Blah, Blah, Blah, Yap, Yap, Yap: Put A Cork In It, or Not?

When you think about writing stories or novels in any genre, the subject of dialogue always arises. For purposes of this discussion, dialogue will include not only conversations between characters, but also characters' thoughts, characters' speeches, statements, etc. Now, I'm not going to get into the importance of dialogue itself, because that should be a given. Characters need to communicate with each other, with the writer, and with the reader, and they need to do it appropriately--i.e., 'within character'. No. The question I'm going to raise here is, when is it time for one's character(s) to just shut the *&#$ up and let the story move forward. Is there ever a point when your characters simply talk too much? Unfortunately, there are times when this is the case.

We all know the importance of our readers getting to know each and every one of our characters. Only then can they share in all their experiences. A character must have a past, a present, hopes, fears, and all that good stuff, and the way a reader learns about them is through dialogue. Yes, descriptions are important--kind of third party type statements like 'Jack grew up in a rough area of the city...', or 'Emilie had always feared wide open spaces...'. All that's fine and dandy, but I believe it's through their own words that a reader can truly know what makes them tick. But, like was said when I was a kid: 'Sometimes it's better to be seen than heard', and this does apply here.

Our characters speak through us, true. However, in a way, we speak through our characters as well. It's a flow thing. No, we're not really serial killers or corrupt cops or monsters in the mist or even heroes who save mankind, but the voices do come from within the writer. Sound nutty? Of course it is. We wouldn't be readable writers if we didn't hear the voices of our characters. What I'm getting at is consider how you write a letter or a postcard. Do you do a 40 pager that requires 18 stamps or obscure the caption on the postcard by writing down, across, and along all the sides (you know, the kind of behavior that causes the postal employees to go postal)? Or do you say only what needs to be said. That is not to say you're notes are rude and uninteresting. Brief and to the point does not have mean boring and hateful. It simply means brief and to the point. That's what our characters need to be.

In order to allow our readers to get inside our characters, they need to talk. They need to talk about how they feel about themselves, their childhood maybe, their deeds (whatever those may be), and they most certainly need to do it in more than two word sentences. The point I'm trying to make here is, make sure you know the difference between sharing perspectives and blabbering like an idiot. You know the type. You begin reading a story, the setting is intriguing and there's an event that occurs in the first chapter that hooks you hard. Then, you move forward and one or more of your characters begins talking. And talking. And talking. And... You get my drift.

They witnessed an event and are making a statement to the police, or something really monumental happened in their life and they're sharing it with a friend. They explain what they've seen or heard and include a few tidbits about their own life in relation to it and pretty much should stop there. But, they do not. They begin describing their teen years and the vacation they took when they were four, and my, my, isn't the sky a lovely shade of blue today, and twelve pages later, they're still droning on. Come on, you know what I'm talking about. Those stories where you stop really reading and start skimming, kind of glancing over the page and noticing the quote marks never seem to end, and you start flipping pages so you can get back to the storyline before you forget what you read on page one. Now, you've done it. You've lost the reader, and I'll guarantee, the next time they see your name on something, they'll think lots of talking, but very little story. I'll think I'll pass. Is that what you want?

We've discussed before the fact that some pieces are strongly event-driven while others are strongly character-driven. Both are fine--they're simply different styles of telling a story. In a character-driven tale though, notice there is much more dialogue and less straight descriptive passages. The characters voices give you the feel for the places and events. Let me give you some examples of really well written character-driven stories where the characters 'know when to hold 'em and know when to fold 'em'--so to speak.

Jon Loomis' books, High Season and Mating Season are two great examples. Strongly character-driven stories with tons of dialogue, but never is it too much to digest. Places are described, people, feelings, memories, characters interact, and at times, there is what may be considered 'small talk' made, but never does it cross the line into 'oh no, that character's making a speech again'. Dave Zeltserman's Bad Thoughts and Bad Karma are another example. Dialogue is exceptionally critical in the telling of these two stories, and again, the line is never crossed. What needs to be said is said and yes, there's 'regular' dialogue in there that's not specifically related to events but let's us get inside the characters' heads and relationships with each other, but that's okay. It's done well and never overdone.

I don't need to give you examples of the ones where the characters are simply too 'talky', you know what they are because you've read some. We all have. We all also have put them aside after a few chapters of that and never gone back to them. You don't want readers doing that with your stuff, do you? Whether we are chatty cathy's in our own lives is our own cross to bear (and the cross of those around us as well), but don't turn your characters into those annoying people we sometimes get cornered by. You know the ones. You are out and about and you see someone you know and you make the fatal mistake of asking how they are. Four and a half hours later...

I'm going to give you a tip that's a sure-fire way to avoid including meaningless rambling by a character in a story. When you feel you're done with it, put it aside. It doesn't have to be for a specific length of time, but do put it aside. Then, pick it up and read it. But, and here's the kicker, don't read it as a 'writer'. Read it as a 'reader'. You will be amazed at how many times you'll think to yourself, 'no one would really say that' and quite a few 'who cares about that', and you'll edit them out or rework them. You'll identify whose mouth needs a cork stuck in it and whose doesn't.

Oh, and by the way. Next time you're out of town, no postcards please. I have a life...

My Guest Blog

It was my pleasure to guest write on Paul Brazill's blog on November 24, 2009. My topic was where ideas can come from. I appreciate being invited to be a guest on Paul's site, and have included the link below.
http://pdbrazill.blogspot.com/2009/11/guest-blogger-j-f-juzwik-where-do-your.html

As long as we're on the subject of Paul's blog, make sure you head over there and join in to follow. There's always something cool brewing over there!

Sequel or Prequel, Single or Double, Trilogy or Octology? When should enough be enough?

Okay, you've finished your novel and its a gem and a half. You had started with a specific plotline in mind, but instead, you let the story go its own way. It began as a cozy type mystery, and somehow managed to transform itself into classic noir, with characters who could literally step right off the silver screen in all their black and white glory. Best of all, none of your main people died--they just set the traps, evil took the bait and justice triumphed yet again. Finally, as a crime author, you feel incredibly rewarded. Damn, you're good. And now..., well..., should I..., but maybe if I...uh oh. I've created a world with people and events that are cool and slick and just left them hanging out there--somewhere. Just tossed them aside like an old boot. But what else can I do?

I'll tell you what you can do. Pull them back from whatever black hole you condemned them to and simply continue. That's right. Continue. Easy? No big deal? Whoa. No, it isn't easy and yes, it is a big deal. Let's look at why.

The first point I think we should explore is what exactly are you trying to accomplish. What is your desired endpoint? Are you trying to write a series based on a character or characters or a chapter book? Chapter books are a lot of fun to write and even more fun to read. King's Green Mile and Dark Tower Series, in my opinion, are perfect examples of chapter books, and really well-crafted ones at that. I have a chapter book series coming out soon through DiskUsPublishing called Choices. It has six parts, and while each chapter is separate and distinct from the others, Chapter One leads into Chapter Two, Chapter Two leads into Chapter Three, and so on. Together, they form one complete story. They could be read out of sequence, but relationships between the characters would be marred, if not lost, and like any chapter book, the parts should be read in the order the author intended.

What about writing a series? Well, personally, I define a series as two or more books that focus on the same character(s) having different experiences in each book. For example, with a crime series, perhaps you might have a certain PI that solves different cases in each book or you might have a certain police detective that solves different cases in each book. Whichever character your focus is on, that character would be present in all the books, but his/her experiences, events and interrelationships would change in each one. Now, having the same character appear over and over can sometimes create a problem all by itself.

Let's say, you have decided at the onset to write a trilogy--three books using the same main character. That's all well and good, but there is one thing you need to be careful of. In your first book, do introduce your primary character and let us in on this person's life and background, thoughts and hopes, fears and needs. Let us get to know this character really well, then let us in on what happens to and around him/her. Okay, the first book is complete. We've gotten to know your character really well and can't wait to share more of their life experiences. On to Book Two. Oh no. Do we really have to hear about his failed marriage again? Boring. Do we really need to hear how she failed to become a cheerleader in high school again and that's why she has nightmares?

