When Tanushree Podder Decodes Complex Plots

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Tanushree Podder calls herself a non-technical writer who goes by her instinct and writes about any topic that catches her fancy.  She writes across genres.

Tanushree ma’am says that across genres there are some commonalities  like setting, characters, plots, conflicts,  and their resolution

For a gripping thriller, plots have to be racy. A thriller has to be an adrenaline-inducing experience so that the novel is a page-turner. To achieve this,  the writer needs to scatter some red herrings, twists and turns across the plot line and also leave some hooks at the end of each chapter so that the reader is invested enough with the next chapter too.

The characters have to be strong and enigmatic while the writing has to be a little mysterious. Complex plots can have subplots which can further be developed into stand-alone tales. Complex plots have multiple characters in multiple events across multiple locations. The simple plot is akin to a cloth with a single pattern whereas a complex plot is a multi-colored, multi-patterned cloth, woven masterfully. To create this successfully, it needs great skill. King, Follet, Grisham, and Brown are some of the masters.

A budding writer needs to read at least 100 books before penning one. Research is paramount. A budding author should have a thick skin and keep the nose to the ground, to smell out a good tale because there are stories happening all around us. Among her contemporaries, she likes to read Amitava Ghosh, Chitra Banerjee Divakaruni, Arundhati Roy, Manu Joseph. She hopes to write many many more novels.

Amen to that

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When Ayan Pal Talks About The Difference Between Search And Research

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, Session 6 will be with Ayan Pal on 21 May 2019, author of ‘Confessions On An Island’.

The difference between search and research

By Ayan Pal

I began my tryst with research during Engineering, not for any academic purpose, but to fuel my passion for writing instead. I was working on a historical crime fantasy set in pre-Independence India and the UK and needed to get my facts right, no matter what.

My primary source of inspiration was my prized possession – The World Book Encyclopaedia, a gift from my mom. However, the golden gilded copies could not help me complete my tour de force. In fact, it was an utter failure. I was simply searching for whatever I could find out and trying to fit them into the plot thus making it lose its level of thrill.

Thus, despite have a rock-solid story, and dollops of imagination, a lack of ‘proper’ research made my writing cumbersome and unpalatable. In short, even the ‘world’ was not enough! Having learned my lesson the hard way, I used any and every opportunity thereafter to understand how research can help one elevate one’s writing and make it more thrilling, irrespective of whether it’s a novel, short story, speech, or even a post on Facebook!

Let me begin with an exercise to try and try to use a plot point through Potassium cyanide – a poison most of you would be familiar with for its many references across crime fiction.

Option 1: It was the 24-year-old Ponnuthurai Sivakumaran from Sri Lanka whose paved the path to avoid interrogation if captured for Tamil Tigers. His act of defiance was simple – swallow cyanide hidden within the uniform as a capsule. As he stumbled upon the ground, his mouth frothing, and beginning a slow painful death, a new militant hero was born.

Debrief 1: The above option is an example of using half-baked research by scrounging through undependable sources like Wikipedia. Even though there is documented evidence about the said militant having committed suicide, his exact age and the details of where the capsule was hidden is clearly a figment of the author’s imagination. The last sentence is an absolute flight of fantasy that is more of an ill-construed opinion not based on facts. For starters, cyanide causes almost instant death, thus making the sentence unrealistic as well as incorrect.

Option 2: An Indian man MP Prasad, a goldsmith, who committed suicide left a hastily scrawled note describing the taste of the fatal toxin, the Hindustan Times newspaper reported on Saturday. “Doctors, potassium cyanide. I have tasted it. It burns the tongue and tastes acrid,” he wrote, according to the paper.

Debrief 2: I have just two words to say here – dull and boring. No attempt has been made here of using a fact to elevate the writing in any which way. While this is an example of great research, where the source is also quoted, is it necessary? Would it have been better maybe had it been done in a subtler way, say an Indian character reading the Sunday Morning Herald in Australia suddenly exclaiming to his wife about the taste of cyanide, causing her to immediately stiffen and get an idea that could change their lives forever?

While the above two pieces of writing, though flawed can actually be appreciated for conducting some sort of research, let’s look at an example that became a social-media sensation for its thrilling tone and seemingly factualness.

