Author Archives: Jennifer Dornbush

5 Ways To Step Up Your Writing Game (That Have Nothing To Do With Plotting):

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By Jennifer Graeser Dornbush

If you’re looking for tips on how to craft the perfect red herring or outline your Act III climax… this isn’t that post.

This one’s for the working writers, the creatives who are trying to build a sustainable, inspired, and energized life while facing the blank page day after day.

Because here’s the truth: writing (of any kind), it’s about stamina. Curiosity. Habit. It’s about making space for your best work to show up.

Whether you’re just starting out or knee-deep in your 5th novel, these seven practices will help you keep your momentum, fuel your imagination, and stay connected to the pulse of great storytelling.

In this blog I’ll be referencing the crime genre a lot, because that’s where I spend a good deal of my time, but the principles apply to any writer, on any platform, in any genre.

Oh, and if you haven’t already grabbed my Crime Writer’s Forensic Toolkit (a freebie packed with real-world tips for writing authentic crime scenes), click here to get it now. You’ll thank yourself later.

Grab your iced coffee or a hot tea and let’s get inspired!

  1. Curiosity = Creative Fuel

Yes, you have permission to binge away. Read just one more chapter. Dive into that magazine that just arrived.
Not just permission, encouragement.

As writers, consuming content is part of the job. It’s our continuing education. Every article you read, every docuseries you stream, every podcast you devour, it’s sharpening your instincts. You’re training your brain to spot patterns, build tension, and recognize what makes a story compelling (or fall flat).

Here’s the thing: you don’t have to chase trends. I’m never “caught up” on what everyone else is watching or reading. And I don’t feel guilty about it. The goal isn’t to be current, it’s to stay curious. Let your gut guide your watchlist. If it makes you lean in, gasp out loud, or shout “I knew it!” at your screen, you’re in the right place.

Here’s what’s on my shelf (and screen) lately:
   Books: Confessions of A Mafia Contract Killer, Devil in the White City, Killer of Little Shepherds, Hearts of Darkness
   TV: Ozark (for its slow-burn dread), The Alienist (for historical grit), Angie Tribeca (because satire has its place), and Brooklyn Nine-Nine (yes, comedy counts, great crime writing lives in all genres) Government Cheese (satire, crime, and family dynamics)
Podcast: Small Town Murder – explicit and wildly irreverent, but impressively researched and often surprisingly poignant. (Disclaimer: Their views don’t reflect mine. But their prep work? Gold.)

Pro Tip: Don’t just consume for entertainment, consume with intention.
As you watch or listen, ask yourself:

  • What’s the central hook that reeled me in?
  • How do they build and sustain suspense?
  • What makes this villain work (or not)?
  • What emotional beats hit hardest, and why?
  • Why do I love this? Or, why don’t I?

This kind of intentional consumption turns passive viewing into active learning. You’ll find yourself absorbing rhythms, dialogue styles, pacing, and plot layering without even realizing it. That’s the magic of reading and watching like a writer.

Oh, and one more thing:
Don’t be afraid to return to your favorites. If a book or show impacted you once, revisit it. You’ll see new things through the lens of the writer you’ve become.

I’m currently rereading Walking on Water by Madeleine L’Engle. What a great writer-refresh.

Now go refill that watchlist or readlist… it’s research.

  1. 2. Create a “Commonplace” Box

Writers collect ideas like detectives collect clues.

A line from a podcast.
A clipping from a hometown newspaper.

An old book you discovered in an antique store.
A story about a missing person that hasn’t left your head in three years.
A real-life unsolved case that haunts me.
A quirky obituary line or an oddball police report that plants a seed for a scene.

These are the breadcrumbs that lead to your next big idea, if you know how to follow them.

That’s why I keep a “Commonplace Box”. In times past, people kept commonplace journals in which to write quotes, inspirations, and ideas. I do the same but with a one foot square fabric box.

It’s not fancy. It’s not digital. I bought it at Ikea and it sits on my bookshelf easily accessible so I can toss in ideas, scribblings, and articles waiting to become future novels.

I use a few other methods as well. Here’s how I keep my idea organized (well, writer-organized, anyway):

  • Print articles get dropped in my commonplace box, ripped from magazines, printed off websites, or scribbled on sticky notes.
  • Online articles get bookmarked in clearly labeled folders in my browser. I even tag them by topic: DNA, poisons, stalking cases, unusual M.O.s.
  • True crime books go straight to my bookshelf, often with a sticky note: “Use for future villain?” or “Plot twist on page 183!”
  • Weird facts or killer lines? They go in my writing journal or my voice memo app. Inspiration doesn’t always wait for a quiet desk.

