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Learn about editorial foundations, growth, sustainability, legacy and marketing with this 5-book series.
Fancy reading some of the core takeaways from The Editing Podcast? Notes from the Podcast is a brand-new book series that focuses on five core areas of editorial business development.
What’s in the series?
Currently there are five books in the Notes from the Podcast series, all focusing on what Denise and I like gassing about the most – running, growing, sustaining and marketing an editing and proofreading business.
Is the content identical to The Editing Podcast?
So, yes, it’s still our podcast content, but it’s been repurposed and reworked so that it’s book-fit.
How long did it take to create the books?
The answer to how long it took depends on your starting point.
We didn’t write the books from scratch – creating them required having the podcast scripts in the first place. And since we broadcast our first episode in 2019, so you could say the journey started then.
We’ve spent the past three years doing the following to bring these books to life:
Did you use AI?
The biggest challenge we faced in making this project viable was untangling well over 100,000 scripted words spread across 145 separate episodes broadcast in no particular order.
Some of that scripted content was irrelevant because it:
Even the content that was relevant wasn’t located only in episodes whose titles made it obvious. It was all over the place! Plus, it was scripted in a way that suited voices rather than books.
Unless we got help.
We talked over the options and wondered if AI might come to the rescue. We decided to give it the task of:
That was a learning curve because it took a while to work out how give it the right prompts to ensure it gave us exactly what we wanted. However, it was time well spent because we got there in the end! So, yes, we did use AI – to analyse our own content and extract the chunks of it that we wanted. From then on, it was up to us to do what we do best …
What Louise and Denise did
With that done, we turned to:
And finally, we published!
Why bother publishing when people can listen?
Denise and I have always been massive advocates for repurposing valuable content because it respects the fact that people like to get their information in different ways.
Some like to listen. Some like to watch. And some like to read.
How to buy the books
All five books are available in print via Amazon.
Still want to listen? Head over to The Editing Podcast!
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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This post explores how oversimplifications of human motivation as ‘good’ versus ‘evil’ can damage crime fiction, mysteries and thrillers.
In this post
Read on to find out more about:
The trouble with clear-cut morality
In real life, morality is murky. Few people do harm ‘just because’. People do bad things for complex reasons, and those in investigative roles – and apparently on the side of justice – don’t always behave impeccably.
Compelling contemporary crime fiction tends to avoid rigid binaries that present ‘good’ and ‘bad’ characters, where the villain is evil because they commit a crime, and the sleuth is good because they solve it. Going down that route can weaken character development, limit emotional relatability and misrepresent how justice manifests in a way that’s plausible. How to turn flat caricatures into relatable characters
In a binary model, the villain is ‘monsterized’ as inherently bad – the evil psychopath or lowlife. The focus is more on the nastiness they’ve done.
Meanwhile, the investigator is ‘heroized’ as inherently good – the wonderful restorer of order. The focus is on how they’ve saved the day. However, when you provide a deeper understanding of the reasons why a criminal acted as they did, and when you make space for a sleuth’s flaws, doubts and moral ambiguity, readers are able to access more plausible and fully rounded characters with human backstories and worldviews, however flawed.
Prompt for writers and editors Exploring justice that reflects reality
Ditching binary models of ‘good’ and ‘bad’ allows you to explore crime and justice in a way that engages readers who’ve experienced systemic injustice in real life, as well as those whose privilege means they haven’t.
For example, a criminal’s actions might stem from something far more alarming than pure greed. It could be grounded in, or driven by, their experience of poverty, fear, abuse, racial- or class-based oppression. Taking this approach asks readers to consider where biases in the system are, who the establishment serves, and whether equal opportunity really stands up under the microscope.
Prompt for writers and editors Building tension through real-world themes
Avoiding traditional ‘good’ and ‘bad’ binaries encourages space for exploring themes that cement tension throughout the novel, and speak to readers living in the world as it is now … or the one it might be in the not-too-distant future.
Through those themes, you might explore societies’ values, and what constitutes criminal behaviour in terms of your own and your readers’ values. Are there are circumstances where bad deeds might be justified for the greater good? For example, could the perpetrator and the investigator both be grappling with thorny concepts that make who’s ‘right’ and who’s ‘wrong’ ambiguous?
Prompt for writers and editors Summing up
Crime fiction and thrillers can reveal uncomfortable truths about people and systems. By embracing ambiguity, you can craft more emotionally resonant and morally engaging stories.
To keep your characters interesting and out of binary waters, ask yourself whether the most compelling villain might be one who almost persuades us, and whether the most unforgettable hero might be one who almost breaks our trust. Other resources you might like
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Learn about editorial reports, and whether you should provide them to clients.
Summary of episode 143
Find out more about the following:
Listen to episode 143
Support The Editing Podcast
Music credit
'Vivacity’ by Kevin MacLeod
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Learn how to find a professional academic editor or proofreader who's the ideal fit for you.
Summary of episode 142
Listen to find out more about
Listen to episode 142Support The Editing Podcast
Music credit
'Vivacity’ by Kevin MacLeod
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
Backstory helps readers understand why characters act the way they do and what their motivations are. This post offers five tips on how to introduce it so that it enriches, rather than distracts from, the main story.
