Award winning crime writer Keith Wright takes you through passages of his books and explains why he wrote it in that way. I mean, it wasn’t by accident, so why like that? Every word counts. Relax and enjoy the passages he reads and listen in; you may just pick up a theme that you want to play with when you write your crime novel. This is your book, nobody is going to write it but you. Nobody else can. You own it. This podcast may just take some of the pain away and give you some confidence at the same time.
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Award winning crime writer Keith Wright takes you through passages of his books and explains why he wrote it in that way. I mean, it wasn’t by accident, so why like that? Every word counts. Relax and enjoy the passages he reads and listen in; you may just pick up a theme that you want to play with when you write your crime novel. This is your book, nobody is going to write it but you. Nobody else can. You own it. This podcast may just take some of the pain away and give you some confidence at the same time.
This episode looks at the options available to give flavour to a necessary but relatively mundane piece of business in a novel. Connecting pieces can be interesting too.
We talk about the benefits and opportunities gained from taking your characters out of the ‘roaring river’ of the plot. Putting them in a space, which is relevant but out of the established groove.
In this episode we talk about the different ways you can plan and plot a book. Keith offers some thoughts on using techniques to ease the complex task of writing a book.
Techniques to sum up the plot to a reader. How to use body language in descriptions to subliminally send a message to the reader. How descriptions can give texture, give context, send a message and segue into another style such as dialogue. The flow of the story is key.
Episode 5 - we disseminate a scene describing an attack and a death. Episode 6 - How do characters influence the route of the story and make suggestions to the writer? Some topics on dialogue.
Here we explore a short scene showing contrast of characters and how Conflict, Emotion and Suspense are a repeated theme in a story but at very different intensities.
We dissect a couple of paragraphs from ‘One Oblique One’ exploring the nuance and difference in prose when writing a crime scene. We touch on the subject of taboos and authenticity.
In this episode we talk about how new writers approach their first book. We dissect a short passage of 13 lines of one of my books and examine what is conveyed to the reader subliminally and otherwise.
Openings. Listen as Keith reads a section of his book One Oblique One and then as he unravels the opening section to explain why he took that approach. Every word has a reason.
I’ve been lucky to get great advice from top people in the publishing world and authors too over the years.
I would like to pass some of that forward to new writers and talk about storytelling.
If this is you, try this free podcast
‘MURDER INK- the art of writing crime.’
Award winning crime writer Keith Wright takes you through passages of his books and explains why he wrote it in that way. I mean, it wasn’t by accident, so why like that? Every word counts. Relax and enjoy the passages he reads and listen in; you may just pick up a theme that you want to play with when you write your crime novel. This is your book, nobody is going to write it but you. Nobody else can. You own it. This podcast may just take some of the pain away and give you some confidence at the same time.