If there is one thing I cannot abide it is having read the first in a series, then picking up the second book, as noted on the jacket or in the promos, and encountering a recap of everything I read previously in Book One. Give me a bit more credit than that--my long-term memory isn't that faulty. I'm not going to let three years go by between the books--I'll remember who did what and who lived where and so on. Give me just a couple of bits and pieces, maybe a couple of short memories the character may have and move on to the new stuff. Don't let three-quarters of the second book be verbatim from the first one.

Too many writers think they have to restate everything just in case a reader picks up the second book first. Oh my. They won't know about this, or they won't know about that, so I need to repeat it all in every book in the series. I beg of you. Please do not do that. Most readers, and I do believe that this applies to most, are intuitive enough to know when what they pick up is part of a series and they will make every effort to seek out the first part and move forward. If, for whatever reason, they decide to begin with part six and then skip around, well, so be it. That's their choice. We, as writers, do not need to worry whether they will not enjoy the story as much because they didn't find out in the very beginning why Johnny sleeps with the lights on or Mary despises brown cats. Who cares? We should have enough of a story in there to hold their interest whether it's Book One or Book Twelve, and that's the kicker.

Now we come to probably the most important thing about writing a series. It's not a question of whether to repeat information about places or persons. It's a question of how interesting your stories are. We need to introduce characters that grab the reader and make them want to know more and more and share more and more with that character. When it comes to the second book, sure, the experiences and events are going to change, but while your character is going to be the same one, they shouldn't so much change as grow. When it comes to the third and subsequent books (should there be more), your character must continue to grow in order to remain interesting.

If they have a certain endearing quality or quirk, keep it the same. That's what makes them unique. But to hold your readers' interest, they must grow and develop just we do in the real world. Then, there's no limit as to how far your imagination can take them.

Can Crime Be Fun?

Writing it certainly can be, if you let it. Creating a crime fiction tale can be quite an enjoyable and challenging experience. With NaNoWriMo coming soon, for my own use as well as others out there, I thought I'd include a sample checklist for planning purposes. Even though NaNo is a wide-open type writing endeavor, working from a basic plan is extremely helpful to keep you going in the right direction. Having one, like the following, can be a very useful tool.

_____Title: This is what entices and grabs your reader. While you may have woven a wondrous tale of suspense and terror, it's not going to mean a thing if no one is pulled into read it. That's why your title is so important. You want to keep it simple, but not too vague. Names of characters, places, or events within your story can be used, along with a hint of the storyline. Tease the reader with promises of fear and isolation. Inject a sense of worry and apprehension before they arrive at the first paragraph, and use your title to accomplish that.

_____Location: Where's your story going to take place? This is a big decision. You have to decide before you begin if you will be utilizing a real-world location or if you're going to just make it up as you go along. Whichever way you go in this, travel with care.

Using real cities and towns carries with it the responsibility of accuracy. Unless you are really familiar with a specific area, I would recommend avoiding using it. For all you know, one of your readers was born in the town in your story and they know for sure there's no library on the corner of Fifth and Main. Once they've identified that flaw, believe me, you've lost them. Either avoid real places altogether or research them thoroughly.

If you decide to create a location, don't think the rules of accuracy don't apply. Consistency is the keyword when making up locales. Readers will pick up on errors in make believe towns too and you can lose them just as quickly as with real ones. Map out your fake town or city, note your street and business names so they don't change from chapter to chapter.

_____Time: Here's another component that can require a great deal of research. This refers to the time period your story is set in. Whatever era you choose, everything has to be considered. Your characters have to dress, behave, and speak appropriately. The vehicles, buildings and businesses all have to look and function as they did during your chosen time period. If your story is set sometime in the future, the world you create must reflect that. The technology in your story may not actually exist in the real world, but to be believable in your story, again, consistency is the key. I would suggest mapping it all out to make sure your gadgets aren't different in function and appearance on pages 4 and 14. Again, readers are sharp; they'll catch it--imaginary or not.

