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I wanted my story’s death to be very personal, so intimate that readers will be in the moment, looking right into the eyes of a victim going through those final few moments of life.

No, I didn’t want hitmen, fancy weapons or cunning tricks to end life. My kind of killing was meant to be upfront and  stripped right down. I wanted it simple, raw and very nasty.

I see a downside with today’s murders. Writers place many elements between the killer and the victim. Some writers believe that more of them mean a better kill. They add guns, ships, planes submarines, viruses, aliens, disasters of all types and just as many convoluted technologies to send their characters packing but, unfortunately, the intimacy surrounding murder is lost. The more complex the kill, the more readers move away from the intimacy associated with it.

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Think about it. Murder is like sex. The emotion attached to is extremely intimate. It’s  highly personal. We’re not talking about grocery shopping here. This is removing someone’s life from their body and this world!

Sadly, we read about death all the time. We read about it so much we become desensitised to it. It’s in fiction, factual history and daily news. It shouldn’t have this effect but it does. The constant bombardment of death  tends to have us saying nonchalantly: ‘Oh yeah, someone died, that’s so sad.’

The sadness we show appears genuine yet it doesn’t alter our day in anyway. It doesn’t slow us down. The words have little more conviction than the phrase ‘How’s the weather?’  and we go about our business as if nothing happened.

Sex isn’t a passing fad so neither is murder.

There are always personal reasons for those who engage in either. The emotion is very real and goes deep. One attaches itself to love, the other is to an insidious black hate. Nevertheless, murder is as sensual as any other type of intimacy we experience in our lives. Anytime we reveal our inner selves to another during the act, we are at intimacy’s front door. Murder can be highly intimate. All we need is a way to lie down and sleep with it to see.

SEETHINGS was written to make murder that intimate. At times, the results are repulsive to read. That’s what true intimacy can feel like. Peering into the intimate lives of strangers would be like walking on forbidden ground for some… or wonderfully liberating to others. It depends on where and how they see it. As a writer, I wanted my readers to be engaged with murder, so much so that they will feel life slipping away. I expect some readers will vicariously adopt the victim’s role as their own while others will take place of the killer. I certainly didn’t want readers sitting on fences witnessing it from afar. I wanted them to be in bed with the action, caressing our lovers while listening to the love being suffocated in anger. If I’ve done my job well enough, a reader will feel the victim’s final breaths on their own cheeks, spittle of our killer on their forehead.

That’s what you’ll expect when opening up your new, crisp copy of SEETHINGS.

-Michael Forman (Author)

 The Novel ¦The Author ¦ Order 

Michael Forman’s books on Goodreads ratings: 4 (avg rating 4.50)

Seethings

‘Forman’s writing style is artful, with the protagonist Mitchell’s warped thought processes masterfully exposed. The author has a powerful and vivid command of language and his word pictures are stark and disturbingly real.’  – Linda J Bettenay, author of ‘Secrets Mothers Keep’ and ‘Wishes For Starlight’

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Writing About Murder: Making It Truly Intimate. was originally published on MICHAEL FORMAN AUTHOR

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2 thoughts on “Writing About Murder: Making It Truly Intimate.

  1. This is an incredible idea and solid writing advice. It’s true that primal actions such as murder and sex are not fads, though they are often used to fuel them. They deserve to be written for what they are!

    Thank you for sharing this article.

    Like

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