Pro Tip: If you’re more visual, use Pinterest or Notion to create a digital version of your idea, whatever helps you access and remember the idea later. Out of sight = out of mind.

You don’t have to use everything you collect.
You probably won’t. Who cares? You can always throw it away later.

The act of collecting trains your brain to pay attention to what sticks. It’s your subconscious saying, This has legs. Don’t forget this. And when the day comes where you’re stuck on a scene, plot, or character motive, you open the box.

And boom: the idea’s already waiting for you.

  1. Take a Writer’s Retreat

Sometimes the only way to write… is to get away from your life.

Your dishes can’t guilt-trip you. Your laundry doesn’t need edits. And no one asks, “What’s for dinner?” when you’re on a writer’s retreat.

Now, before you picture some five-star yoga resort with a private chef and a view of the Amalfi Coast, pause. That’s not what I mean.

A retreat can be as simple as:

  • A cheap cabin on Airbnb
  • A borrowed guest room at your sister’s place
  • A hotel room in a place where you’ll be undistracted

The point isn’t where you go. It’s why you go.

Writer’s Retreat Rules (I learned these the hard way):

  • Set one clear, doable goal. Finish X amount of chapters. Outline a messy draft. Rework your villain’s backstory. Keep it focused.
  • Unplug. No email. No scrolling. No “just checking one thing.” (You’ll lose an hour. Minimum.) Silence your phone.
  • Set A Timer. I recommend NOT using your phone as a timer because the temptation is too great to click onto emails, texts, and the web. Get a stand alone time and work in 30 or 60 minutes increments. Then break for 10.
  • Feed yourself. Pack snacks. Don’t forget real meals. You can’t write well on caffeine and adrenaline alone, trust me.
  • Leave with a win. It doesn’t have to be huge. But make sure you walk away with something solid, something done.

This practice is especially powerful if you’re starting a new story (hello, fresh slate) or finishing one you’ve been dragging your feet on (hello, accountability).

Even just one retreat day can shift your creative momentum. And bonus: You get to feel like a “real writer,” even if it’s just you, a hotel balcony, and an outline scribbled on hotel stationery.

So give yourself permission to get away and get it done.

4
Use Your Lifelines

Writers get stuck. It’s not a sign you’re doing it wrong, it’s a sign you’re doing the work.

Plot snags, flat dialogue, timelines that won’t math… welcome to the job.

The difference between writers who stay stuck and those who break through?
They don’t try to tough it out alone. They talk it out.

Use your lifelines.

That could be:

  • A fellow writer who knows your genre
  • A critique partner who will lovingly call out your lazy subplot
  • A real-life expert who’s been there, done that

When I get tripped up on a forensic detail, I don’t waste hours spiraling through conflicting Google results. I pick up the phone and call an expert. I’ve called coroners, detectives, trauma surgeons, forensic anthropologists, morticians, martial arts experts, trauma therapists, behaviour specialists. And the list goes on.

These professionals don’t just help me get it right.
They help me make it real.

Because lived experience can’t be found on page one of a wiki search result.

And here’s the thing: Most experts are generous with their knowledge, especially when they know you’re writing fiction and want to honor the truth of their work. (Be polite. Be clear. Be curious. It goes a long way.)

So the next time you’re staring down a story problem, ask yourself:

“Who would already know this?”

  “Who can help me?”

Then call them. Message them. Ask for 10 minutes of their brain.
That one conversation might unlock the entire scene, or even spark a better one.

Writing story is a solo act. But great storytelling? That takes a team.

  1. Read Outside the Headlines

If you want to write stories that surprise your readers, you need to surprise yourself first. That means digging deeper than top headlines and trending topics.

Some of the best crime story seeds come from unexpected places, those tucked-away publications that make you stop mid-sentence and say, Wait… what?

Here are a few of my secret weapons:

🗞️ Hometown Newspapers

Tiny towns. Big drama.
These papers are gold mines of quirky, bizarre, and sometimes tragic stories that never make national news. Family feuds. Long-lost fugitives. Mystery inheritances.
My hometown still publishes a weekly newspaper called The Fremont Times Indicator. And I still read it regularly. More than once, a clipped article has become the spark behind a subplot or a short story.

