Who Is Telling The Story?

Welcome to this week’s episode. Later in, in the writing craft section, we’ll be looking at one more crucial decision you’ll need to make before diving into your new novel – what POV should you use?

I’ve just finished up a short story, and in a couple of weeks I’ll be releasing the fourth book in my cozy mystery series.

Now, it’s a common issue among writers that we can sit down and write full length novels – thousands of words – but when it comes to writing the blurb of a few words, we stare, frozen – at a blank page.

The book blurb—that crucial piece of text on the back cover—can make or break your book's success. In today's competitive market, readers often make snap decisions based on these 150-200 words.  So it’s not a stage we can skip.

There are professionals who can write it for you, and these days, AI does a pretty good job. But, even if you use these services, it pays to know exactly what a good blurb should be.

So here’s a few tips if you are going to write your own, or assess one that’s been written for you.

Your opening line needs to grab attention immediately. Think of it as your book's elevator pitch distilled into one compelling sentence. For example, compare these openings:

Weak: "John Smith is a detective who investigates crimes in London."Strong: "When bodies start appearing in London's most famous landmarks, positioned to recreate Renaissance masterpieces, Detective John Smith faces his most baffling case yet."

The second version creates immediate intrigue and poses questions that readers will want answered.

The structure of your blurb matters.

A effective blurb typically follows this structure:

1. Hook (1-2 sentences)

2. Situation/Setup (2-3 sentences)

3. Conflict introduction (1-2 sentences)

4. Stakes/Questions (1-2 sentences)

5. Emotional pull/Final hook (1 sentence)

Use Strong Language

Choose active verbs and evocative adjectives, but don't overdo it. Compare:

Weak: "Sarah goes to the house and finds something unexpected."Strong: "Sarah uncovers a decades-old secret that shatters everything she believed about her family."

The second version creates more tension and intrigue through specific word choices.

Focus on Conflict

Conflict drives stories, and it should drive your blurb too. Present the main conflict clearly but don't resolve it. You want readers asking "What happens next?"

Avoid These Common Mistakes

1. Too Much Detail

   
   

   Don't try to explain every plot point or character. Focus on the core conflict and main character(s).

2. Spoilers

   
   

   Never reveal major twists or endings. The blurb should tease, not tell.

3. Vague Language

   
   

   Phrases like "an amazing journey" or "a fascinating story" tell readers nothing. Show what makes your book unique.

4. Character Overload

   
   

   Limit yourself to mentioning 2-3 characters maximum. Too many names confuse readers.

Study Successful Examples

Look at bestsellers in your genre. What makes their blurbs effective? How do they structure information? What language do they use?

Remember: Less is More

A common mistake is trying to cram too much into your blurb. Focus on the essential elements that will hook readers. You don't need to explain everything—you just need to make them want to find out more.

Your book blurb is often your only chance to convince a potential reader to invest their time and money in your story. Take the time to craft it, or refine it carefully, and don't be afraid to revise it multiple times until it captures the essence of your book while compelling readers to learn more.

The perfect blurb should leave readers thinking, "I have to know what happens next." When you achieve that reaction, you'll know you've created a blurb that sells.

Writing your blurb is just one part of creating your book package . Next week, I’ll chat about book covers.

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When crafting your novel, one of the most crucial decisions you must make is selecting the point of view (POV). This choice shapes how readers experience the story, influences the way suspense builds, and determines what information can be revealed or concealed. Let's have a look at the various POV options and examine their strengths and limitations.

The obvious one is the First-Person POV, where you could choose to be in the detective’s m ind, for example, or even the killer’s mind, if you are feeling brave! First-person narration puts readers directly inside a character's head, creating an intimate connection between the reader and the storyteller. This perspective has been a favorite among crime writers for decades, with Raymond Chandler's Philip Marlowe novels serving as classic examples. A more modern example, is Craig Johnson’s Walt Longmire series.

The advantages are that this narration creates immediate emotional connection, and allows for authentic voice and personality. It has traditionally been used for hardboiled detective fiction where the readers discover clues alongside the narrator

Take this opening from Chandler's "The Big Sleep": "It was about eleven o'clock in the morning, mid October, with the sun not shining and a look of hard wet rain in the clearness of the foothills." The reader instantly feels present in Marlowe's world, seeing through his cynical eyes.

