~ ReNcH ~
!<-- ?(°«°)? -->!
How exactly do you write a crime fiction short story?
I wouldn't have a clue where to start really...
I wouldn't have a clue where to start really...
-
Finished your HSC? Check out our University Discussion, Non-School forums or help out next year's HSC students! -
YOU can help the next generation of students in the community! Share your trial papers and notes on our Notes & Resources page
Writing a crime fiction story (1 Viewer)
- Thread starter ~ ReNcH ~
- Start date
look at your crime fiction conventions. get inspiration from tv shows or real life stories in the paper. my teacher has encouraged us to cut out any crime stories we find interesting from the paper- a little morbid but its kind of good for finding inspiration.
"The Conventions of Detective Fiction
There are very many variations on the basic crime fiction package, but most follow these conventions:
1. The sleuth-hero, a problem-solver, who is actively involved in uncovering clues and interpreting them. The writer plays fair with the reader, offering most of the information essential to understanding the crime. Often the hero is in some ways an outsider, operating or coming from beyond the mainstream of the society. (Consider Cordelia Gray, Philip Marlowe, Ishmael Chambers.)
2. A detailed, plausible setting. Accurate depiction of a particular world and of the people in it is one of the pleasures offered by all serious crime fiction writers. Often detailed research is undertaken by the writer. Many use their own life experience as material (e.g. Patricia Cornwell, P D James, Lisa Scottoline). Depicting Sydney is one of the confessed aims of writer Marele Day, for instance.
3. A crime or crimes to be solved. The crime is presented, often told to the sleuth, and an investigation follows. “Red-herrings” - false trails or clues - are frequently followed before the true villains are unmasked.
4. A denouement (literally “unknotting”) - the final revelation of what really happened. In more violent stories this may follow a shoot-out. In the “cosy” school novels, e.g. of Agatha Christie and Dorothy Sayers, all characters may be gathered in a room, where the detective finally explains all and confronts the murderer who is present. This convention is used by P D James in The Skull Beneath the Skin, is spoofed by Stoppard in The Real Inspector Hound, and may be seen in a classic version in The Thin Man, the movie from a Hammett script.
5. Dangerous situations confront the hero at times. This is a ‘must’ for the private eye in modern fictions, e.g. those of Sara Paretsky, Ian Rankin, Peter Corris, Minette Walters and often P D James."
"The Conventions of Detective Fiction
There are very many variations on the basic crime fiction package, but most follow these conventions:
1. The sleuth-hero, a problem-solver, who is actively involved in uncovering clues and interpreting them. The writer plays fair with the reader, offering most of the information essential to understanding the crime. Often the hero is in some ways an outsider, operating or coming from beyond the mainstream of the society. (Consider Cordelia Gray, Philip Marlowe, Ishmael Chambers.)
2. A detailed, plausible setting. Accurate depiction of a particular world and of the people in it is one of the pleasures offered by all serious crime fiction writers. Often detailed research is undertaken by the writer. Many use their own life experience as material (e.g. Patricia Cornwell, P D James, Lisa Scottoline). Depicting Sydney is one of the confessed aims of writer Marele Day, for instance.
3. A crime or crimes to be solved. The crime is presented, often told to the sleuth, and an investigation follows. “Red-herrings” - false trails or clues - are frequently followed before the true villains are unmasked.
4. A denouement (literally “unknotting”) - the final revelation of what really happened. In more violent stories this may follow a shoot-out. In the “cosy” school novels, e.g. of Agatha Christie and Dorothy Sayers, all characters may be gathered in a room, where the detective finally explains all and confronts the murderer who is present. This convention is used by P D James in The Skull Beneath the Skin, is spoofed by Stoppard in The Real Inspector Hound, and may be seen in a classic version in The Thin Man, the movie from a Hammett script.
5. Dangerous situations confront the hero at times. This is a ‘must’ for the private eye in modern fictions, e.g. those of Sara Paretsky, Ian Rankin, Peter Corris, Minette Walters and often P D James."
~ ReNcH ~
!<-- ?(°«°)? -->!
But the only thing I'm concerned about is actually making an interesting, suspensful and intriguing plot. There's no point writing a short story where the perp. is obvious. I like watching contemporary crime (e.g. CSI) but I have no idea how to create a good plot.
_muse_
Come on join the joyride
i really have no idea either but maybe if you took a few ideas from the shows you like, made your own characters and started with that? i dunno if that would make any difference...
i guess you should just practice then.
watching the shows is a good idea too. taking tips from other films and tv shows isnt cheating. its "gaining inspiration".
hand some drafts or practices into teachers too to get feedback.
watching the shows is a good idea too. taking tips from other films and tv shows isnt cheating. its "gaining inspiration".
hand some drafts or practices into teachers too to get feedback.
~ ReNcH ~
!<-- ?(°«°)? -->!
True.Karlz04 said:
I've been inspired by a few recent TV shows I've watched.
The only restriction is that we have to conform to the conventions of a particular sub-genre (cosy, hard-boiled etc), but I would have thought that Ext 1 English should promote something more original - something that doesn't conform to convention, which I want to do...
I didnt conform. I mixed the sub genres. The film Murder By Numbers is a good example of merging sunbenres. It can be considered hard boiled, yet its set in a modern city, no dark streets, and the detective is female. Merges a bit of psychology into it too. Its a good movie, I actually used it as a support text.~ ReNcH ~ said:True.
I've been inspired by a few recent TV shows I've watched.
The only restriction is that we have to conform to the conventions of a particular sub-genre (cosy, hard-boiled etc), but I would have thought that Ext 1 English should promote something more original - something that doesn't conform to convention, which I want to do...
~ ReNcH ~
!<-- ?(°«°)? -->!
Is it also valid to throw in a mix of broader genres - sci-fi, fantasy, horror etc? e.g set a hard-boiled crime story in a Blade Runner sort of background, and chuck in a bit of horror too.Karlz04 said:
Im not 100% sure. I mixed crime/psychology/slight horror without any problems, my teacher actually said the psychology aspect helped and pulled my mark (for that particular story) up. I guess it depends on how you do it. As long as it is crime I cant see a problem, but I could be wrong.~ ReNcH ~ said: