A.A. Chaudhuri on the evolution of the “Whodunnit”

My new thriller, The School Gates, centres on the murder of single mum, Lola Martinez, whose body is found on the riverbank the morning after a primary school parent Christmas social. Suspicion soon falls on Lola’s mum friends, but it’s also clear that someone from Lola’s past may have wanted her dead and that a friend Lola confides in online might have the answers. The story is told through the eyes of the investigating police officer as he interviews the various suspects in the present day, and from Lola’s perspective in a series of flashbacks starting from when her son joined the school up until her death. 

It is, of course, a classic domestic suspense thriller being set against the very relatable backdrop of a local primary school where the tricky interpersonal relationships between a diverse range of morally grey characters are explored in a tense, claustrophobic atmosphere, each of them hiding dark secrets which are gradually unveiled as the action progresses. However, with my main protagonist, Lola, murdered in Chapter One, and half the ensuing story told through the eyes of the investigating officer, DI Banner, The School Gates is also a whodunnit, making it a particularly stimulating, fascinating novel to write. And hopefully, to read! 

This isn’t the first time I’ve ventured into the intriguing, ever popular world of ‘whodunnits’ as far as my psychological thrillers are concerned. My third foray into the genre, The Final Party, centres around three couples who spend a week together in Italy to celebrate a fortieth birthday party. In the Prologue, the reader learns that one of the party is dead, and they are then taken on a complex, twisty journey back in time to discover who the victim is and how they met their unfortunate demise. The School Gates, however, is more of a classic whodunnit, in that we know Lola is the victim from the outset, and we follow Banner’s chain of enquiries as he interviews various suspects in Lola’s immediate parent circle, each of whom have a credible motive to have wanted her dead. 

Whodunnits remain a much beloved variety of crime fiction for a whole host of reasons. For readers, they offer the tantalising challenge of trying to solve a puzzle by making deductions from a series of clues the author will drop into the narrative, only to be thrown off track by a surprising twist or clever red herring which brings them back to square one. Whodunnit fans love nothing better than being taken on a rollercoaster ride of twists and turns before having the wind knocked out of their sails by a final revelation that leaves them open-mouthed. That being so, it takes great skill to craft a story in such a way as to ensure that happens, with the reader left satisfied rather than short-changed. 

Trying to discern the killer from a varied range of credible suspects (as my detective tries to do in The School Gates) is a simple concept all things considered, but the crime writer will make it more compelling, suspenseful and difficult for the reader to solve through strong character development, the exploration of complex motives, and intricate backstory, all of which will hopefully keep them guessing and turning the pages and, even better, will mess with our minds!

Domestic suspense is, of course, a type of ‘psychological thriller’, and in recent years classic whodunnits have adopted more of a ‘psychological’ spin due to the former’s popularity since the release of Gone Girl. The focus isn’t just on the puzzle, clues and final reveal, i.e., the who, anymore, but each character’s inner monologue and what’s driving their actions, i.e. the why. They are still mysteries, of course, but they now tend to explore the psychology of the various suspects more deeply, thereby, in my view, enriching the story. Being a psychological thriller author, I really enjoyed exploring this combination in The School Gates, the school setting providing for a hotbed of simmering tension, poisonous mind games and deep discontent and in turn, ramping up the suspense in the reader’s mind. Likewise, rather than making him a gritty tough-talking detective, I purposely gave my investigating officer a much softer side, giving the reader an insight into his own inner struggles, attempting to show how the case affects him deeply having a young son himself, along with the stress and frustration he feels while investigating Lola’s murder and coming up against dead ends. 

In short, whodunnits are no longer confined to locked-room puzzles and smart deductions leading to the capture of a killer. They are now much darker and more complex, delving more deeply into the protagonists’ psychologies with reference to wider societal and social issues. This is turn makes them more relatable, with none of us being infallible human beings, but prone to the darker traits of human nature and susceptible to taking a self-destructive path. 