Emailed Newsletters

Like most of us, I receive a regular slew of emailed newsletters. I don’t read every word every time they arrive in my inbox. But I do scan them for anything that might pique my curiosity.

And I read widely. Here’s a smattering of the scope of what I’m subscribed to: The Angeles (Catholic news from LA), The Epoch Times, The Science & Entertainment Exchange, Back Country Containers (how to build container homes), The Michigan Enjoyer, The SoCal Mystery Writers of America, Alliance Francaise, Ada Lovelace Society, Hollywood Prayer Network.

You get the picture. You never know where you’ll find your next great idea. So fill that email box with free newsletters! You can always delete.

📰 Regional Magazines

Three of my favorites: Texas Monthly, Arizona Highways, and American Essence.
They both consistently feature deeply researched, character-driven crime stories that aren’t just about the what, but the why and the how. You get nuance. Motive. Community context. The stuff that elevates your writing from formulaic to unforgettable.

🧬 ForensicMag.com

If you write anything involving forensic science, this one’s a must.
It’s my go-to for staying current on everything from new DNA analysis methods to digital evidence collection. Their daily newsletter hits my inbox with real cases and new tech, both of which have sparked scenes, character quirks, and even entire book plots.

Why does this matter?

Because originality is your edge.

Your audience has consumed a great deal of content. They haven’t seen the one inspired by a two-paragraph obituary from a paper no one else reads. Or a forensic breakthrough published in a journal that never trends.

These sources are where plot twists are born.
They’re where human stories live in all their flawed, fascinating glory.

So read beyond the algorithm. And let the weird and wonderful fuel your next great mystery.

Final Word

Are these revolutionary, earth-shattering strategies?
Probably not.

But here’s the truth: If you actually put them into practice, you’ll be miles ahead of the writers still white-knuckling their way through a manuscript and losing creative fuel.

Because sure, writing is a solo act.
But writers, we don’t have to struggle so hard.

So tell me, which one are you going to try this week?

And if you’ve got your own rituals, routines, or crime-writing hacks that keep you going…
Drop them in the comments. Let’s trade notes.

Jennifer Dornbush works as a screenwriter, author, speaker, and forensic specialist. She has developed film and TV projects, authored numerous books, and frequently speaks around the world on crime fiction and forensics. She divides her time between Michigan and Arizona. Jennifer can be found in the virtual world at www.jenniferdornbush.com and on IG @jgdornbush

Reader Friday: The World Was Our Ash Tray

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Over a glass of wine my octogenarian friend and I were discussing the habit of smoking and where people used to be able to smoke (back in the day). She is a former high school French teacher and remembered her high school students had a “smoking porch” where they could smoke on breaks. I remembered people smoking on airplanes. (Ew!) Where do you remember people smoking that seems SOOO off and odd to us today? And were you a smoker? Still? (No judgement!)

Digital Detectives: The Role of Cyber Forensics in Modern Crime Stories

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By Jennifer Graeser Dornbush

When I was growing up, evidence meant fingerprints, fibers, and blood spatter.
Today, we also find enormous amounts of evidence in our digital prints: browser histories, cell phone pings, and metadata buried in a cloud server halfway around the world.

Crime scenes have a giant presence online.

I’ve spent years learning how investigators read the physical world for truth. But in the last decade, a new kind of evidence has changed everything. The next big clue isn’t under a microscope, it’s inside a smartphone.

For storytellers, that shift opens an entirely new frontier. If you’re writing crime fiction and ignoring digital forensics, you’re leaving some of your richest material untapped. But it’s also tricky because what we “watch” or “observe” on a screen isn’t very action-focused as a plot line.

Today, we’re stepping into the world of cyber forensics and how to use this evidence in your next crime fiction.

What Is Cyber Forensics?

In the simplest terms, cyber or digital forensics is the process of identifying, preserving, analyzing, and presenting data from electronic devices in a way that stands up in court.

If traditional forensics examines fingerprints and fibers, digital forensics examines pixels and packets, the trails left by our phones, laptops, GPS units, and cloud accounts.

The real-world process

When a device is seized, investigators create a “forensic image,” a bit-by-bit copy that captures everything: deleted files, timestamps, cached data, and metadata. That image becomes the foundation for analysis. Information Analysts then use specialized software to reconstruct timelines, recover communications, and verify authenticity of an individual’s usage.

Every action is documented to maintain the chain of custody and keep evidence tracked, secure, and court-admissible.