Option 3: There was a very recent murder case in Australia where an Indian woman killed her husband by giving him crushed Apple seeds. She & her lover have been convicted and sentenced for 22 years & 25 years in prison. I never knew till now that apple seeds contain Cyanide. I searched for the info & was surprised to find that apple seeds do contain Cyanide. This is also one reason why insects hardly hit an apple crop. They know instinctively maybe. Please ensure that the seeds are removed before eating apples. Especially children should not be given a whole apple. Instead cut, remove the seeds before giving it to them. You can google for the veracity of my observation if you have doubts. And do spread the message around to as many people as you can.

Debrief 3: This post is based on an actual case of cyanide poisoning in Melbourne, Australia where Sofia Samand murdered her husband Sam Abraham along with her former lover Arun Kamalasanan. On 21st of June 2018, the Supreme Court jailed Kamalasanan for 27 years and Sam for 22 years. Shocking, isn’t it? But not entirely true. You see, the actual incident had the woman giving her husband orange juice laced with cyanide. However, this half-truth looks almost believable with Google likely to throw up numerous results about the fact that apple seeds do contain poison. Imagine writing a book or delivering a speech to be recorded for posterity (say a TED Talk) based on fake news. What would that make people think about you?

The need to impregnate a sense of expertise and authority in the reader’s and/or listener’s mind through the use of factual data is a must, provided you vary of sources of data and actually speak with experts if you cannot experience it yourself to ensure you get the facts right no matter what.

In my novel ‘Confessions on an Island’, I have used vivid descriptions as well as dialogs to share a whirlpool of facts that not just help you understand the settings better, but also present clues that you will be able to relate with when the denouement presents itself. It being a psychological thriller, and with me being an Engineer and not doctor, I decided against doctoring the reactions of the characters and/or basing them on what I was most likely to do.

They were instead based by researching about patients who have faced similar mental issues, interacting with people with disorders like Bipolar, and actually feeling some of the many things that the characters faced. There were research and facts, there were various sources, but they were also used in sporadic amounts to ensure the content never overwhelms the countenance.

In my opinion, research is like the thread that holds the pearls of any story together, one that stays in the background and lets the real assets – the story, characters, plot, and twists shine. It is a foundation upon which the greatest of stories can be built. The moment it tries to become a pearl in itself and stand alone as a tour de force, you will end up losing the sheen in your writing, causing the carefully collected pearls to needlessly scatter.

The next time you try and pursue writing your next story, speech, or even that social media post, may the force of research be with you. Amen!

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When Archana Sarat Deconstructs Writing About A Criminal Mind

, Session 5 with Archana Sarat, author of Birds Of Prey and Tit for Tat.

Getting Into a Criminal’s Mind

By Archana Sarat

There are two pillars of a crime novel – A hero, who fights the crime and a criminal who commits the crime in spite of the odds around.

Why should a writer get into a criminal’s mind? 

It is imperative for a writer to do so to get better writing and reading experience. The writer should examine closely the reasons for a criminal to commit a crime because usually, a harsh punishment doesn’t deter a criminal.

How does crime happen?

Though there are multiple reasons, broadly there are three.

  1. The Crimes due to Poverty.  The divide between the rich and the poor is a compelling factor but most often a criminal is known to explain away his stance without any remorse.
  2. The Crimes due to Addiction like Alcohol or drugs
  3. The Crimes due to Passion. Could be psychological issues like neglect during childhood, lack of love or anger issues.

 

Archana also adds that characterization is very important.  Fleshing out a 3-dimensional character who doesn’t disclose his/her true motives and extensions, is a difficult task as a criminal has many shades.  The other challenge is to buildup the criminal and simultaneously get the hero to deconstruct.

  • Research deep into the crime.
  • Analyze the criminal’s mind.
  • A writer should be careful not to give away all the clues at once.
  • Hence multiple drafts are needed to get that added punch. All this hard work will determine how well the novel will get crafted ultimately.

Archana, the author of ‘Birds of Prey‘ was drawn to crime-fiction as she was compelled to talk about child-sexual-abuse. Crime-Thrillers can be used as instruments of change if they can make even one person rethink. If the cause of the crime can be identified and that cause can be done away with, there could be lesser distress.

Archana is in the process of penning another crime-thriller. (Grey Rocks)

As she confesses, writing about a villain or about crimes of passion is more challenging.