In The School Gates, while the reader follows Banner’s chain of enquiries which eventually lead him to unearthing Lola’s killer in the style of the classic “whodunnit”, we’re also offered an in-depth insight into events leading up to her death through Lola’s eyes; not just her own mindset and motivations, but that of other parents, thereby ramping up the suspense and uncertainty in readers’ minds, a device which hopefully keeps them guessing until the end! 

The School Gates by A A Chaudhuri (Canelo Publishing) Out Now

First comes gossip … then comes revenge. When single mum Lola Martinez’s son, Luca, starts school, she feels that she’ll never fit in with the yummy mummies in the playground. Confident, married to wealthy men, with ample free time, they are everything she isn’t. However, Lola is invited into the inner circle, surrounded by seemingly friendly people, even if Lola’s silence about her child’s father puzzles them. Despite herself, Lola quickly becomes involved in playground politics, making as many enemies as friends. But then Lola is brutally murdered, her death rocking the close-knit community. As the police investigate the case, they discover that Lola was hiding many secrets – as are the mums in her new social circle. But who had the most reason to kill her? And who else might unwittingly hold the answers to what happened that night?

More information about the author can be found on her website. She can also be found on X @AAChaudhuri, Facebook, Instagram @a.a.chaudhuri, Tiktok @alexchaudhuri0923 and Blue Sky -  @aachaudhuri.bsky.social

Britains’s Biggest Crime Prize Searches For The Next Bestselling Writer of Colour

 

The Joffe Books Prize is looking for a talented new crime fiction writer of colour, with one of the UK’s largest literary prizes for the winner.

This year the Joffe Books Prize judging panel includes A.A. Chaudhuri, bestselling author of She’s Mine, and literary agent Gyamfia Osei from Andrew Nurnberg Associates.

The prize invites submissions from unagented authors from Black, Asian, Indigenous and minority ethnic backgrounds writing in crime fiction genres including: electrifying psychological thrillers, cosy mysteries, gritty police procedurals, twisty chillers, unputdownable suspense mysteries and shocking domestic noirs.

The winner will be offered a prize package consisting of a two-book publishing deal with Joffe Books, a £1,000 cash prize, and a £25,000 audiobook offer from Audible for the first book.

The submission period ends at midnight on 30 September 2024.

HOW TO ENTER

Entrants are invited to submit their full-length manuscript, written in English, along with a synopsis of the book and author biography, to prize@joffebooks.com.

This prize is open to UK residents and British citizens (including those living abroad) only. The opening date for entries is 15 May 2024. The competition closes 30 September 2024, 23.59 GMT. No entries received outside this period will be accepted.

Read the full Terms & Conditions here.

ABOUT THE PRIZE

The winner will be offered a prize package consisting of the following: a two-book publishing contract with Joffe Books on its standard author agreement terms; a £1,000 cash prize; a two-year membership to the Society of Authors; a £25,000 audiobook contract with Audible for the first book. The prize is a package and can only be accepted in its entirety.

The prize will be offered to the selected winner. Joffe Books may choose an alternative winner if acceptance is not confirmed within one week.

Northumberland-based Christie J. Newport won the inaugural prize in 2021, followed by Sam Genever in 2022 and Renita D’Silva in 2023. Christie’s winning entry and debut novel, The Raven’s Mark, is available online and in all good bookshops now!

THE JUDGES

The 2024 judges are A.A. Chaudhuri, Gyamfia Osei, Emma Grundy Haigh, Jasmine Callaghan, Jasper Joffe and Kate Lyall Grant. The winner of the competition will be selected by these judges based on the quality and commercial potential of the work.

A.A.CHAUDHURI, BESTSELLING AUTHOR OF SHE’S MINE: “I am so incredibly thrilled and honoured to be a Judge on the Joffe Books Prize Panel. Since its inception in 2021 this fantastic competition, which continues to go from strength to strength, has allowed a plethora of exceptionally talented writers of colour in the crime fiction genre to shine through, and I’m beyond excited to be a part of that process this year.”