Digital forensics branches into specialties:

●      Computer forensics – analyzing desktops and hard drives.

●      Mobile forensics – recovering data from phones, tablets, and wearables.

●      Network forensics – tracking online traffic, hacking, and IP traces.

●      Cloud forensics – locating and authenticating data stored on remote servers.

The process may sound technical, but at its heart, it’s still detective work. Each byte is a breadcrumb, and every breadcrumb tracks a trail where a criminal or victim has been.

Where Digital Evidence Hides

A great mystery writer knows how to hide a clue in plain sight. The same is true of digital evidence.

1. Smartphones

Modern phones are portable black boxes. They store call logs, texts, deleted images, app data, GPS trails, and even sensor information that can pinpoint motion and location. In fiction, a single recovered text or photo can flip a plot.

Example: A victim’s fitness app records 200 extra steps at 2 a.m. proof she was still alive hours after the suspect claimed she was dead.

2. Laptops and Cloud Storage

Documents, emails, cached passwords, and file-creation times often reveal motive or premeditation. Cloud backups extend that reach: deleting something locally rarely means it’s gone.

3. Social Media and Messaging Apps

Posts, private messages, likes, and geotags create a map of a suspect’s or victim’s personal life. For writers, social platforms can expose contradictions: the killer who posts a cheerful vacation photo minutes after committing a crime. The victim who texted an irate boyfriend before disappearing.

4. Smart Devices

Doorbell cameras, smart speakers, thermostats, and watches all record direct evidence of where a victim or criminal has been. Investigators now recover voices, motion data, even room temperatures to build timelines.

5. The Digital Silence

Sometimes what isn’t there matters most, a phone suddenly powered off, an erased drive, an hour missing from security footage. In storytelling, absence of evidence can shout louder than its presence.

Every byte is a witness; the challenge is deciding which ones are telling the truth.

Turning Data into Drama

As a writer I often worry that using too much digital forensics bogs my story down, makes it uninteresting, or relies on telling instead of showing. After all, we want our characters in action. And watching someone stare at a screen or pick through files is very passive and very boring.

The secret to treating digital discovery is to use as little exposition as possible– sometimes you have to describe video footage or a computer file. Where we can get the most punch is when we use digital evidence as revelation… aka: a turning point in the plot. The found digital evidence can be a small, medium, or big turning point. But it has to count as something that shifts the plot investigation in a new direction.

●      Anchor the data to emotion. A recovered voicemail is about the message, but also the emotional meaning to the person who hears it.

●      Pace the reveal. Instead of unloading a list of findings, let information surface gradually, each clue raising new questions.

●      Show the cost. What does it feel like to invade a victim’s inbox or scroll through a dead child’s messages? Use sensory detail to humanize the act of investigation as the investigator is uncovering the evidence.

●      Avoid jargon overload. Let characters translate for the reader: “The timestamp’s off. Someone changed it.” That’s all you need. Unless your character is a digital analyst. Then, lean into the jargon as part of her character

The Emotional Edge

Behind every password and pixel is a person. And humans are driven by emotion. Use that in writing. Here’s how:
Bringing Humanity to the Data

The best crime stories are seeded in motive. Digital evidence should never replace emotion; it should reveal it.

●      A deleted text exposes regret.

●      A GPS trail shows obsession.

●      A search history lays bare guilt.

●      A detective scrolls through a suspect’s messages, what do they feel? Curiosity? Pity? Revulsion?

●      Think of each digital discovery as a confession waiting to be interpreted.

●      What is a detective’s reaction when she hacks into a victim’s private photos?

●      What happens when a journalist exposes data meant to stay sealed?

●      How do loved ones feel when a phone becomes evidence instead of memory?

Use emotional reactions of characters to heighten empathy, build the plot, and ratchet up suspense as they uncover a digital footprint.

Realism Without the Textbook

You don’t need to be a hacker to write digital authenticity. You just need to understand procedure and respect accuracy.

Start with credible sources

●      The U.S. Department of Justice’s Digital Evidence Guide outlines best practices for law enforcement.

●      The National Institute of Standards and Technology (NIST) publishes clear, publicly available frameworks.

●      The FBI Cyber Division offers summaries of current threats and tools.

●      Podcasts such as Darknet Diaries or The Forensic Lunch reveal real cases in accessible language.