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When Archana Sarat Talks About Getting Inside the Criminal’s Mind

Screen Shot 2019-05-04 at 1.40.25 PMCrime writing is an adrenalin-inducing genre of writing. Readomania has a big and proud list of authors and titles from the genre of crime writing and is bringing them all together for the Crime Writing Festival 2019 in the month of May. Throughout this month, every Tuesday and Thursday, Readomania’s thriller authors will feature in live Twitter discussions and answer budding authors’ questions on everything ‘thrilling’.

The Readomania Crime Writing Festival will also hold a contest on the best ‘original short crime fiction’, the winner of which will receive an ebook publishing deal with Readomania’s digital imprint, ReadoShots. There will also be book giveaways to the best question asked twice every week.

So, be on Twitter this whole month of May and tune in to the Readomania Crime Writing Festival 2019.

Here, Archana Sarat talks about ‘getting inside the criminal’s mind‘. It is gripping.

5th session of on by  16/5/19, 8PM on ‘Getting Inside the Criminal’s Mind’ The best question wins a copy of her book.

Getting Inside the Criminal’s Mind

By Archana Sarat

Narrating the story of Swarna, in Birds of Prey, through her own eyes, can easily be called as the biggest writing challenge I’ve faced till now. Here was a woman loved and respected by all; she was timid and caring. She loved children and could never harm another living creature. How could she ever be a criminal? A perusal through the newspaper every day is enough to acclimatize us to the fact that criminals come in all shapes and sizes, gender and background. A qualification, or lack thereof, makes no difference to the mind of a criminal.

Causes of Crime

While the government seems obsessed with dealing with the results of crime, it is the duty of writers to ponder about the causes of crime. When we understand what made our criminal what he is, it helps us write and understand him better. Every criminal is aware of right and wrong and they know the potential consequences of their actions. Still, they can shut off this awareness long enough to commit the crime. While some of them regret their actions later, most of them have a fanciful tale of how it wasn’t their fault.

While all criminals refuse to take personal responsibility for their actions and blame others, there are others who would do ‘anything’ in their pursuit of money, power, and control. Some of our politicians are examples of this! For some criminals, this is an easy way out. Stealing the music player or the tyres of a parked car can be an easy way to fill the pocket when compared to working for an entire week to earn the same money.

Understanding the different kinds of criminals, and the causes that shape them can help us write them better. Poverty is the first and primary reason why most people turn to crime. Sadly, the divide between the haves and have-nots is continuing to get wider; crime will only increase in such a society. It is not surprising that most criminals are from the poorer sections of society.

Not all criminals are poor. Some of the goriest crimes are perpetuated by the ruthless rich. What makes a rich person commit a crime? What drives him? What makes him lose his empathy? A history of childhood neglect and abuse is one of the most common reasons for crime in such sections of society.

Not all criminals are abused. Sometimes, a man has everything —a loving family, a good job, financial security—but still, he becomes a criminal. Mostly, in such situations, the man falls prey to a habit of alcohol or drug abuse. A problem of addiction, coupled with low self-esteem, could prove to be dangerous.

Not all criminals are addicted. Sometimes, a person commits a crime in a moment of passion. A flash of fury can be dangerous if a person does not know how to control his anger. One interesting thing to explore in such situations is why does the person have anger management issues?

Not all criminals are angry. Sometimes, the cause of crime runs deeper. Just like any other physical or mental ailment, this kind of criminal suffers from the lack of a sense of empathy and a sense of understanding. Right from a young age, this criminal cannot control himself from injuring others. Sometimes, he feels guilty too. However, his lack of empathy soon overpowers his guilt and he continues his life of crime. This kind of criminal requires psychiatric help.

Stepping into the Shoes

When I wrote about child sexual abuse in Birds of Prey, one of the first questions that was shot at me was whether the abuse was my personal experience. While I was delighted that I could write in such a manner that readers mistook it for a personal experience, writing those particular chapters was traumatic and distressing.

Before working on those chapters, I read extensively about child sexual abuse. Next, I went through medical examination reports and postmortem reports of actual crimes. Some of them had explicit photographs that still haunt me and give me sleepless nights. After that, I had the opportunity to speak to a few victims. I spent more than a month on this research to understand the level of brutality and callousness needed to perpetuate such crimes.