GYAMFIA OSEI, LITERARY AGENT: “I'm delighted to be judging the Joffe Books Prize this year alongside A.A. Chaudhuri and Emma Grundy Haigh. The cohort of writers were brilliant last year so I can't wait to dive into the 2024 entries!”

EMMA GRUNDY HAIGH, FORMER EDITORIAL DIRECTOR AT JOFFE BOOKS: “The Joffe Books Prize, now in its fourth year, just keeps going from strength to strength. The prize is dedicated to amplifying #ownvoices and publishing truly excellent crime fiction. With Audible’s involvement, it is also the largest prize package for crime fiction in the UK. We have great plans for this year and the addition of Jasmine Callaghan as one of the judges is just the start!”

JASMINE CALLAGHAN, COMMISSIONING EDITOR AT JOFFE BOOKS: “I couldn’t be more excited to join the panel of the Joffe Books Prize. I feel honoured to be taking part in the competition, which is actively addressing the lack of diversity in publishing and amplifying underrepresented voices with real passion. I know this is going to be the best year yet.”

ABOUT A.A. CHAUDHURI

A.A. Chaudhuri is a former City lawyer, turned thriller writer. She is the author of The Scribe and The Abduction, featuring feisty lawyer Maddy Kramer. Her first highly acclaimed psychological thriller, She’s Mine, was named the L.J. Ross Book Club pick of the month. Alex lives in Surrey with her family. Besides being an avid crime fiction reader, she enjoys fitness, films, anything Italian and a good margarita!

ABOUT GYAMFIA OSEI

Gyamfia Osei represents an array of brilliant authors writing across adult and children's books, including Dean Atta, Busayo Mataluko and Frances Mensah Williams. She is a keen advocate of commercial fiction and, in the crime and mystery space, particularly loves cosy crime, domestic suspense and thrillers with a strong romantic thread. She is always looking for well-plotted, fast-paced narratives with authentic characters who lodge themselves in her mind long after she’s finished reading.

ABOUT JOFFE BOOKS

Joffe Books is one of the UK’s leading independent publishers of excellent commercial fiction, especially crime and mystery fiction. Joffe Books is renowned for working closely with authors from across the world to create fantastic books and turning them into bestsellers. Since 2014, Joffe Books has published more than 500 books by more than 70 authors and has sold over 10 million books. The publisher’s roster of award-winning authors and New York Times, USA Today and Amazon bestsellers includes Joy Ellis, Faith Martin, Robert Goddard, Rick Mofina, Volker Kutscher, Simon Brett and Stella Cameron. Joffe Books won Trade Publisher of the Year at the Independent Publishing Awards in 2023 and was a finalist for Publisher of the Year at the Romantic Novelists’ Association Awards 2023 and shortlisted for Independent Publisher of the Year at the British Book Awards in 2024 for the fifth year in a row.

While Joffe Books maintains open submissions for all authors, this competition is designed to offer an opportunity to Black, Asian and minority ethnic writers, who are particularly underrepresented in crime fiction publishing.

A.A. Chaudhuri on the importance of strong characterisation in the Psychological Thriller genre

There are many reasons why I love the psychological thriller genre. An iconic twist, spine-tingling tension, the classic unreliable narrator, and sinister mind games are just some of its timeless traits that make it such an enthralling, memorable and addictive genre.

But for me, in order for those attributes to flourish and really resonate with readers, it is vital to get the characterisation right. First and foremost, it’s the characters who are driving the plot forward and everything they do and say has an immense bearing on other important aspects like tension and suspense, or even whether a twist is believable. If, as an author, I have not developed my characters enough to make them feel real and believable, then it is unlikely that my readers will be invested in the story. After all, the clue is in the name: ‘psychological’ thriller. Fundamentally, this means that as an author I must step into the shoes of my characters, penetrating their psyches as deeply as possible, and really get to grips with what makes them tick as people. This can either be done through the first- or third-person narrative – I prefer the first person because I find it more effective, but it’s very much the author’s choice. If I have not infiltrated my character’s mindset, then it is unlikely everything else that makes this genre so compelling will fall into place. For example, if my unreliable narrator is bland and one-dimensional, they will not be so intriguing or believable because I have not shown the reader what drives and haunts them, thereby making them unreliable. Likewise, if I have not dropped in subtle clues and insights into my character’s nature or behaviour in the meat of the book, a final twist related to that particular character might not make as much sense, leaving the reader feeling at best deflated, at worst cheated.