_____Outline: Whether or not to outline before you actually write is a personal preference. Some use the outline process for novels only and others use them for all their projects. Outlining should be done if you feel it will help you to develop your characters and storyline. The only thing I would caution you on is if you do outline, make sure you don't set it in stone. As you create, if your story takes a turn in another direction, feel free to let it go. Be flexible enough to adjust your outline if the situation warrants it. An outline is a tool--a guide. It is there to assist, not constrict.

_____Characters: Now, we're at the core. Your characters are the backbone of your story. They have to be three dimensional and as real as you can make them. Readers need to be able to identify with your characters in some way. There needs to be something about them or their lives your readers can relate to. They shouldn't just be names and physical descriptions. Take the time to give them lives. They need a past as well as a present. They need families, friends, likes, dislikes, fears and favorites. Here's where an outline, at least for the characters, might be of benefit to keep their relationships with other characters, places, events, etc., consistent. Imaginary or not, consistency is important here too. To hold the reader's interest, your characters must be feeling, thinking beings. Whether they are good, bad, or a little of both, they must appear genuine. Then, and only then, will your reader care about them and what happens to them.

_____Weapon/Crime: Last, but certainly of great importance, is your crime and your weapon of choice. This is something you generally decide early on. For instance, you may choose murder as your crime and if so, your possibilities for a weapon are endless. Depending on who your killer is, you could go with a gun, a knife, poison, or get up close and personal with strangulation. Remember though, research is of great importance here too. Weapons need to be time-appropriate. Make sure the gun your killer uses was manufactured when your story takes place. Make sure the poison used was available to that particular population and make sure your depiction of its effects is also accurate. You don't want to get too over the top. Nothing turns a reader off more quickly than an overly dramatic scene with a victim gasping and coughing all over the room, writing the name of their killer on the walls with a tube of lipstick and then falling down in a heap clutching a cufflink torn from the killer's shirt. If the reader thinks it's hokey enough, they may look up your poison and when they find out it causes an immediate unconscious state, suppresses respiration and death occurs shortly after, they've closed the book on your story and picked up the TV remote. In the future, when they see your name on a story, they'll pass it up because you've lied to them once, and they will remember and make sure you don't get the chance to do it again.

These are some points to consider when sitting down to write crime fiction. The most important one though is to enjoy the process from start to finish. Try different settings, different lengths, characters and time periods. Let your stories twist and turn and go their own way. Let them surprise even you. This will all translate into enjoyment for your readers, and don't we, as writers, owe them that?

If you are going to do NaNo again this year, or if you're going to give it a try for the first time, look for me. I'm in there as suspense2009. NaNo is a lot of work and takes up a great deal of time, but I can speak from personal experience when I say that you can end up having the time of your life. You could also end up with a marketable project at the end of it--or as in my case, a few months down the road with a lot of editing and polishing. Use it for what it is--it is a chance to just sit down and write and enjoy every minute of it, and that's what we've been talking about here today. Never forget that, regardless of what it is you are writing, enjoy the time you devote to it, the project itself, the characters you create, the events you cause to occur, the whole process. Believe me, your finished product will end up being so much the better for it.

Did I Ever Tell You You're My Hero? Of course, there is still your paralyzing fear of pillow shams...

Heroes. We need them. We love them. They are all-knowing, kind to small animals, and an enviable lesson in perfection. Oh, really? How incredibly BORING! Yesterday, perhaps, this was what we looked for, and desparately needed. But today, I believe we might be looking at it from a different perspective.

The dictionary defines a hero as "1. A man distinguished for exceptional courage, fortitude, or bold enterprise. 2. One idealized for superior qualities or deeds of any kind. 3. The principal male character in a drama, fictional work, etc." Interesting, because the third definition is not necessarily in line with definitions one and two. The principal male character can, at times, be a really nasty fellow, who has no morals or conscience whatsoever. Now, that's fine, from a writing standpoint, because that's not the kind of hero we're discussing in this post.

