sleuth’s Dark Past

On your sleuth’s obscure and deep past:

While your sleuth has a mysterious and profound past, this raises the stakes. Every time out, your sleuth not only determines the crime but they also take an individual journey that includes a lot of struggle so they can get it right this time around.

There are many sleuths with emotional impediments such as:
Columbo – Oh the famous and very loveable Columbo; the best homicide detective there ever was. The only problem was he did not like hospitals, flying in a plane or sailing on small boats. He was forgetful with the location of his pen. This meant that with all these disadvantages, he was just an average guy like me or you. Most people could relate to the problems he had and therefore connect. It is this connection that makes a protagonist likeable.

How to Write a Critique

As I have already said, I am on the 100 days to a First Draft. This gives me deadlines and word counts to meet each Friday. The writers are in groups of ten, as there are actually over 150 writers on the course.
Every Friday I submit a chapter with a word count between 2,500 and 7,500 words. So, on the 19th of June, I should have at least 65,000 words and completed my first draft. The course also adds critiques, so as I submit my chapter, I also have to read chapters by three other writers and critique them.
Critiquing 4,500-word chapters is not easy. Not only do you have to read them but you have to understand and give judgment on what you have learned. The Write Practice would like use to use a sandwich critique. This is where we first comment on something that we prefer and is good. Second, we mention on the constructive criticism. Then thirdly we end with a good comment on what we enjoyed.
This approach does put critiquing in a suggestive comment approach and not the, ‘It’s alright.” club.

Why We Critique

It’s simple to avoid giving this kind of feedback for a lot of reasons. It can be incredibly time-consuming. This morning at 9 am I started to critique three separate chapters from three different people. Each chapter was around four thousand words long. I had not only to read but understand and interpret the chapter. After that, I had to find two things I liked so that I could sandwich the constructive critique between them. It can also be challenging to provide a robust feedback to a writer you don’t know very well or at all. It would be easier just to say, “Great story!” but that is not helpful, in any way at all. When you give feedback to an author, you help them develop and learn more about what styles and interactions help information to be passed on to the reader.

Different Characters in a Novel

I enjoy this part. I do have a folder with pictures of people I found on the web. It’s like getting to know a good friend. Once you have your primary characters, give them an A4 sheet of paper each. Write down everything about them. I have a questionnaire on their details.
Their name, appearance, personality, relationships, friends, motivations, the past, present, goals, significant events in their lives, where they live, their religion, culture, family, etc.
Just get to know them. You do need back stories of what happened to them before the time of your novel. I love doing that with the characters I create, and I get to know them very well.

These are the characters that are important to your story, but not as important as your primary characters. Write up about a paragraph for each of them. This is to give you an idea of their attitude, personality, back story and motives, as I also have photos of these people.

These are the characters that only appear once or twice and are never heard from again. Now, although they are tertiary characters, all of them are still significant, and you should stay in touch with what happened before the story. Note down all of their names on a piece of paper and their purpose, so you don’t forget them. Again, I keep photos and outlines of every character in Scrivener.

There’s More to Writing a Book Than Just Writing

So, I’ve always loved the spy or crime genre.
I prefer reading mostly fiction.
That’s fine but, I didn’t spend much time reading non-fiction subjects outside my personal comfort zone.
Now, reading an easy book is okay for somebody whose career doesn’t involve moving around words and ideas, but it’s poison for the new and want-to-be author.
Here’s the truth of the situation:
When becoming an author, then reading and research on the subject area is part of your role.
You must spend time reading outside of your comfort zone, reading the work of authors you admire and the books of authors you detest.
You must take notes, write down and learn to arrange your ideas before you start your book.
Once you start a novel, I just lept into it and was a pantser. I got to about 14,000 words and sat back and thought, “Oh, what happens next?”
Also, after writing just one sentence, I looked at it and edited away. It is so hard to read some text and find the grammatical or word errors and not correct the text.

The First Line Fears

The first sentence in a novel is more critical than it appears. What is the author’s intention when a reader starts a book of a few hundred pages?
I intend to create a reader that starts to use their imagination and brings up questions that arise when the subject of the story takes them into areas that intrigue them. I’m writing in first person narration and found a few opening sentences that are remembered worldwide:
“I’m pretty much fucked.” – The Martian by Andy Weir.
“Call me Ishmael.” – Moby Dick by Herman Melville.
“I am an invisible man.” – Invisible Man by Ralph Ellison.

A first sentence should give the reader an insight as to what is going to come within the story and a few questions.