Strong characterisation has a knock-on effect on everything we deem essential in a good psychological thriller. Unlike in a straight thriller, where there is often a fair amount of physical conflict, in the psychological thriller we focus on the characters’ inner conflict, their mental mind games with each other, also played out through dialogue. A reader needs to ‘feel’ a character’s tension, to ‘hear’ the fear in their voices, to understand by essentially ‘penetrating’ their brains what is motivating them to behave in the way they do, for all the other core characteristics of the genre to work. It is the characters’ experiences, thoughts, hang-ups, emotions, and actions that are driving the story, rather than physical action, and so the tension we expect from this genre will come from getting inside those characters’ heads and understanding what is at stake for them.

In my new psychological thriller, Under Her Roof, struggling writer – Sebastian - rents a room in the palatial Hampstead mansion of beautiful mysterious widow, Adriana. The rent is ridiculously cheap and despite his misgivings which centre around Adriana’s strange rules and the fact that the previous lodger died under tragic circumstances, Sebastian cannot resist taking her up on her offer. Things soon take an ominous turn for Sebastian when he realises that both he and his landlady are being watched, and that the terrifying situation he finds himself in may be linked to Adriana’s troubled past.

From very early on, the reader is made aware that both landlady and tenant are hiding dark secrets; secrets that haunt and inspire all sorts of negative feelings in them – guilt, fear, shame, to name but a few. We do not know what those secrets are initially, of course, but we know from the negative emotions they feel and from how tormented they are, that they cannot be good. In this way, the tension accelerates and we, the readers, have no idea if we can trust Seb and Adriana who clearly have something to hide and are harbouring such dark emotions. Yet, at the same time, we want to empathise with them because it is clear they have suffered serious injustices in the past and are by no means bad people. In this way, through my characterisation I have hopefully induced both suspicion and empathy on the reader’s part for my characters, making them more intriguing as unreliable narrators. Seb and Adriana do not just share an artistic connection, they are drawn to one another by their mutual loss and grief. Both perfect examples of what we all are as human beings – fallible. Two people with troubled pasts and terrible secrets that haunt and ensnare them in a never-ending cycle of sadness, guilt and fear, but who find themselves at the mercy of another whose intentions remain unclear, but who appears to delight in their inner turmoil, thereby ramping up that sense of dread and tension that makes this genre so addictive!

My books tend to be quite complex, but people are often surprised to hear I am not a meticulous plotter. What I do spend a lot of time on before I start writing, however, is drafting detailed character profiles. For me this is crucial, so that my readers feel able to connect with a character and understand what is driving them. To this end, for me a character’s appearance is the least important consideration. It’s the way they conduct themselves and speak to others, the inner turmoil in their heads, the way something in their childhood impacts them in adulthood, what they might love or fear, excel or perform poorly at, and finally the dark secrets they may be keeping from others and which have a bearing on their behaviour in the present. All these factors have an impact on how a character is perceived in the book, on the reader being able to connect with them, and in driving up that impending sense of dread and nerve-wracking tension we expect from the genre.

In summary, we all love an unreliable narrator, high tension, mind games and a killer twist in our psychological thrillers, but great characterisation is key to these beloved traits falling into place.

Under Her Roof by A A Chaudhuri (Hera/Canelo) Out Now.