It does have it’s limitations, and although you might be attracted to this POV, thinking that it is the easiest to pull off, you need to know that all information is restricted to what the narrator knows. So you can’t show scenes where the narrator isn't present, and you can only convey what the narrator see and hears. Technically, it is quite difficult and it can be difficult to maintain suspense about the narrator's fate.

Contemporary crime fiction often employs multiple first-person narrators, alternating between different characters' perspectives. Gillian Flynn's "Gone Girl" masterfully uses this technique, switching between Nick and Amy's accounts.

The advantages of this approach is that it solves the issue of only one perspective on the crime, it create suspense, and it builds more complex mystery for the reader. If you are going to try this, then make sure you create clear voice distinctions and keep an eye on timelines and plot threads otherwise it can get very confusing. Also, don’t reveal too many clues at once, otherwise suspense is lost for your reader.

The Third-person limited POV follows one character closely while maintaining some narrative distance. This POV has given us classics like Michael Connelly's Harry Bosch series.

The advantages are that it combines intimacy with professional distance; it allows for objective description while still accessing character thoughts; it can include subtle hints the protagonist might miss and it is much easier to maintain suspense about protagonist's fate.

However, it is obviously less immediate  and intimate than first-person, which can make it feel detached for some readers, and it does require technical writing skill to balance between showing and telling.

The third-person multiple or the grand overview which I personally use quite a lot,  follows multiple characters while maintaining narrative distance, as seen in Tana French's Dublin Murder Squad series or P.D. James's Adam Dalgliesh novels.

I like it because it allow me to show a comprehensive view of the investigation, and can show both the crime solving and the crime committing. This POV allows me to create complex plot structures. It’s perfect for procedural novels

Consider how P.D. James uses this POV to weave together different narrative threads, showing both the investigators' methodical work and the inner workings of suspect relationships.

It has limitations, of course. It may dilute emotional connection. It requires careful handling of transitions, and if you are not careful, it can reduce tension if not managed well, but it’s great for creating a balance between high-octane or intense suspense, and then giving the reader a bit of breather. But you have to be careful not to lose focus on the central mystery.

The third-person Omniscient, or  The All-Seeing Eye is less common. Think about the opening lines of every episode of Desperate Housewives when the viewer gets a narration from the dead victim. It can work really well, and it is found in classic mysteries and some modern experimental works.

The main advantage is the complete freedom to reveal or withhold information, and the ability to give a running commentary. It works well for complex, interconnected plots, where the reader may need some direction.

But it is difficult to maintain mystery, and the whole “dear reader” approach does feel old fashioned to modern readers.

When you make your choice of POV for your crime novel, you need to consider several factors. First, what sub-genre are you writing?

A “Whodunit”  might benefit from limited perspective to maintain suspense; a procedural could work better with multiple POVs, and a psychological thriller might shine with first-person unreliable narrator or narrators.

You also need to consider your story goals. If you are creating a character that develop over time or a series, and you need to establish empathy, then first person POV would work well for that.

If you focus is a twisty plot, then third person multiple is a good choice. If your novel is a slow -burn suspense, then limited perspective might work best.

You should also consider your own technical experience and skill. Does your novel rely on a clear timeline, or multiple red herrings for example? Then there is your voice and dialogue abilities and character development style. My advice is to not be too experimental to start with.

Lastly, have a look a current trends. Read and watch crime stories and see what works and what doesn’t.

Contemporary crime fiction shows increasing flexibility in POV usage. Authors like Tana French switch POVs between books in a series, while others like Louise Penny maintain a consistent third-person multiple approach throughout their works.

Some writers experiment with mixing POVs within a single novel. For example, some chapters might be first-person from the detective's perspective, while others use third-person to follow the villain. This approach requires skill but can create compelling narratives when done well.

Like just about everything when it comes to writing, there are no right or wrong answers. There's no "perfect" POV for crime fiction – each serves different storytelling needs. The key is matching your narrative perspective to your story's requirements and your strengths as a writer. Remember that whatever POV you choose, consistency and clarity are crucial for maintaining reader engagement and telling an effective crime story.

That’s all for this week. Next week, I’ll be examining different types of conflict and how to use each one effectively, to keep those pages turning.

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