I put myself into the shoes of the victim and agonized over every hurt and every wound. Words froze and it was one of the worst writer’s blocks that I went through. I couldn’t believe how one could do such things to poor, innocent and helpless children.

It was time to put myself into the shoes of the criminal. This can be one of the most challenging activities for any writer. Unless you are a seasoned criminal yourself, it could be near impossible for you to imagine why you are doing what you are doing. This is where it helps to understand the causes of a crime. Now, you have situations to put yourself into that shows you why you became such a person.

Finally, the words started to flow, and the book was written. Getting into the mind of a criminal and exploring your way through it is a must for every aspiring crime writer. It is definitely not a pleasant experience and could scar you for life, but it makes your writing stronger, sharper and better.

 

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When Deepti Menon Talks About Thrilling Twists and Turns

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Crime writing is an adrenalin-inducing genre of writing. Readomania has a big and proud list of authors and titles from the genre of crime writing and is bringing them all together for the Crime Writing Festival 2019 in the month of May. Throughout this month, every Tuesday and Thursday, Readomania’s thriller authors will feature in live Twitter discussions and answer budding authors’ questions on everything ‘thrilling’.

The Readomania Crime Writing Festival will also hold a contest on the best ‘original short crime fiction’, the winner of which will receive an ebook publishing deal with Readomania’s digital imprint, ReadoShots. There will also be book giveaways to the best question asked twice every week.

So, be on Twitter this whole month of May and tune in to the Readomania Crime Writing Festival 2019.

Here, Deepti Menon talks about the twists and turns of a gripping thriller.

1. What makes a good thriller? What are the aspects one must take care of while penning one? Using ‘Shadow in the Mirror’ can you elucidate further?

As its name suggests, a thriller needs to ‘thrill’ its readers. Action is vital, characterisation and setting make all the difference, the twists should hurtle in, hard and fast, and the denouement or the climax should be suspenseful enough to make the readers’ hearts skip a beat.

My story ‘Shadow in the Mirror’ starts with a woman falling off her balcony to her death. My characters are strong and well able to hold their own in a sometimes hostile world. I believe that all my twists, major and minor, are vital in holding the interest of my readers.

I also believe that an effective cover makes all the difference to a good thriller. I remember how Dipankar Mukherjee, of Readomania fame, and I hunted around for the right image for ‘Shadow in the Mirror’. Only once he had found the perfect cover, did we breathe a sigh of relief. My lady in blue with the bright red ‘bindi’ and deep brooding eyes would send a chill up anyone’s spine.

2. How does one maintain the taut pace that requires the novel to be a thrilling page-turner? What are the beginner pitfalls one must avoid while penning? 

What is important is that the writer must maintain the taut pace that characterises the book as a thriller. However, this does not mean that the story uses suspense on every page to take it forward. Too much of a good thing can lead to satiety, and hence, the twists and turns should be carefully monitored.

That is one of the pitfalls authors should avoid. Another one is the clichéd plot that comes easy… what comes easy can also be easy for a million other writers as well.


3. How important are the setting and characterization? Should they be noble, distorted or plain grey? How many strong characters should the novel have to balance the yin and yang? How many twists are mandatory? Please describe how you have achieved the same in ‘Shadow in the Mirror’?

         ‘Shadow in the Mirror’ has around four twists. The first one which came in the second half of the story is the one around which the whole story revolves. I was thrilled that not one reader could see the twist coming… it was like a roller-coaster ride which took the breath away. The other twists are comparatively minor, but they propel the action forward. The book ends on a tiny twist as well, a device that most thriller movies and books use to leave the audience off balance.

          Setting plays an important role as it creates a feeling of suspense in the minds of the readers. Imagine a murder taking place in a bright sunny locale, as opposed to one committed on a grey day in a depressing building. Which, do you feel, would work better?

        Strong characters take the story along with them. However, a story that has only strong characters could prove very tiring. Two strong characters would be the perfect blend, with minor characters aiding them to take the story forward.  

4. What is the relevance of language for Crime-Fiction-Writing? Is it necessary to be verbose or would ‘being-terse’ work better?  Which would you prefer?

There is a happy balance between being ‘verbose’ and being ‘terse’. Frankly, verbosity does not work in any genre, as it indicates a hemorrhage of words, dull, stilted and overdone. In ‘Shadow in the Mirror’, as in all my other writing, I have used simple words, descriptive in parts and action-oriented in others. As a Literature buff, I can never reconcile to writing that truncates words. My young friends often tease me when they read my messages on social media because call me a grammar Nazi, I cannot even leave out a comma or a full stop.

