Writing murder mysteries means that I constantly have to try to find a different, even grisly way to ‘eliminate’ my victims. Like a lot of writers of murder mysteries, my search history leaves a lot to be desired. Those who know me have sometimes remarked (thinking they were safely out of earshot) that I’m a bit weird. I’m not really. (okay, maybe I am a teeny bit odd, but in a nice way, right?)
I just overthink things and take them a bit too seriously.
Like weapons for example, and the various means of disposing of someone.
I know some writers go over the top to try out a new method of dispatching a victim for their books. They might talk to experts, spend time at chemistry labs researching poisons, do a short course on blood spatter analysis, or go to firing ranges or interrogate forensic specialists. They might purchase a raft of books on forensic stuff, or even, like character Gil Grissom in an early episode of classic CSI, get a pig’s carcass delivered to his place of work and proceed to inflict various atrocities on it. I don’t think I could do that. I’d be unable to forget it was (once) a living creature. I’m not a vegetarian, just a bit squeamish.
It’s quite easy, though to absorb this kind of thing via osmosis. TV shows, factual and fictional, go into the aspect of how a person died to a very useful extent. And as I said just now, there is plenty of literature on the subject, as my book shelves will attest. Then there’s the internet… And news media…
It used to be said that the female weapon of choice was murder. Is that still true in these days of equality?
I’ve poisoned a few people in my time. Fictionally, of course. But the blunt instrument is still my favourite. You can whack someone with almost anything.
If you follow my Dottie Manderson series, you can look forward to a death by blunt object in the upcoming book, The Thief of St Martins. You can read a short taster HERE.
Does anyone remember that brilliant episode of Tales Of The Unexpected from years ago where the woman killed her husband with a frozen leg of lamb, then cooked it and served it to the investigating police officers. They ate the evidence! Fantastic. That’s definitely my favourite episode.
To date, in my books, I’ve had people stabbed, poisoned, die in various forms of road ‘accident’; they’ve been suffocated, executed, shot, strangled and bashed over the head. I like to vary it a bit, but it’s hard to get away from the old-but-good methods.
My murderous main character Cressida in The Friendship Can Be Murder books talks about how hard it is to come up with a murder weapon these days.
The Grandes Dames of the murder mystery genre, practising their art in the early and middle parts of the twentieth century—what one might term the ‘Golden Age’ of detective fiction—espoused the pleasures of poisoning. Fly-papers were meticulously soaked to extract their lethal properties, berries and toadstools were carefully gathered and sliced and diced and surreptitiously introduced into steaming casseroles and tempting omelettes. On every domestic shelf such things as sleeping draughts and rat poison and eye drops sat unnoticed and unremarked, and a home was not a home without at least a few jars of cyanide or arsenic sulking forgotten in garden sheds and garages.
But, sadly, these items are notoriously tricky to come by nowadays in our ‘Nanny state’.
Of course, one watches these TV programmes that explain all about the forensic process, so that one is pre-armed with useful information. Knives wielded by the left-handed protagonist cut quite differently to those employed by a right-handed person. Equally so the short protagonist and the weak slash feeble protagonist.
In addition the actual wound inflicted by a classic blunt weapon can yield so much information about not just the weapon itself but also the attacker—the approximate height, stance, and even weight and probable gender, for example, and the ferocity of attack is sometimes a gauge as to motive and psychology. Firing a gun leaves residue on one’s clothes, gloves, and skin, and, contrary to popular belief, it can be quite a job laying one’s hands on a firearm.
According to the Daily Tabloid, a gun may readily be obtained at certain pubs in our larger cities for as little as £30, usually from a gentleman going by the name of Baz or Tel, but the problem is, these tend to be the kind of establishments one would hesitate to enter in broad daylight, let alone late in the evening.
She’s got a point, bless her, and ‘fortunately’ she manages to find a way round these problems. I’d love to try flypapers! Maybe I’ll save that for my next book.
I’ve also been experimenting with a mad professor and an ‘infernal machine’. I might use that at some point. In another series–still not published yet–I’ve used a fetishist and a special piece of rope that he loves to moon over. Elsewhere I’ve had social leaders employ minions as an execution squad, and of course there’s another old favourite, the fall from a high place.
Most of my perpetrators are people who don’t usually make a habit of ‘this kind of thing’, they just find themselves pushed little by little into a situation where they feel they have no choice but to lash out at the person or persons who is putting them or their comfortable life in jeopardy somehow.
If there’s nothing new under the sun, it is at least pleasing to come up with a bit of variety, though bludgeon has, as Michael Douglas’s character says in A Perfect Murder, (based on Dial M For Murder, one of my all-time favourite films) ‘a spur-of-the-moment ring about it’. I like the idea of a spur-of-the-moment crime, where the perpetrator loses control and spends a considerable amount of time trying to figure out how to get away with it. It’s not all about the victim, you know!
2 thoughts on “To Bludgeon or Not To Bludgeon”
Love that potato pic! And great point re the availability of murder weapons in ye olde houses. I grew up on a farm and there was tonnes o potential there… 🙂
I mourn the passing of days when everyday household poisons were routinely left carelessly within reach! It’s made my job so much harder. As a writer, I mean.