It seems too good to be true… When struggling writer Sebastian finds a room to let in a palatial Hampstead residence he cannot believe his luck. The rent is ridiculously cheap, and he immediately feels a connection with his beautiful, widowed landlady, Adriana. It is. Things take a dark turn when he finds out what happened to the last lodger. Could this be why the house is a fortress of security, and why Adriana seems so fragile? Adriana doesn’t want to talk about the death and sadness that seem to follow her wherever she goes, and Sebastian has secrets of his own. Now someone is watching their every move and there is nowhere to hide. This house of light becomes a dark nightmare as the threat ramps up - what does the watcher want? And how far will they go to get it?

More information about A A Chaudhuri can be found on her website.  You can also follow her on “X” @AAChaudhuri and on Facebook and Instagram @aachaudhuri

 

 

The Joffe Books Prize

 

BRITAIN’S BIGGEST CRIME PRIZE SEARCHES FOR THE NEXT BESTSELLING WRITER OF COLOUR.

The Joffe Books Prize is looking for a talented new crime fiction writer of colour, with one of the UK’s largest literary prizes for the winner.

This year the Joffe Books Prize judging panel includes A.A. Chaudhuri, bestselling author of She’s Mine, and literary agent Gyamfia Osei from Andrew Nurnberg Associates.

The prize invites submissions from un-agented authors from Black, Asian, Indigenous and minority ethnic backgrounds writing in crime fiction genres including: electrifying psychological thrillers, cosy mysteries, gritty police procedurals, twisty chillers, unputdownable suspense mysteries and shocking domestic noirs.

The winner will be offered a prize package consisting of a two-book publishing deal with Joffe Books, a £1,000 cash prize, and a £25,000 audiobook offer from Audible for the first book.

The submission period ends at midnight on 30 September 2024.

HOW TO ENTER

Entrants are invited to submit their full-length manuscript, written in English, along with a synopsis of the book and author biography, to prize@joffebooks.com.

This prize is open to UK residents and British citizens (including those living abroad) only. The opening date for entries is 15 May 2024. The competition closes 30 September 2024, 23.59 GMT. No entries received outside this period will be accepted.

The full Terms & Conditions can be found on our website: www.joffebooks.com/terms-and-conditions

ABOUT THE PRIZE

The winner will be offered a prize package consisting of the following: a two-book publishing contract with Joffe Books on its standard author agreement terms; a £1,000 cash prize; a two-year membership to the Society of Authors; a £25,000 audiobook contract with Audible for the first book. The prize is a package and can only be accepted in its entirety.

The prize will be offered to the selected winner. Joffe Books may choose an alternative winner if acceptance is not confirmed within one week.

Northumberland-based Christie J. Newport won the inaugural prize in 2021, followed by Sam Genever in 2022 and Renita D’Silva in 2023. Christie’s winning entry and debut novel, The Raven’s Mark, is available online and in all good bookshops now!

 THE JUDGES

The 2024 judges are A.A. Chaudhuri, Gyamfia Osei, Emma Grundy Haigh, Jasmine Callaghan, Jasper Joffe and Kate Lyall Grant. The winner of the competition will be selected by these judges based on the quality and commercial potential of the work.

A.A. CHAUDHURI, BESTSELLING AUTHOR OF SHE’S MINE: “I am so incredibly thrilled and honoured to be a Judge on the Joffe Books Prize Panel. Since its inception in 2021 this fantastic competition, which continues to go from strength to strength, has allowed a plethora of exceptionally talented writers of colour in the crime fiction genre to shine through, and I’m beyond excited to be a part of that process this year.”

GYAMFIA OSEI, LITERARY AGENT: “I'm delighted to be judging the Joffe Books Prize this year alongside A.A. Chaudhuri and Emma Grundy Haigh. The cohort of writers were brilliant last year so I can't wait to dive into the 2024 entries!”

EMMA GRUNDY HAIGH, EDITORIAL DIRECTOR AT JOFFE BOOKS: “The Joffe Books Prize, now in its fourth year, just keeps going from strength to strength. The prize is dedicated to amplifying #ownvoices and publishing truly excellent crime fiction. With Audible’s involvement, it is also the largest prize package for crime fiction in the UK. We have great plans for this year and the addition of Jasmine Callaghan as one of the judges is just the start!”

