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Posts Tagged crime novelist
My guest this week swears that if her chest hadn’t obscured her view of her guitar, she’d have been a rock star. Some of her early life decisions were dictated by the need to be connected to music, and when she wrote her crime novel set in a London burlesque club, she had two flavours of playlist – angry and dark. Fiction nearly became reality when she had a near-death experience at her book launch – which I was startled to hear because I remember when her cheerful invitations were circulating on Facebook. Thankfully she lived to tell the tale. She is Yasmin Selena Butt and she’s on the Red Blog with her Undercover Soundtrack.
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My guest this week says he uses music before he sets hands to keyboard, to help conjure the creative mood. Sometimes it works the other way around; he’ll be writing and will realise the mind-jukebox is directing a scene to the structure or lyrics of a song. He trained as a lawyer but quickly found a creative outlet as a legal adviser on TV dramas. From there he began writing some of the UK’s most popular series and is now a crime novelist. Funnily enough, one of his key songs is Jon & Vangelis’s I’ll Find My Way Home, which one of my earliest guests used as a touchstone for his MG novel – isn’t it amazing how one piece of music can inspire such diverse ideas? He is TJ Cooke and he’s on the Red Blog with his Undercover Soundtrack.
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I’m rather fond of Jan Garbarek and Aphex Twin, and I’m delighted to see them working their influences on my guest this week. A crime novelist, she gathers soundtracks to make sure her stories stay true to the mood she has envisaged for them. She looks for music with a sense of tension, loss, instability and says that Garbarek in particular tells her stories – and even gave her a title. She’s also spent years searching for a very influential novel she read as a teenager. If you can identify it, she might send you a special prize (although she might be joking). She is JJ Marsh and shes on the Red Blog with her Undercover Soundtrack. PLUS you could win one of her novels …
authors, crime fiction, crime novelist, crime novels, crime writing, current-events, deepen your story, having ideas, how to write a book, how to write a novel, inspiration, JJ Marsh, music for writing, My Memories of a Future Life, novels, publishing, Roz Morris, self-publishing, The Undercover Soundtrack, Triskele books, undercover soundtrack, writing, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, writing life, Writing Plots With Drama, Depth & Heart, writing to music
How to self-publish an ebook and get a traditional book deal – guest spot on The Write Lines podcast
When I was first discovering blogs – and looking for a home for my own fiction – I discovered The Write Lines on BBC Radio Oxford. Presenter and novelist Sue Cook brought together experts from UK publishing to give advice, information and resources for new writers.
Fast forward through a few revolutions and the latest series (now a podcast) is exploring indie publishing – both as a leg-up to a traditional deal and a viable option in itself. Some of the authors whose blogs I was reading as the first series aired are her experts this time – including Nicola Morgan and Catherine Ryan Howard – and me. I feel like I’ve graduated. Exciting times…
In my episode I’m sharing a studio with indie superstars Mark Edwards (one half of the Edwards/Louise Voss partnership) and Mel Sherratt. You can either listen on the site or download….
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Is it the writing? Do literary novels do it better than genre novels? You’d certainly expect them to, and it’s true that some writers of genre have a tin ear. Equally, many genre writers are terrific wordsmiths – Ian Fleming, Thomas Harris. Anyway the best writing suits the job – whatever that job is.
Is it insight? You definitely can’t have literary fiction without it. Although some genre writers get close. Is John Le Carre a spy novelist or a literary writer?
Is it that literary fiction doesn’t follow rules?
With a genre novel, tropes must be respected because they are what the reader enjoys. A family saga must run a well defined gamut of black sheep, poor relations, blissful marriages and disastrous elopements because otherwise the reader feels that the writer missed the obvious opportunities. The entertainment is in how these obligations are met in a fresh way, the individual writer’s ingenuity within this formal structure.
If genre authors bust out of their boxes, they risk disappointing their readers. Ruth Rendell, who you’d think has a reliably adoring fan base, was careful to adopt a different name to explore beyond conventional crime fiction. When Iain Banks wrote sci-fi as well as lit fic, he stuck an M between his names. But then some writers jump categories and face their public with no disguise – Robert Harris with his modern thrillers and historical fiction. Perhaps it all comes down to how hard he can argue with his publisher.
If rules, or the lack of them, are the crucial difference, does that make genre benders literary? Maybe, if the blend creates a provocative and resonating tension. But sometimes fusing genres is no more than a simple exercise of this-meets-that (or adding freshly boiled zombies).
If a literary novelist writes about a murder, they certainly don’t have to meet the expectations that a crime novelist or detective writer would – think of Donna Tartt’s The Secret History. If genre is about the reader’s expectations, perhaps literary is an anti-genre.
Let’s take Woody Allen as an example. Yes, his medium is celluloid, but it all starts with words and pages. His body of work includes character pieces (Annie Hall, Vicky Christina Barcelona), madcap sci-fi comedies (Sleeper), cosy mystery spoofs (Manhattan Murder Mystery) bleak examinations of morality (Crimes And Misdemeanours). Sometimes, but not all the time, he breaks the bounds of reality by adding time travel (Midnight in Paris), fantasy (The Purple Rose of Cairo). Or singing, flying and ghosts in Everyone Says I Love You. In his latest, To Rome With Love, a character turns invisible.
With Allen, you never know what rules will be followed – and yet you do. They are Allen’s rules, created by his own themes, obsessions and humanity. They’re what we come back for.
So perhaps each literary writer creates a genre of their own, invents the colours they paint in. Like with genre fiction, it makes its own expectations. Perhaps the two are not so very different.
What do you think? Is ‘literary’ a genre? What makes a writer literary? What makes them not? Are there any writers you’d say were both genre and literary?
Annie Hall, authors, Barbara Vine, books, crime novelist, Crimes And Misdemeanours, Donna Tartt, Everyone Says I Love You, family saga, genre fiction, genre novels, genre writers, having ideas, how to write a novel, Iain Banks, Iain M Banks, Ian Fleming, John le Carre, literary fiction, literary novels, literary writers, literature, Manhattan Murder Mystery, Midnight in Paris, My Memories of a Future Life, novels, Robert Harris, Roz Morris, Ruth Rendell, Sleeper, The Purple Rose of Cairo, Thomas Harris, To Rome With Love, Vicky Christina Barcelona, woody allen, writing a novel - Nail Your Novel, Writing Characters Who'll Keep Readers Captivated: Nail Your Novel, Writing Plots With Drama, Depth & Heart
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