Write lean

A single correct detail is worth more than pages of exposition. If you know what a “write-blocker” or “hash value” is, mention it once to show expertise, then move on. An easy hack for this is to have the digital expert character explain it to a non-techie character.

Consult real experts

A quick interview with a local cyber-crime investigator can provide nuances no textbook will, tone, pressure, emotional toll.

Authenticity doesn’t come from showing off what you know. It comes from knowing just enough to stay believable.

The Digital Detective

Every generation of investigators develops new instincts. The digital detective, whether real or fictional, reads data like body language.

They’re patient, analytical, and often brilliant. They see patterns others miss. But make sure yours is more than a brain behind a keyboard.

Give them the full range of character depth:

●      A cyber expert who still keeps notes by hand.

●      A genius coder who’s terrible at reading people.

●      A hacker turned consultant wrestling with guilt.

Common Mistakes to Avoid

1.     Tech magic. Don’t let characters “trace the IP in seconds” or “hack the Pentagon before lunch.” Real analysis takes time, warrants, and patience.

2.     One-click evidence. Data rarely tells a single truth. Circumstantial evidence here requires that investigators put all together all the evidence to create a line of reasoning that leads to a single suspect.

3.     Static scenes. Fiction can quickly turn into non-fiction with digital evidence trails. But no one wants to read computer analysis. BORING! Keep it quick, fast, and show how data changes the direction of plot.

4.     Outdated references. Technology evolves fast. Double-check that the apps, devices, and terminology in your story still exist.

5.     Emotionless experts. Readers connect to people, not software. Give your digital detectives personal reactions to what they discover.

The Forensic Thread

When I teach writing workshops, I remind authors that fictional forensics is about culling what is possible, not what isprobable. Whatever thread you pull on doesn’t have to be probable. It only has to be possible. Have fun with evidence and technology! Be inventive!

In my own fiction, I use cyber forensics the way I use autopsies, not for shock value, but to reveal truth. A recovered email can carry much emotional weight when it’s tied to character and motive.

Science gives us technology; humanity gives us connection. When you use cyber forensics, balance both.

The Future of Digital Crime

The frontier keeps expanding. Artificial intelligence can now detect manipulated images and generate false ones. Blockchain records are being introduced as tamper-proof evidence. Entire crime scenes can be reconstructed in virtual reality.

That evolution is thrilling for real life investigators… as much as it is for storytellers. Imagine writing a case where the killer uses deepfakes to create an alibi, or where investigators chase a suspect across multiple metaverses in VR.

But beneath the technology, the essential human question never changes: Why?

Technology will always change how crimes can be carried out… and solved. The corruption of human heart will always determine motive. And motive will always be the pulse of every great crime story.

Jennifer Dornbush is an author, screenwriter, and forensic specialist who brings crime stories to life with authenticity and heart. With a background rooted in real-world forensics and a passion for crafting unforgettable mysteries, Jennifer offers readers and viewers a front-row seat to the intersection of science, justice, and human nature. Jennifer’s crime expertise has made her a sought-after speaker, consultant, and educator. Through her webinars and master courses, Jennifer guides writers in melding suspenseful storytelling with forensic realism to the screen and page. Meet her at www.jenniferdornbush.com

Dialogue That Kills It: Crafting Conversations Full of Suspense

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By Jennifer Graeser Dornbush

_______________________

Hello all!  Before you dive into this blog I want to thank the Killzone for inviting me into the fold as a blogger. After such a warm reception last month, I am so honored and excited to be here and to get to know you all. Thanks for welcoming me!

____________________

Dialogue is where intention and motivation live.

Not in the gunshot.
Not in the dark alley.
Not even in the twist you’ve been saving for three chapters.

Suspense begins long before violence arrives — often in the quiet exchange of words between two people who desperately want to say what they mean, but don’t. Or can’t. Or shouldn’t.

In real life, we rarely say what we mean — especially when the stakes involve guilt, fear, shame, death, or discovery. We hesitate. We deflect. We contradict ourselves. We say nothing at all.

Your characters should do the same.

In suspense fiction, dialogue is where motive leaks, where truth fractures, and where readers begin to feel that something is very wrong — even before they understand why.

Let’s look at how dialogue works as a weapon, using examples from three of my novels, What Darkness Does and Frozen Lives and Last One Alive.

Dialogue as Combat — Not Conversation

New writers often treat dialogue as functional: delivering information, explaining a plot point, moving the story along.

But in suspense fiction, dialogue should never be neutral.

Every conversation is a contest.