  However, when it comes to writing a taut, action-packed scene, the description takes a back seat, while the atmosphere comes in to play a significant role. For example, in the chapter which deals with my major twist, I have made use of descriptions like ‘dark icy winter chill’, ‘a dreadful ringing inside her head’, ‘an atmosphere of suppressed menace’ and the like. Likewise, the building in which the death takes place is described as looming “ominously in the dusk, wrapped in an air of mystery.”

5. How essential are hooks? How should an ideal crime fiction novel end? Tantalizingly open-ended or all ends neatly sewn up? If you were to rewrite ‘Shadow in the Mirror’ what would you change?

Hooks or red herrings are employed to reel the readers in, and leave them in a state of bewilderment. Most readers prefer to let the story go by at its own pace, but as I have said before, there are the Hercule Poirot readers who love to use ‘their grey cells’, peering at every clue to try and solve the mystery before it is revealed.

According to me, an ideal crime fiction novel could end either way, open-ended or all ends neatly sewn up. What is important is that the readers should find themselves satisfied at the end; left with a feeling of having been fed with a good story.

I don’t think I would want to rewrite ‘Shadow in the Mirror’. I like it as it is.

6. How imperative is reading your peer writers to fine-tune your craft? Who are your favourite thriller writers and why? Please name some.

Oh, I think it is imperative to read the books of one’s peers to fine-tune one’s own craft. Not only does one learn from their writing, but one also finds relaxation in styles alien to one’s own.

If you ask me, I tend to find something to learn from every piece of writing I come across, mostly in a positive manner. Of course, there have been times when I have also learnt how not to approach a subject in a certain manner. One lives and learns!

Favourite thriller writers? Agatha Christie is on top of that list. I also enjoy Conan Doyle, Jeffrey Archer, J.K. Rowling, Stephen King, Sidney Sheldon and Gillian Flynn. One of the best thriller writers I have ever read is Daphne du Maurier whose writing resonates in my heart still. Another book I must mention here is ‘She’ by Rider Haggard, a book that needs to be savoured and read.

7.  What advice would you give a budding writer?

All I can say is that a writer should love his or her own writing. If you put out something which does not appeal to you, it will not appeal to your readers either.

Also, the grammar Nazi in me would want every piece of writing I read to be well edited. As Zadie Smith put it, “The secret to editing your work is simple: you need to become its reader instead of its writer.” Never send out a piece that is not edited for typos and spelling errors can irritate the living daylights out of any reader.

Thank you so much, Anupama, for these intriguing questions. I enjoyed answering them. God bless!

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When Anurag Anand Talks About Writing Political Thrillers in Sensitive Times

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Crime writing is an adrenalin-inducing genre of writing. Readomania has a big and proud list of authors and titles from the genre of crime writing and is bringing them all together for the Crime Writing Festival 2019 in the month of May. Throughout this month, every Tuesday and Thursday, Readomania’s thriller authors will feature in live Twitter discussions and answer budding authors’ questions on everything ‘thrilling’.

The Readomania Crime Writing Festival will also hold a contest on the best ‘original short crime fiction’, the winner of which will receive an ebook publishing deal with Readomania’s digital imprint, ReadoShots. There will also be book giveaways to the best question asked twice every week.

So, be on Twitter this whole month of May and tune in to the Readomania Crime Writing Festival 2019.

Here, Anurag Anand talks about political thrillers.

Writing Political Thrillers in Sensitive Times

By Anurag Anand

Cloaks and daggers and a little bit of gore,

A thriller is but life and a tad bit more.

Greed, lust, ambition, and passions,

Myriad motivations make up its core.

Such a cocktail when one sets out to stir,

Of politics and politicians and their heirs…

The rope is tight and the margin so thin,

Of ruffling feathers there’s always a fear.

The times are sensitive, they say…

For, by old rules, they’ve long ceased to play.

There’s the white and there’s the black,

As we go on to write an obituary for the grey.

A writer’s role, as he takes on such a task,

Is, to be honest, and sincere to his readers’ ask.

And to stand by his pen in the wake of accusations,

Of tilting right or to the left or standing on half-mast.