Note that neither definition one nor two mention any type of 'goodness', yet all those characters in literature, as well as television and films, that we've categorized as heroes have all been fighters for peace and justice for all. They have generally been crimefighters, and have either preempted crimes from occurring or, through the use usually of some super power, detained the perpetrators following commission of a crime. They wore symbols of some type and most possessed the ability to fly (thus, the cape), had a type of extra sensory ability to see through walls and hear conversations from miles away, etc. Then, of course, there were the tights. They pretty much all wore tights, didn't they? So calm, so devoid of anger, so dedicated, so..., so YUCK! Perhaps in days past, these were the symbols of right and might that we looked up to, but of late, it would appear a different kind of hero has emerged. One who is not quite so perfect, not quite so dedicated, and never--I mean NEVER--would get within ten feet of a pair of tights. Who is this new champion of the underdog? I give you--a human being.

Yes. That's right. A human being. A down-to-earth, regular old, sometimes morally challenged, possibly incredibly flawed, human being. The kind of hero we aren't just able to look up to and admire (in a strange sort of way), but one we can actually relate to in a real sense. He can't see though walls, or hear conversations from miles away, and has to rely on his own judgment, which may or may not be anything to write home about. He wears no cape to assist with flight either, so he takes cabs, buses, drives his heap with the broken exhaust pipe, or just plain walks. He's a real person who, for whatever reason the writer chooses, decides to go beyond his regular nine to five day and do something grand. Maybe he succeeds, maybe he fails, but it is in the 'trying' that he fills our hearts with a little bit of hope that maybe this old world isn't quite as dark as we originally thought it was. And, after all, isn't that what heroes are supposed to do?

Without giving anything away to those who are unfamiliar with the following (and you should be ashamed if you aren't), a couple of examples of human type heroes (flaws and all) can be found in the film, Gone Baby Gone, and in Dave Zeltserman's novel, Small Crimes. Believe it or not, there's one in the film, Sling Blade, too, in a dark and damaged way. Characters in these, each in their own way, try to right a wrong, prevent further wrong from occurring, or do the wrong thing for all the right reasons. Unfortunately, when all is said and done, they don't necessarily end up on a float in a tickertape parade in their honor, but still, they follow their hearts, their minds, their conscience, etc., to the end of their chosen quest.

They are remarkable characters and quite unforgettable as well. They may not be 'good' in the most fundamental sense, but they are heroes still. They are the characters you concentrate on in the story, the ones you want to know the most about, and when you walk out of the movie, turn off the set or put the book down, they are the ones you will think about and wonder--if maybe he had only...; what if he had waited until... It doesn't matter if it's over and you will never see, or read about, this character again. You'll always wonder if somehow something had been different--even just a bit--if he could have maybe been saved too...

Whether or not you decide to include a 'hero' in your story (be it crime or horror), all depends on the story. It may seem odd to say, but not every story has a 'hero' in it. As we mentioned at the onset, the hero is not necessarily the 'good' guy, and just because you have one, that doesn't automatically make him the savior of lost souls. As the writer, you are the only one who knows for sure if any one of your characters is a true hero, but if you do have one, just remember this. Make him someone your readers can envision, get to know, relate to in the most real way possible.

Whatever you do, don't have him shower and shave every morning, only drink fruit punch, and consistently help old ladies at crosswalks. Give him a drinking problem, make him obsess over the color of his shoelaces, paralyze him if he encounters a certain shade of blue--I don't know. Make his complexes rational--make them completely irrational--but, make him flawed. Perfection gets old and extremely annoying after awhile. As a reader, as well as a writer, I like to read about those who walk the straight and narrow, just as much as anyone else. But, I also like to read about those who stumble on that road, and perhaps even fall a few times and skin their knees before they get up. But, you see? That's the point. They may stumble and fall, but they do get up and keep going, and keep trying to accomplish whatever it is they set out to do. When all is said and done, they may be bruised and bloody, but they've done something that seems grand, in the great scheme of things, without seeking the spotlight or a headline or two, and, in my heart, they will always be my heroes.

Coffee...? Tea...? Pea Soup...?

