indieBRAG Blog

   Stephanie has asked psychological and crime fiction writer Debrah Martin (also writing as D.B. Martin) how she tackles writing a thriller. Here are some of her suggestions. Q: When writing crime fiction, there are usually several characters involved. What is your advice in presenting each character so they stand out? A: Crime writing is really no different to any other kind of fiction writing. The characters have to be credible and likeable – or so wholly unlikeable/intriguing that they still fire the reader up enough to want to find out what happens to them. Spend some time deciding on your individual character’s strengths and weaknesses, their challenges or their nemesis. We all have an Achilles heel. What is theirs? What is it that forces your protagonist to take up the fight – or commit the crime? And how will they ultimately redeem themselves, or ‘face the music’. I usually pick from something like this to set up the main personality traits for each of my characters:   Then I pair, group and counterpoint them between characters. Physical attributes can sometimes complement or highlight personality traits too. Then I think about where they will fit in the plot, and how…

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Regency society organized itself around marriage and family. Adults were identified by their place, or lack thereof, in a married, family unit. Married women were ranked higher and more respected than the unmarried. Married men were perceived as having come into their own and given the esteem and authority that went with such an accomplishment. The plight of the regency spinster is fairly well understood. The local tax or judicial records says it all. Women were typically identified in tax or judicial records by their marital status (spinsters, wives and widows) whereas men were always identified by their occupation or social status. (Shoemaker, 1998) A woman’s identity (and legal existence) was determined by her marital status. Spinsterhood was considered ‘unnatural’ for a woman, even though nearly one in four upper class girls remained unmarried (Day, 2006). They were called ‘ape-leaders’ (for that was what they would be doing in hell as punishment for the unnatural lifestyle. Enough said on that point….) and ridiculed for their failure in the most basic requirements of femininity. However, if a single woman possessed independent means—a fortune of her own sufficient for her to live on, it was possible she could maintain her own household…

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The eighteenth century saw an explosion of letter writing on a scale never seen in previous centuries, and similar to what we are experiencing today with the flood of digital communication. Everyone wished to express an opinion on all manner of topics, from the current political climate, to the war in the American Colonies, crime rates, and what the fashionable were wearing in town. Letters were the main form of communication and none mattered more than those professing love. Receiving a physical love letter was something to cherish, as it is today, to be carefully read and re-read and kept as a treasured object. In my Roxton Family Saga, the Duke of Roxton leaves his bride a love letter on her dressing table, the morning after their wedding night. Roxton is a nobleman who chooses his words carefully, and thus is economical in his conversations, both spoken and written. His title, pre-eminent position in society, and arrogance mean one word or a look from him is sufficient to convey his wants and needs, most of which are often anticipated. Thus his love letter is all the more significant, and serves a dual purpose—of reassuring his bride of his deep love…

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Cass Grafton and I are longtime friends, despite the fact we have never spent more than a week together in the same place. We have traveled across the world to celebrate each other’s marriages, children, new homes, cancer survival, weight loss, and even the occasional mutual fanaticism.  One might think writing a book together would be the next natural step in our relationship. No? Maybe I left out some important details. That’s what I do. I’m the one who throws around plots and scenes like the Swedish Chef from The Muppet Show. Cass is the one who lovingly and painstakingly crafts the core of the story and gently reminds me the tangent I just introduced makes little sense, throws our climax into upheaval, and also probably isn’t possible. Believe it or not, I take this feedback pretty well… about as well as Cass accepts that, no matter how beautifully she has described a specific room, none of our characters have entered that room, nor are they likely to; therefore we should not keep its description in the book. The truth is, no matter how much we’ve each pretend-sulked over the loss of lines or ideas, we went forward because of…

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