       Politics ranks right up there with Cricket and Bollywood in terms of the passions it ignites amongst us Indians. The myriad characters and machinations that make up the political landscape are discussed and analysed at length at roadside eateries and office cafeterias alike. Come election season and this buzz magnifies, permeating our lives in more ways than one would wish for. It was this widespread appeal of the subject that got me thinking of a story that finally took shape of an exciting political thriller, The Assassination of Rajat Gandy.

Once I was satisfied with the way the story structure had shaped up, I got down to penning its expanded version. This was the easy part. I had enough material from lifelong observation of the Indian political system – greed and lust for power, duality of behavior and fractured moralities – to allow the characters to chart their own course through the pages of the manuscript. Here, the only choice I had to make was whether or not I should mould my characters on real people. I opted for a balanced approach, drawing inspiration from living politicians, but only just. This allowed the story to develop its own unique flavour, without compromising on its relatability for the readers. After all, it was an honest political thriller that I had set out to write.

It was only once the manuscript was ready and I began sending it out to potential publishers that the sensitivity of the subject dawned upon me. Many of the A-list publication houses loved the plot but were weary of commissioning it for they believed it had the potential of ruffling a few feathers. An unwarranted eventuality that they were not willing to risk for the sake of putting out an exciting story.

Their stance wasn’t entirely surprising. The political narrative in the country has never been as polarised as it is now. People are wedded to political ideologies and personalities almost in a manner of blind faith, not willing to acknowledge any faults in those that they side with and unable to see any positives in those that they oppose. I have seen, on social media and otherwise, normal discussions on politics taking ugly turns and friends turning into foes on this account. Passions have undoubtedly been running high, and it is only fair for entities in the publication business then to want to steer clear of any possible controversies.

I went through the manuscript again, chopping, pruning and rewording the potentially flagrant sections, without compromising the essence of the story. I sought opinions from my friends in the legal fraternity as well, before recirculating the story for evaluation. At this stage, I had realised that the one thing that my story couldn’t be accused of – was being politically motivated. If it had to attract brickbats, it would do so from both polarities of the political spectrum. It was an honest story that didn’t take sides. And this, to me, was a source of much confidence as an author. By way of my sincerity of approach, I had managed to create a sense of balance about the story, albeit not in the appeasing sense, and it was now time to put it out there and let the readers pass their verdict.

I was fortunate that the team at Readomania shared my passion and belief in the story and were willing to burn the proverbial midnight oil to get the book out in record time. The Assassination of Rajat Gandy is now out on the stands, and if the initial reader reviews are anything to go by, it has turned out exactly the way I had hoped it would.

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When Sutapa Basu Talks About Penning Terrific Psychological Thrillers

 

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Crime writing is an adrenalin-inducing genre of writing. Readomania has a big and proud list of authors and titles from the genre of crime writing and is bringing them all together for the Crime Writing Festival 2019 in the month of May. Throughout this month, every Tuesday and Thursday, Readomania’s thriller authors will feature in live Twitter discussions and answer budding authors’ questions on everything ‘thrilling’.

The Readomania Crime Writing Festival will also hold a contest on the best ‘original short crime fiction’, the winner of which will receive an ebook publishing deal with Readomania’s digital imprint, ReadoShots. There will also be book giveaways to the best question asked twice every week.

So, be on Twitter this whole month of May and tune in to the Readomania Crime Writing Festival 2019.

The first session of the on   was by on May 2.

Here Sutapa Maam shares some of her thoughts on penning a psychological thriller.

1. What made you choose a psychological thriller as your first offering?

           Since I have been reading thrillers since childhood and the psychological thriller has been my favorite genre, I felt it would be best, to begin with, the kind of fiction that I knew about better than most others.

2. What makes a good thriller? What are the aspects one must take care of while penning one? Using ‘Dangle’ can you elucidate further?

Any good thriller must have the following plot elements.

  1. Mystery: When violence occurs before the story begins
  2. Horror: Readers see the violence happening
  3. Suspense: Readers anticipate that violence will happen.

One must take care to see that psychological thrillers are a good mix of mystery, horror, action, and drama. Have a simple concept as well as theme. Develop characters that readers would come across in their everyday lives. In Dangle, the protagonist is around 25-26 years. She is a smart, urban, female professional. There are lots of girls like her in all Indian cities today. I felt this familiarity would help readers relate to her. Once they identified with the protagonist, they could easily become emotionally engrossed in her conflicts.