In this post, we are going to deal with a subject that some may consider taboo when creating a horror and/or crime tale, but this subject has been integrated very successfully in certain tales and/or movies involving horror or crime. Now, what could that almost controversial subject matter be? Well, believe it or not, it's children. You might be thinking at this point, that there are children in just about every movie, whether it be horror or crime, and why the mention of controversy. It's because we're not going to be discussing the peripheral use of children in stories. We're going to explore the use of children as focal points in tales of terror and/or mayhem, sometimes even portrayed as the initiator of same. Children, terrifying? Children, dangerous? Children, capable of violence? Oh, you bet. That, and then some. Let's explore some outstanding examples.

You might think that when a story or movie has dealt with a child in the genres of crime or horror that the subject matter was treated in a highly sensitive manner. Well, you would be very wrong. Consider The Exorcist, the story of a young girl possessed by a demon, implied to be The devil himself. If you've seen the film, you will agree that there was nothing sensitive about it. The girl was violent, profane, and terrifying. The film was too, but I'm specifically talking about the child herself. They pulled no punches with this one and scared the socks off those of us who saw it in the theatre and then had to drive home alone down a succession of dark streets. Oh mama...

Others I personally have really enjoyed that used children as their focus were Children of the Corn (where the sweet, innocent [hah] children sacrifice adults), Blue Heaven (a novel that involves children witnessing a brutal murder and then are pursued by the killers), Child's Play (where a killer possesses a child's doll), Poltergeist (where a small child is literally physically taken by evil spirits from a house built on an ancient burial ground), Pet Sematary (a child brought back from the dead who stalks and murders), The Good Son (one nice brother in the family and the other a violent killer), The Omen (the child of Satan himself is born into the world), and Rosemary's Baby (another birth of Satan's son--I'll never forget that line 'What have you done to its eyes?').

So many stories, so many films, all use children in some fashion. At times, they are the ones who terrify and murder; at other times, they are the victims of a seen or unseen force, and find a strength within that surpasses that of most adults. Either way, they are all remarkable characters and make for a very interesting read or viewing.

How the times have changed though. There is one film that I regard as the ultimate classic example of a disturbed and extremely dangerous child. That film is The Bad Seed. Yes, it is in black and white--it is that old, but worth seeking out and watching. It introduces the theory that violent behavior in children could possibly be genetic and shows a mother's pain trying to resolve demons from her own past and, at the same time, trying to save her young daughter from a life in an institution or prison. It is an emotional roller coaster ride and extremely well written. The acting is top-notch and looking into that child's eyes will absolutely horrify you. Then, the movie ends, and no--I won't give it away. My point in bringing this up is after the movie ends, the entire cast goes before the camera and smiles and acts SO normal. I read somewhere that, considering when this movie had been made, they didn't want anyone leaving the theatre with dark thoughts or actually believing anything evil had occurred. Yes, times certainly have changed, haven't they.

While things are most assuredly more out in the open these days and filmmakers and authors do want you to end up with dark thoughts and actually believe that the evil events did occur, as writers, we still have to use caution and common sense when incorporating children into our plotlines. Children can be brutal, but if they are to be brutalized, we must be careful to make sure we are not exploiting that somehow. Children are, after all, children--they are innocents--and whatever role they play in our storyline, we must tread cautiously. They can be killers or they can be victims. However a child or children figures into your particular story of crime or horror, just remember to use a little bit of common sense, and always let your heart guide you along the way.

The Times They Are A'Changin--small is now the new BIG!

Writing crime fiction is an interesting and challenging endeavor. We have explored various aspects of crime, and even various types of crime. But just as important to discuss are the various levels of crime. In this post, we will discuss what are commonly referred to as "small crimes", and their place in works of fiction.