JASMINE CALLAGHAN, PROJECT EDITOR AT JOFFE BOOKS: “I couldn’t be more excited to join the panel of the Joffe Books Prize. I feel honoured to be taking part in the competition, which is actively addressing the lack of diversity in publishing and amplifying underrepresented voices with real passion. I know this is going to be the best year yet.”

ABOUT A.A. CHAUDHURI

A.A. Chaudhuri is a former City lawyer, turned thriller writer. She is the author of The Scribe and The Abduction, featuring feisty lawyer Maddy Kramer. Her first highly acclaimed psychological thriller, She’s Mine, was named the L.J. Ross Book Club pick of the month. Alex lives in Surrey with her family. Besides being an avid crime fiction reader, she enjoys fitness, films, anything Italian and a good margarita!

ABOUT GYAMFIA OSEI

Gyamfia Osei represents an array of brilliant authors writing across adult and children's books, including Dean Atta, Busayo Mataluko and Frances Mensah Williams. She is a keen advocate of commercial fiction and, in the crime and mystery space, particularly loves cosy crime, domestic suspense and thrillers with a strong romantic thread. She is always looking for well-plotted, fast-paced narratives with authentic characters who lodge themselves in her mind long after she’s finished reading.

ABOUT JOFFE BOOKS

Joffe Books is one of the UK’s leading independent publishers of excellent commercial fiction, especially crime and mystery fiction. Joffe Books is renowned for working closely with authors from across the world to create fantastic books and turning them into bestsellers. Since 2014, Joffe Books has published more than 500 books by more than 70 authors and has sold over 10 million books. The publisher’s roster of award-winning authors and New York Times, USA Today and Amazon bestsellers includes Joy Ellis, Faith Martin, Robert Goddard, Rick Mofina, Volker Kutscher, Simon Brett and Stella Cameron. Joffe Books won Trade Publisher of the Year at the Independent Publishing Awards in 2023 and was a finalist for Publisher of the Year at the Romantic Novelists’ Association Awards 2023 and shortlisted for Independent Publisher of the Year at the British Book Awards in 2024 for the fifth year in a row.

While Joffe Books maintains open submissions for all authors, this competition is designed to offer an opportunity to Black, Asian and minority ethnic writers, who are particularly underrepresented in crime fiction publishing.

Telos Commits to Crime Through Time

 

Telos Publishing have picked up a new crime anthology edited by USA Today Bestselling author Samantha Lee Howe

The book, titled Criminal Pursuits: Crimes Through Time, has been put together by Samantha Lee Howe to raise money for the charity POhWER which works to give a voice to those struggling with Human Rights issues in the UK.

'I am so pleased with the authors who stepped up and provided their amazing crime stories for this worthy cause,' said Howe. 'The tales we have assembled are cracking pieces of work, and cover all manner of criminal activity from the very first Caveman detective, to a woman who writes to the world’s worst killers. I'm proud to have curated such an amazing selection.'

The authors taking part are: A A Chaudhuri, Raven Dane, Caroline England, Paul Finch, Samantha Lee Howe, Rhys Hughes, Maxim Jakubowski, Awais Khan, Paul Magrs, Sandra Murphy, Amy Myers, Bryony Pearce, Christine Poulson and Sally Spedding.

Helen Moulinos, the CEO of POhWER, said 'Meeting Samantha Lee Howe in 2020 was a gamechanger. She helped me to see through fresh eyes how relevant POhWER’s work was not only to people living in the UK but globally. Samantha’s introductions to the writers in this book made this incredible charity project possible. This anthology helps us to expand our reach, help more people and further our work to serve millions who are slipping between the cracks of public services'.