The theme of Dangle revolves around family relationships and the secrets that remain in a family. Families almost always have complex dynamics. Readers would easily imagine themselves in a situation to the one that the protagonist is struggling with in Dangle and try to think about how they would react to it.

3. How does one maintain the taut pace that requires the novel to be a thrilling page-turner? What are the beginner pitfalls one must avoid while penning?

A fast pace is essential for a thriller to be a page-turner. A few ways to get it in your story are these.

  1.  Summarize. Don’t give long explanations.
  2.  Use short words, sentences, paragraphs, events, scenes, and chapters. Even single word sentences are good for impact.
  3. Describe sections of action. Don’t go into long descriptions of how, when and where.
  4. Delay an outcome. Let the reader’s questions pile up and tension build up.
  5. Use dialogue. To reveal something, let there be a conversation between characters rather than tell it all in a couple of sentences.

I also paced the discovery of information. When I answered some questions that the reader had, I threw in a few more questions or red herrings to distract the reader.

One of the pitfalls for beginner authors of psychological thrillers is to put in too much violence. Remember a great deal of violence takes away its impact. So be judicious with it.

4. How important are the setting and characterization? Should they be noble, distorted or just grey? How many strong characters should the novel have to balance the yin and yang? How have you achieved the same in ‘Dangle’?

   Setting and characterization in a thriller are very important. In fact, the setting is used to bring in suspense. Both these elements should be definite but if a character is being distorted there should be a purpose to it that must be revealed to the reader somewhere in the story.

Too many characters in a thriller can confuse the reader and dilute the storyline.

              In Dangle there are three strong characters. Each one balances the other. The peripheral characters have a purpose. Either they add to the main protagonist’s attempt at self-discovery or to the setting and plot. Each character comes into the story with a definite purpose.

5. What is the relevance of language for Crime-Fiction-Writing? Is it necessary to be verbose or would ‘being-terse’ work better?  Please also share how you have achieved your phenomenal language skills.

        Language is all important in Crime Fiction Writing for it is the tool to create suspense and thrill. Long introspective paragraphs should be avoided. Keep sentences and chapters short. Even one-word sentences are impactful. It is prudent to avoid too many adjectives and adverbs.

I don’t know if my language skills are phenomenal but believe they have emerged from reading and writing at a very young age. I began writing around 7 years of age and read books much before that.

6. How essential are hooks? How should an ideal Crime fiction novel end? Tantalizingly open-ended or all ends neatly sewn up? If you were to rewrite ‘Dangle’ what would you change?

 Hooks are absolute. Ideally, they should be one at the end of every chapter. There are no rules as to how a Crime Fiction should end. While the questions relating to the plot should certainly be sewn up, one can always open up a new avenue at the end and let the reader chew on the idea.

I don’t think I would change anything in Dangle.

7. How imperative is reading your peers to fine-tune your craft?

    I don’t know what you mean by ‘peers’ but I believe in reading most present-day authors to discover new styles and voices. I was completely bowled over by Claire Mackintosh’s I Let You Go and the way she inserted a brilliant twist midway in her thriller. I wish I could do the same in my thrillers.

8. Who are your favorite thriller writers and why?

My favorite thriller writers are Agatha Christie, Alfred Hitchcock, Stephen King, Dan Brown, Stieg Larsson, Arthur Conan Doyle, Daniel Silva, Claire Mackintosh, Jeffery Archer, Ken Follet.

I like reading their books because their twists are invariably unexpected and unimaginable. The books are racy and don’t let up on the tension.

Having said, I must add that the thriller element is also present in other genres and I have enjoyed both reading those kinds of books and writing them. Both my historical novels, Padmavati, The Legend of Genghis Khan and the new one in the pipeline have twists just like ones in thrillers.

9. What advice would you give a budding writer?

  1. Read, read, read the kind of story that you want to write.
  2. Do not copy anybody’s style. Develop your own voice.
  3. Take your writing seriously. It is not a hobby. If you don’t take it seriously nobody else will.
  4. Edit and rewrite several times. Never show your first draft to anyone.

 

Here’s the link to Sutapa ma’am’s live session. Do check it.

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