Now, you might think to yourself, small crimes? Is there such a thing? Isn't a crime a crime? Not according to various police districts around the world. I have read many articles, along with their unfavorable comments from the general public, about police departments being 'unable' to investigate what they term as 'small crimes'. This is due, as was explained, to a shortage of staff. What constitutes a small crime in the eyes of the law you might ask? According to the articles I've read, they all pretty much agree that small crimes would be certain thefts, criminal damage (defined in one as vandalism), common assault, harassment and non-domestic burglary (what?). Exceptions would be if any of these involved the elderly, the disabled, were racist or homophobic in nature, or a victim who had been repeatedly targeted. In those cases, the small crime would be classified as 'aggravated' and would possibly--I stress possibly--be pursued further. If, however, the crime was screened and determined to be small, it would be recorded, but not pursued. Interesting.

While it is very tempting to use this platform to make a social comment regarding how completely deplorable this practice is, I'll leave that up to you, the reader. I will say only that a crime against a person or a person's property is still a crime/violation, however 'small' a third party may determine it to be. And, it is the fact that in 'real life', if you will, the police do not strenuously pursue what they consider to be 'less serious' offenses, if at all, that lend these crimes perfectly to a work of fiction.

How could that be, you might be asking yourself? Who cares about tiny little crimes in a story anyway? Well, frankly, it's the new rage among a lot of crime writers because writing this type of fiction is a tremendous challenge. Oh, come on, right? How hard can it be to write about somebody commiting an act of vandalism? Okay, on its face, it may seem like a lot of drivel, but think again. How difficult can it be to incorporate a small crime, or crimes, in a story and still keep it interesting? I personally feel it would be quite the challenge, and in remembering some of the stories I've read recently that had utilized the 'small crime' plot base, the writer obviously dedicated a tremendous amount of time and effort to grab my attention from the first sentence and hang on to it until the very last word.

The way I see it, they accomplished that in one of two ways--the first, by having created incredibly strong characters. This can tie back to how you gear your writing--it is character-driven or event-driven? If you're the type of writer who allows their characters to drive the piece, then this is ideal for you. Your characters need to be complete in the sense that they have a past, a present and a potential future of some sort. They don't just need to have a few memories or whatever, they need to be so real that the reader sees them around every corner. Of course, whatever style you use, your characters should be written that way, but it is especially important when utilizing the small crime scenario. One or more of your characters could commit some type of small crime or crimes due to a compulsion or quirk of theirs. Maybe they are a prelude to a 'larger' crime, maybe not though. Don't assume the small crimes have to necessarily lead to grand theft auto or mass murder, because they could, but they do not have to. The small crimes, in and of themselves, or the drive to commit them, could simply be what make up and drive your character to whatever interaction with others and/or end awaits him.

Secondly, if you are the type of writer who allows events to drive their story, utilizing these little bitty crimes is perfect for you as well. Your character could be obsessed with performing some type of ritual that is, in reality, a small crime, or a series of them, in hopes of attaining some type of status or twisted reward they feel they're entitled to. They could perhaps use a series of small infractions occurring throughout to either taunt the authorities, or if they are planning to do something on a larger scale, they could be using the small crimes to try to redirect suspicion away from themselves to another individual. That way, when the larger event occurs, the police would already have someone else in their sights--someone they suspected, but never approached because the previous events had not been deemed serious enough.

The possibilities are endless using this type of scenario, but they take a lot of planning and plotting. All stories do--yes, but depending on what your premise will be, that will determine what type of plan and plot. And always remember how critically important the strength and depth of your characters are. Give them control, and the belief that they can successfully pull these off right under the noses of the police. That's not to say they'll never get caught in your story; although, it's okay sometimes to let the bad guy get away. Honestly, that can be fun too. But getting back to the small crime thing, I would strongly advise picking up some stories that use this base. You will find them fresh and innovative and impossible to put down. Don't let the phrase 'small crimes' mislead you into thinking you're going to read about someone overstaying their welcome at a parking meter--although, come to think of it, that might have potential...

The fact that in 'real life' police probably wouldn't be taking too hard a look at these petty offenses gives your criminal infinitely more freedom in your story to do pretty much as he/she pleases, and this is what makes for an interesting read. The more believable a crime fiction story is, the more potential it has to actually occur, and, for me (an avid reader of the genre as well as a writer), that's what keeps me hanging on and coming back for more of the same.