In What Darkness Does, Emily Hartford’s conversations are rarely about what they appear to be on the surface. Early in the novel, when Nick reappears after being presumed dead, their exchanges sound restrained — almost polite — but the real conflict is boiling underneath.

“You don’t have to be here,” Nick said.

Emily crossed her arms. “You showed up. That doesn’t mean you get to stay.”

“I’m not asking for forgiveness.”

“Good,” she said. “Because I don’t have it to give.”

Nick wants permission.
Emily wants accountability.

No one explains the past.
No one names the trauma.

That emotional collision — not exposition — is where the tension lives.

The rule:
Two people enter the scene wanting different things.

Information.
Truth.
A lie.
Protection.
Dominance.
Approval.
Escape.

The dialogue isn’t about saying those wants out loud — it’s about defending them, disguising them, or attacking the other person’s position.

If no one is fighting for something in the exchange, the scene goes flat.

Subtext: The Engine of Suspense

The most dangerous dialogue isn’t what’s spoken.

It’s what’s avoided.

Subtext is the truth beneath the line — the thing the character cannot afford to say.

In Frozen Lives, one of the most chilling conversations involves a mother, Jo, carefully choosing her words in front of the man who has kidnapped them. On the surface, the exchange is domestic and calm, but underneath Jo needs her son’s obedience so they can survive.

“Sit down, Jeremiah,” she said evenly.

“I’m fine.”

She smiled. “I know. But I need you where I can see you.”

He hesitated — then sat.

Nothing overtly threatening is said.
No violence is named.

But control is absolute.

The smile contradicts the command.
The hesitation exposes fear.
Compliance seals the power dynamic.

That’s subtext.

In real forensic interviews, suspects rarely communicate cleanly. They answer the wrong question. They stall. They rush. They talk too much — or not enough. That same behavior should appear on the page.

To write strong subtext, ask yourself:

What would destroy this character if spoken aloud?
What truth are they circling but refusing to touch?
What are they protecting — themselves, someone else, or a secret?

Subtext isn’t cleverness.
Subtext is survival.

Power Struggles: Who Controls the Conversation?

Every suspenseful conversation is a negotiation of power.

Who’s leading?
Who’s resisting?
Who’s withholding?
Who’s pretending everything is normal?

In Frozen Lives, power shifts constantly in conversations between Emily Hartford and law enforcement. The badge carries authority — but Emily counters with medical expertise and evidence.

“You’re speculating,” he said.

Emily didn’t raise her voice. “I’m interpreting evidence.”

“That’s not your call.”

“It is when the body contradicts your theory.”

No raised voices.
No melodrama.

Just control — line by line.

Elsewhere in the novel, a predator maintains dominance not by yelling, but by setting rules, assigning seats, and speaking calmly while making consequences clear. The dialogue is polite. Controlled. Domestic.

That contrast — civility layered over threat — creates unbearable tension.

Common power moves in dialogue include:

• refusing to answer
• changing the subject
• overexplaining
• clipped replies
• strategic silence
• redirecting blame
• making someone else emotionally responsible

Dialogue becomes a tug-of-war — and the reader feels every pull.

Silence as a Blade

One of the most underused tools in dialogue is silence.

A pause.
A refusal to answer.
A single sentence — followed by nothing.

In What Darkness Does, I built an emotionally devastating moment by having characters reveal inner feelings with reactions, not words.

“We found her,” Emily said.

He stared at her.

“She didn’t suffer.”

He nodded once.

And said nothing.

Silence forces the reader to lean in.
It gives weight to what can’t be explained, justified, or undone.

Use silence at moments of revelation, moral conflict, or emotional rupture. Sometimes the most honest response is no response at all.

Let Characters Talk Like Humans — Not Narrators

If your dialogue feels too neat, too helpful, or too polished, you’re probably writing in author-voice.

Real people under stress:

ramble
contradict themselves
misremember
avoid specifics
go off on irrelevant tangents
blurt details accidentally
freeze

In Frozen Lives, locals give conflicting accounts — not because they’re lying outright, but because trauma, loyalty, and fear shape how they remember events.

“I mean, maybe it was him. Or someone like him. I didn’t really see his face — it was dark. But I felt like I knew him.”

Emily waited.

“You know how it is around here,” he added quickly.

The vagueness is the clue.
The emotional justification gives him away.

Let people be messy.
Let them be evasive.
Let them sound human.