Stephen James Walker from Telos Publishing said 'Telos Publishing is delighted to have this opportunity to raise money for the valuable work being done by POhWER to help  disadvantaged groups. Criminal Pursuits is a cracking collection of short stories by a group of top-notch authors, taking readers on a thrilling historical journey through the darker side of human nature while at the same time giving them the chance to support an excellent cause.'

Publication was agreed between Stephen James Walker from Telos Publishing, and Samantha Lee Howe.

CRIMINAL PURSUITS: CRIMES THROUGH TIME is published on 10 October 2021.

Why I chose to write my debut psychological thriller SHE’S MINE in the first person. By A.A. Chaudhuri

She’s Mine, my debut psychological thriller with Hera Books, is my first foray into writing in the first person, having used the third person narrative for my Kramer & Carver legal thriller series. 

I always enjoy exploring the mindsets of my characters – who and what is motivating them to behave in the way they do. Even with The Scribe and The Abduction, I made a conscious effort to do this, i.e., not just take my readers on a straightforward mission to unearth and track down the culprits alongside my lead protagonists, but also allow them to see things through the culprits’ eyes, just because I feel this adds substance to the story, enabling readers to connect with and relate to all of the characters on a deeper level; even induce them to feel some level of sympathy for the wrongdoers, having been offered an insight into their inner turmoil and often painful backstories. 

There is no hard and fast rule that psychological thrillers should be written in the first person, however, just because the genre is primarily focussed on the characters’ states of mind. Least of all the first-person present, which is what I chose to do with She’s Mine. So long as the novel contains key elements of the genre – the lead character perhaps having a dark secret or flaw which makes them potentially unreliable – it is of course perfectly possible to effectively portray them within a framework of disquiet and mystery, as is the typical mood of this genre, through the third person narrative.

Having said that, I chose not to do this with She’s Mine, principally because I felt the crux of my novel, which centres on a mother’s (Christine Donovan) grief for her missing child, and the ensuing dark and twisty turn of events that swiftly unravel after she receives a note revealing her daughter is not dead, along with the pervading sense of unease, mistrust and tension that exists between her and other characters, called for a more personal approach. Christine’s guilt for her neglect, but more so revolving around a secret she feels contributed to her child’s disappearance, also lies at the heart of the novel, and so I felt it imperative to see things through her unique perspective, and that of those closest to her, so as to give the reader a deeper and more profound insight into the excruciating pain and turmoil she is forced to endure day after day, as well as the first-hand effect her behaviour has had on others. I didn’t feel this could be conveyed as powerfully via the third person narrative which, by definition, is more detached and reliant on the author’s description of a character’s behaviour and speech rather than via said character’s natural stream of thought. Moreover, although readers may, understandably, blame Christine for losing her child owing to her past misdeeds, it was crucial to me that they should also feel some compassion for her, and I found the first-person narrative – hearing her voice, her suffering in their heads – to be a more effective way of achieving this. 

Obviously one can describe a character’s pain and emotions through the third person narrative, but there is always a danger of it coming across as contrived and lacking in depth and heart, the author sometimes ‘telling’ too much of the story, rather than ‘showing’ it through a character’s own distinct voice and actions which, admittedly, can be deceptive because we as readers don’t know if what he or she is saying can be trusted. But then again, isn’t that the point of the psychological thriller genre? To be unsure of what you are being told is the truth, thereby heightening the intrigue on the part of the reader and their impetus to keep turning the pages?

I think that fans of psychological thrillers rather enjoy the feeling of being deceived by the author – the sense that they’re not being given the whole story but rather a skewered version of the truth. This uncertainty is what adds to the overall experience and addictive nature of the genre, and I think this can often be better achieved by only seeing events through the eyes of a particular character at any given moment.

Writing in the first person also allowed me to connect more deeply with my characters even though I, unlike my readers, know the outcome of the story and what my characters are hiding. With She’s Mine, I became so invested in my characters, I really felt like I was living every moment with them, feeling their pain and inner turmoil, which was important given the subject matter of a lost child; something that was often hard to write about being a mother myself.

