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practical notes concerning the colour of a character’s hair or eyes, and also about age. Write down his or her date of birth. Bear in mind, if possible, where your plot is in terms of the working week. Offices and some businesses tend to be closed at the weekend after Saturday lunchtime. If a suspect or a witness is at work, it is no use your detective going to his house during the day.

      Setting is important, and I have spotted a few useful locations for scenes of crime while travelling on trains, gazing at the passing countryside. I think to myself, ‘I could put a body there!’

      Some years ago I went to the Chelsea Flower Show on a particularly wet day. Everyone there had crowded into the main marquee in a free-for-all. Who, in those circumstances, would be interested in a couple of strangers? Each person there was looking out for him or herself. I thought to myself that a murder could be committed there and no one would notice. The victim, mortally stricken, couldn’t collapse on the ground at once, not in that press. He would slump, allowing the murderer to grasp him and propel him towards the exit, telling everyone who might show surprise that someone had fainted and ‘needed some air’. The surrounding crowd would recognize an emergency and part just enough to allow assailant and victim through.

      I went home and wrote a novel called Flowers for His Funeral in which the murder takes place very much in that way.

      Make sure you have enough plot. This will probably mean at least one, even two, subplots. But be careful that minor characters don’t become more interesting than the main ones.

      I have learned to watch out for a few things over the years. A single page may prove to be a minefield strewn with repetitions and contradictions. Reading aloud is very helpful here. A repeated phrase, for example, may not leap out on the computer screen. But if you have used one, or given the same adjective more than once in a single passage, you will hear it at once if you listen when it’s read aloud.

      A section of dialogue can also benefit from being subjected to this test. Speech patterns are important and all the characters should not sound the same.

      In my early days I read whole chunks of the day’s output into a tape recorder and played it back. Hearing your voice reciting chunks of your own prose comes as a bit of shock. I remember one of my offspring, on wandering into the room when the tape was running, saying unkindly that I sounded as if I am doing an impression of the Queen’s Christmas speech. I don’t record passages now, but I still read a page or two aloud, when it seems helpful.

      When writing my early books, I found myself occasionally in danger of becoming addicted to a particular consonant, especially when thinking of names for characters. Possibly I am alone in that. I know I once wrote a whole chapter in which all the characters, including the corpse, had a name beginning with the same letter. Luckily, I realized in time but it was an alarm bell, and I still watch out for it.

      Whether aloud or silently, always read through carefully more than once. Familiarity can be a trap here. You can find yourself skimming over whole pages, the text flashing by in a blur. So it helps to put the finished work aside and go away physically. Go on holiday, tackle the garden; just take yourself away from the work itself. Believe me, it’s much easier to spot the mistakes or glitches after a break away from your creation.

      Ronald Knox’s ‘Ten Commandments’ for writing a detective novel date from the 1920s and offer limited assistance for the twenty-first century author. Natasha Cooper draws on experience as an editor and reviewer, as well as from her career as a novelist, in her ten practical tips for crime writers of today.

Intensity in Crime Writing

       Natasha Cooper

      The one thing – and the only thing – that a crime novel must not do is bore the reader. The old rules about what you may and may not include have gone. You can identify the villain in the first chapter if you want; you can have lots of blood or no blood; you can have any number of identical twins or secret passages; you don’t even have to have a killer. But you must keep your reader interested.

      As you plan your novel, you may find the following ten points helpful.

       1. Know your characters

      You will find it easier to write engaging fiction if your characters feel real to you. Get to know them before you start writing. Who are they? What do they like? What do they fear? What do they want? Who do they piss off? What do they look like? What do they eat? What music do they listen to? What films do they watch? Are they snowflakes? Are they bullies? What are their weaknesses? What are their private tragedies? For what would they kill?

      You don’t need to tell the reader everything, but you need to know it all. Some writers find that it helps to chat to their characters as they potter about, and no one looks weirdly at anyone talking in the street now because they assume everyone’s on the phone.

       2. Write in scenes

      To keep your novel vivid, you need to set the scene for each piece of action or dialogue or introspection. So think, before you write a word, about where your character is, who else is there, what can they see, what can they hear and smell and taste and feel. Once again, you don’t have to tell the reader everything, but you need to know it all so that you can select the most telling details to share with the reader.

       3. Don’t waste time

      It is all too easy when writing a novel to prattle on without much point, especially if you’ve given yourself a daily word-count target. Don’t. Think about why you are including the scene you’re writing. Is it to establish a character? Is it to advance the plot? Is it to heighten the tension? Is it to give the reader necessary information?

      If your scene does not do at least two of these things, consider binning it.

      Giving information is one of the hardest aspects of crime writing. Some readers love innumerable details about weapons, or the stripping of bones by pathologists, or the operation of complex financial frauds. Others don’t. They can, of course, skip anything that bores them, but you need to be judicious about the amount of information you give and the way in which you give it. Explanatory dialogue can be dangerous, and it often sounds impossibly artificial to the reader’s internal ear. If you need your reader to know about the speed at which a Kalashnikov pumps out bullets, it is probably best to announce it straightforwardly rather than to have characters sitting over a beer in a pub, with one saying, ‘I’ve always wondered how many bullets a Kalashnikov fires every second’, the second replying, ‘Well, it rather depends on the year it was made; some Kalashnikovs fire at …’

       4. Realistic dialogue

      If your characters sound like cyborgs, or DIY manuals, or pompous sermonizers, you will lose the reader. It is well worth speaking each piece of your dialogue aloud and possibly even recording some of it so that you can hear how it sounds.

      Make sure that each character’s idiom is distinct from the others. Ideally the reader should be able to work out who is speaking without your adding ‘John joked jaggedly’ or ‘Maggie muttered murderously’.

      Consider confining the relevant verbs to ‘said’ or possibly ‘shouted’ or ‘whispered’. Synonyms for ‘said’ can seem absurd. One historical novel published in the 1950s included, ‘“Honeycakes,” Jenny ejaculated as she sat among the gillyflowers.’ A more modern infelicity is: ‘“I don’t care,” she deadpanned.’ ‘I don’t care’ is quite enough on its own.

      Every group, whether social or professional, has its own private