Somebody asked me the other day if writing crime fiction was significantly different from writing any other fiction. At first glance it would appear that it is not. After all, crime fiction is like telling any other story. It has to have a plot, a properly paced story graph, character development graph, conflict, resolution etc etc.
However, I think crime fiction is probably the more difficult to write because it requires the most careful crafting. You have to keep track of so many things. What actually happened? Who are the characters? What are they saying? Are they lying (duh!)? If so why? All the threads have to be tied up and all the loopholes plugged.
Then there is the question of detail. How much detail is too much detail? It is generally agreed that if your PI knows it, your readers should, too. However, it has to be given in a clever and interesting way or the readers will zone out.
It is considered bad form to hide vital information from readers and then rejoice when they fail to guess who the real killer is. One has to constantly remember that your readers will always be trying to second guess you. Therefore it is a real challenge to give out all the information and still retain suspense.
When tall, suave, handsome Kaustav Kapoor walks into her office, ditzy private investigator Kasthuri (aka Katie) Kumar has anything but detection on her mind. He is, after all, a scion of Bollywood’s first family—perhaps he has a role for her? Perhaps she will, at last, get to sashay down the red carpet in a designer gown, with flash bulbs following her every move?
But Kapoor’s intentions are much more prosaic: he wishes Katie to trace the heroine of his new blockbuster (and, if Katie’s read the glossies correctly, his life) who is mysteriously AWOL. Despite her misgivings, Katie finds herself unable to refuse the task entrusted to her, and thereon follows a bewildering hunt for the film star across a trail of corpses.
And if that isn’t excitement enough, she has to contend with the maddening and mysterious, but, oh-so-hot, Tejas Deshpande.
The first in a brand new detective series.
IN BOOKSTORES NOW.
Smita Jain's Weblog 
i speak as a reader. there’s nothing worse than a shoddy and predictable crime story. perhaps therein lies the difficulty of writing one!
Glad that you wrote this post!
I think crime fiction is the most difficult thing to master. And it is the easiest to sustain if you have truly mastered it.
I believe you have explained why it is difficult very well. The reason I believe it is easiest to sustain is because if you master it, you won’t have to worry about the craft again. Once you win over the reader, and she knows you have the ability to surprise her, and surprise her in an honest manner, you have her hooked on to your words for life. No wonder the most successful ‘series’ in the history of fiction are the ones with an investigator as the recurring protag.
The crux of good crime fiction is ‘What if?’ scenario. It is true for every fiction, but it is heart and soul for crime.
My top 5 crime writers:
5. Arthur Conan Doyle: I think Holmes is the first hardbolied PI in th history.
4. Raymond Chandler: How can you not like Marlowe?
3. Robert Crais: Elvis Cole is one of the greatest PI ever created
2. Michael connelly: Harry Bosch is the quintessential maverick cop
1. Lee Child: Jack Reacher could well be the greatest crimefighter ever. After Batman, offcourse.
Other notables: James H Chaise and Sue Grafton
And I guess very soon, Smita Jain!
@Rima @Rohit, you are both so right. Not only is a predictable mystery shoddy, it leaves the reader feeling cheated. And you soemthing else, I have read so many writers now and i have to say, Agatha Christie is still the ebst. She is only one where I can’t guess the killer. Otherwsie, no matter how clever the writer, once you’ve read enough of his/her work, you can figure out how their mind works. Prehaps that’s why I like Vonnegaut’s tip for writers: Surprise yourself. If you know where you’re going, chances are your readers do too.