Similarly, because the events of the book move along fairly swiftly, constantly switching between different characters’ viewpoints, I chose to write in the first person ‘present tense’ with a view to ramping up the pace even further, as well as intensifying the prevailing sense of claustrophobia and uncertainty my characters operate in.

I really enjoyed my first experience of writing in the first person and feel sure it won’t be my last.

She’s Mine is published by Hera Books in e-book on 18th August and paperback on 26th August:

Her missing daughter was just the start of the nightmare. Twenty years ago, Christine Donovan took a call she should have ignored while shopping. In those few seconds while her back was turned her toddler, Heidi, was kidnapped. She’s never been seen again. Despite having two other children with husband Greg, Christine remains guilt-stricken that her neglect caused her child to be stolen, while haunted by a secret that consumes her. Just as she takes measures to finally heal, a note is posted through her door, with the words she has always longed to hear: Heidi isn’t dead. Christine might finally get the answers she craves - but what she doesn’t know is that finding her daughter will uncover dark secrets close to home. In seeking the truth, Christine might destroy everything that she loves … so how far is she willing to go to find Heidi?

AMAZON: https://amzn.to/3ua6Oxa

Kobo: https://bit.ly/3ffj4rM

Apple: https://apple.co/3yyqe2a

National Crime Reading Month Goes Digital for May Lockdown

The month of May sees the return of National Crime Reading Month (NCRM), a unique, UK-wide literary festival, designed to connect authors and readers and promote the crime genre.

The festival, which is a major annual initiative co-ordinated by the Crime Writers’ Association and Crime Readers’ Association, normally promotes live author events up and down the country. During lockdown, the initiative has moved online with crime authors posting vlogs and blogs on the website crimereadingmonth.co.uk.

Linda Stratmann, Chair of the CWA, explained: “We’ve – quite literally – created Crime Writers in Residence by asking authors to post films from their homes while in lockdown. It’s a kind of criminally-good Through the Keyhole! Readers love the personal insights from meeting authors in person, and most crime authors love to connect to their readers. With all the major crime writing festivals, as well as author events in libraries and bookshops, cancelled for spring and summer, we felt it was important to step in and offer a digital alternative.”

Festivals allow readers to meet established writers and discover new authors to widen and enrich their reading life. They also play an important role for aspiring authors, as well as help forge new friendships.

Linda said: “Reading and writing are of course solitary acts but you’re never alone with a book. There’s a real connection on the page that is passionately celebrated in our festivals and author events. The crime genre is perhaps the most accessible and democratic of all, which makes our community a very sociable and inclusive one. We understand how important those connections are, so we’re encouraging CWA members to join in and submit videos from their homes to reach out to readers in lockdown.”

Although May is the official month for mayhem and murder with NCRM, the CWA began collating vlogs in April in response to lockdown.

Featured authors include AJ Waines, a former psychotherapist who has gone on the write ten thrillers selling half a million copies, with her latest psychological thriller Cut You Dead released this April.

Fiona Veitch Smith, author of the Poppy Denby Investigates series, shortlisted for the CWA Historical Dagger in 2016, also joins the video series to talk about her life under lockdown during the Covid-19 crisis, alongside Holly Watt, who won the CWA Ian Fleming Steel Dagger last year for To The Lions.

Holly Watt said: “One thing I am finding weird about writing at the moment is that my characters are meeting up with friends! And having dinner together! And getting on planes! And all these things suddenly seem completely alien. It’s quite hard to write several paragraphs without interjecting ‘and then he washed his hands while singing Happy Birthday’.”

NCRM will also see the launch of short stories that will be free to read on the Crime Readers’ Association website, to provide a public platform for CWA authors wishing to showcase their work.

Readers and authors can join in #CrimeReadingMonth online and subscribe to the Crime Readers’ Association for free to receive the CRA Newsletter and bi-monthly e-zine, Case Files.

Join in #CrimeReadingMonth on Facebook and Twitter @The_CWA or find out more on the Crime Reading Month website.