Crime Stories With Jonathan Rabb: Top 10 Takeaways
Written by Camryn Carmichael. Photo by Kelsey Vickers.
On Wednesday, Apr. 15, accomplished author and SCAD professor Johnathan Rabb gave a talk for students and the general public about writing stories in the crime genre, best practices, and how to prepare for the real world of publishing. This illuminating conversation about stepping into the gritty world of detectives and their cases was chock-full of valuable insights that apply not just to the popular tropes but to the practice of writing as a whole. Here are the top 10 things to take away.
1. A detective is a detective no matter what.
Rain or shine, in sickness and in health, characters written into this line of work may leave the station, but they never clock out. A detective character’s quick wit and jarringly thorough snap judgments aren’t a quirk, but an inevitability of who they are–for better or for worse.
2. It’s always good to have a detective who’s trying to figure out the world around them along with the case they follow.
Fascinating though their astute observations may be, a detective character who succeeds in every aspect of life isn’t just boring to read, but makes for a stagnant character. It is important that their humanity shows through their struggles day to day, like balancing their personal life with their dedication to their field.
3. Capture the voice of the time.
It takes about six months for Rabb to finish researching in preparation to write a novel. It is during this process that he develops a grasp for the language, culture, and setting of his work. “Once I feel like I’m living there,” he said, “that’s when I can start playing with the place.
4. Know when it’s time to let go of the prep and be on the page.
Perfectionism is an enticing thing to chase, but how do we prevent being led down a rabbit hole? According to the professor, the reader is only experiencing what is being written. He believes it is integral to know when research is enhancing those moments as opposed to keeping a writer from creating them.
5. Art imitates life.
Written in the early 2000s, Rabb’s mystery trilogy is a time capsule and a reflection of modern events. He views writing within the genre as more than a chance to paint a picture of worlds new and old; it is an opportunity to draw parallels between the events of the past with those that are fundamentally still relevant today.
6. Let the character figure things out on the page.
Another technique the professor supports is letting characters be defined by the choices they make. This creates intrigue and sustains tension even more successfully when characters make decisions that are clearly defined by their culture, time, and setting.
7. Writing is idiosyncratic. Find the thing that works.
From a wall full of sticky note plot points to writing scene by scene, no practice is one size fits all. Be intentional with the writing process by establishing a workflow that best suits how you create, and never be afraid to try something new.
8. Writing is about timing.
When Rabb gets an idea for a story, the entire work often comes to him in a flash. After this moment, he begins working alongside his subconscious to organize the plot according to the events that make for a solid story. When writers bring something into their work, scenes for example, he believes they may not always know why it works, but we must know where it suits the plot best chronologically.
9. Publishers expect writers to have it figured out on their first try.
Excited though new authors may be to write query letters and pitch to a publishing house, it is important to know what is expected of a first manuscript. “Those first 30-50 pages must be absolute magic,” Rabb says. “You have to make the publisher want more.” Whatever is submitted must be in the highest condition it possibly can be.
10. Write by inspiration, but don’t wait for it.
As creatives, we can afford to wait for the perfect conditions to get to work. “Even if it’s a long slog,” says the professor, “you have to be in it.” Waiting for inspiration to strike only stands to push writers further from their goals. It’s important to find beauty in the uncertainty, and having the courage to make choices despite the odds–even if it’s the wrong one. It is infinitely better for writers to practice in the art of failing than to cope with the consequences of never having tried at all.