Dialogue That Answers — Then Unsettles

Great suspense dialogue gives answers — and then disputes them.

In What Darkness Does, witnesses describe the same person in incompatible ways.

“He was polite,” one woman said.

“He scared the hell out of me,” another insisted.

“No,” a third said quietly. “He wanted us calm.”

Each account feels sincere.
Each is incomplete.

The truth becomes scattered across perspectives, forcing the reader to assemble meaning from contradiction.

When dialogue ends, the reader should feel less certain — not more.

Dialogue as Psychological Fingerprinting

Every character has a linguistic signature:

  • vocabulary
  • rhythm
  • emotional control
  • education
  • trauma response

Emily Hartford speaks with clinical precision — even when emotionally compromised. Grieving families speak in fragments. Rural characters protect themselves with understatement. Antagonists shift tone depending on who they’re speaking to — a tell in itself.

When Emily delivers information connected to a death investigation, her language tightens instinctively:

“We found her,” Emily said.

He stared at her.

“She didn’t suffer.”

He nodded once.

And said nothing.

There’s no elaboration.
 No emotional framing.
 No softening.

In other investigative moments, Emily’s speech remains just as contained — precise, bounded by what can be proven:

“There are no defensive wounds.”

“The injuries occurred around the time of death.”

“Cause of death is consistent with blunt force trauma.”

She names facts.
 She separates what happened from how it’s interpreted.
 She anchors herself to evidence.

Contrast that with the people receiving the truth:

“She didn’t—”

“Are you saying she was alone?”

“I just want to understand.”

Their dialogue fractures. Emily’s does not.

That contrast is the fingerprint.

People reveal themselves through how they speak — especially when they’re trying not to.

Put Characters Under Pressure — Then Make Them Talk

Dialogue is deadliest when someone is cornered.

Under pressure, people:

●      lash out

●      repeat themselves

●      say too much

●      say nothing

●      let something slip they meant to bury

In Frozen Lives, as the truth surrounding the crime rises toward the surface, conversations sharpen. Politeness erodes. Even small lines carry threat because the cost of speaking wrong is so high.

In Last One Alive, pressure surfaces most clearly in intimate conversations — especially between Solange and her husband — where the stakes are personal long before they’re criminal.

When Solange pushes for answers, the dialogue doesn’t open up. It closes ranks.

“Why are you asking me that?”

“Because you didn’t answer the question.”

Deflection comes first.

Later, when the pressure tightens:

“I told you what happened.”

“You told me something,” she said. “Not everything.”

And when evasion no longer works, honesty arrives stripped of comfort:

“You wouldn’t understand.”

“Try me.”

No confession.
 No tidy explanation.
 Just resistance, reframing, and control.

The characters aren’t fighting over facts — they’re fighting over who gets to define reality. Under pressure, dialogue turns strategic. Words become shields. Or weapons.

If you want dialogue that kills, trap your character — then force the conversation.

Investigate Your Dialogue Like a Detective

Before finalizing a scene, ask:

Who held power?
Who gained information?
Who lost control?
Where did the truth leak?
Where did the lie begin?
What emotion slipped through?
What was avoided?
Who walked away winning?

If you can’t answer those questions, the dialogue needs another pass.

Your Deadly Dialogue Checklist

✔️ Do characters want different things?
 ✔️ Is subtext doing the heavy lifting?
 ✔️ Does power shift?
 ✔️ Is silence used deliberately?
 ✔️ Does the dialogue reveal psychology?
 ✔️ Does someone lie or tell a half-truth?
 ✔️ Does it feel messy and human?
 ✔️ Does it raise more questions than it answers?
 ✔️ Does it leave the reader unsettled?

If yes — your dialogue is alive, dangerous, and driving the story forward.

Dialogue is where tension lives.
 People lie.
 People protect themselves.
 People hide their wounds.
 People weaponize their words.

Let your characters spar — through what they say, what they don’t, and what they’re terrified will be discovered.

Jennifer Dornbush is an author, screenwriter, and forensic specialist who brings crime stories to life with authenticity and heart. With a background rooted in real-world forensics and a passion for crafting unforgettable mysteries, Jennifer offers readers and viewers a front-row seat to the intersection of science, justice, and human nature. Jennifer’s crime expertise has made her a sought-after speaker, consultant, and educator. Through her webinars and master courses, Jennifer guideswriters in melding suspenseful storytelling with forensic realism to the screen and page. Meet her at www.jenniferdornbush.com