In this post ...
Read on to find out more about:
What is character backstory?
Backstory is the fictional history of a character before the main plot begins. It could include past events, relationships, traumas or achievements that shape their present behaviour and decisions. Backstory should be:
To ensure you hit the mark, think about which of the following mechanisms might work best for your novel.
1. Drip feed the information
Think of backstory as the seasoning rather than the main dish. It can be tempting to give readers everything you want them to know about the past in a dedicated and detailed chapter. However, this comes with risk. Your reader, who’s itching to move forward and find out what’s going to happen next, is forced backwards.
The focus is no longer on the now of the novel, but on a different time and space. That in itself can be distracting. Plus, by giving readers all this backstory in one fell swoop, you could lose the opportunity to introduce suspense, mystery or intrigue. Instead of an information dump, try instead a brief but telling reference that’s related to the current action. For example, if your character’s past involves an event that’s made them mistrustful of small spaces, you could hint at this in the narrative, but explain it more fully in a piece of dialogue later on. Here’s how that might look at first mention. The backstory nudge is in bold. Baz legged it towards the market square but took the long way, avoiding the alley. Too dark. Too small. He’d never make that mistake again, not after last time. This way, you’re revealing backstory in smaller chunks – ones that invite the reader to think: What happened last time he went into a dark alley? This builds suspense and leaves readers with questions that you can answer later. And for now, the reader stays in the moment with Baz, running towards the square and finding safety in the crowd.
2. Use natural dialogue
Dialogue can be a superb way of unveiling backstory. Depending on when it comes up, you can drip feed or go into more detail.
The key is to ensure that it sounds natural rather than being a convenient tool. For example, if Marcus already knows about Baz’s fears, the following will feel overworked. The dialogue is for the reader’s benefit only, not what these two people might actually say to each other. *** AVOID *** This kind of dialogue-for-convenience is sometimes referred to as maid-and-butler dialogue. To avoid it, try something like the following instead. ‘You’re late,’ Marcus said, tapping his watch. ‘I was expecting you five minutes ago.’ Again, this version hints at a traumatic event in the past, but leaves an intriguing space for more to be revealed later.
3. Interject with narrative reflection
If the time has come to reveal more, you could use the space between the dialogue to offer a little more insight.
Take care to restrain it. Give the reader just enough, then pull them back to the present action. Here’s how that might look. ‘You’re late,’ Marcus said, tapping his watch. ‘I was expecting you five minutes ago.’
4. Use other characters to reveal backstory
You could decide to hint at a character’s backstory through how others see them. Again, readers should be given only what they need to know, and the reveal should be relevant to the scene.
Fi touched the screen. ‘So this is our route out. I don’t like it. See here? This alley is tight. No lights. Baz might be on his own, and we both know Baz doesn’t do confined spaces … at least he hasn’t done for the past eighteen months.’ Notice how we’re given a nudge about something in Baz’s past that means alternative arrangements have to be made. These add a little complexity to the plan Fi and Marcus are working on, but there’s space to explore in more detail at a later point. If it’s time to introduce that extra detail, an alternative could see Marcus reflecting internally on a plan he’s put together. Here, the backstory is more detailed but it’s still relevant to the present issue that he’s focusing on – planning an escape. The obvious route out was the alley. Through the kitchen, into the yard, over the wall, and they’d be gone. Two minutes tops. In theory it was good. In practice it was risky. Not for him and Fi. They were sound. But Baz would need to keep his head in the game. And for the past eighteen months, it hadn’t been. His friend had been ambushed, beaten to a pulp, the seventy-three stiches transforming his scalp into something Picasso would have been proud of. Since then, even the suggestion of a tight, unlit space had him going off on one.
5. Use sounds, objects or settings as triggers
The external environment can be effective tools with which to introduce backstory. Your protagonist might see, hear or touch something that triggers a memory or an emotion.
Here are two examples. Once more, they’re mere nudges that make the reader ask questions, rather than lengthy explanations that risk flattening the prose. There was a door to his left. Baz opened it. A narrow flight of wooden steps led downwards. He flicked the switch by the latch. A light flashed on, then fizzled and died. He stepped back and shut the door. Shuddered. Too dark, too tight. Not happening. Fi ran her hand over the cracked porcelain sink. Same kind they’d had in the safehouse in Rotterdam. Good times. Her, Marcus and Baz. All in it together. All of them with their heads in the game. All of them thinking they were invincible.
Summing up
Backstory is as a tool that gives your crime fiction and its characters emotional depth at any point it’s introduced. If it doesn’t affect how the reader engages with the story in the moment, remove it.
Keep it taut so that the reader remains engrossed in the novel’s present – what the characters are doing/feeling now. Nudges and hints at first mention are often far more suspenseful and intriguing. If backstory is dragging on for multiple paragraphs or even chapters – a within-novel biography – rethink its structure and how you might break it up so that you reveal it gradually.
Other resources you might like
About Louise
Louise Harnby is a line editor, copyeditor and proofreader who specializes in working with crime, mystery, suspense and thriller writers.
She is an Advanced Professional Member of the Chartered Institute of Editing and Proofreading (CIEP) and co-hosts The Editing Podcast.
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