A Conversation on Crime, Creativity, and Community
Alan R. Warren discusses his approach to true crime writing, the transition to fiction, and the importance of victim involvement, while reflecting on his radio career and personal challenges.
Alan R. Warren stands as a formidable figure in the realm of true crime literature and broadcasting. As the host of the acclaimed “House of Mystery” radio show on the NBC news talk radio network, Warren has captivated audiences with his deep dives into the intricate world of crime history. His academic background is as diverse as it is impressive, a Master’s in Music, a Bachelor’s in Criminology, and a diploma in Recording & Sound Engineering. This eclectic mix of disciplines has undoubtedly enriched his storytelling, allowing him to approach each case with a unique perspective that blends analytical rigor with a profound understanding of human behavior.
Warren’s literary contributions have left an indelible mark on the true crime genre. With thirdy four books, twenty six of them are true crime books to his name, his works have consistently resonated with readers, offering meticulously researched narratives that delve into the minds of both criminals and victims. His bestsellers, such as “Above Suspicion,” “Blood Thirst,” and “Deadly Betrayal,” showcase his ability to unravel complex stories with sensitivity and insight. Warren’s dedication to his craft is evident in his commitment to involving victims’ families in his work, ensuring their voices are heard and their stories are told with the respect they deserve. His announcement of being autistic further underscores his resilience and dedication, serving as an inspiration to many who face similar challenges. Through his writing and broadcasting, Alan R. Warren continues to illuminate the darkest corners of human nature, inviting readers and listeners alike to explore the profound questions that lie beneath the surface of every crime.
You’ve authored over 30 nonfiction books covering various topics, from true crime to cults and human trafficking. What initially drew you to write about such dark and complex subjects, and how do you approach the research process for these intense topics?
It wasn’t so much the darkness that led me to write about these subjects; instead, it was more about the truths behind many of the questions brought up by mysteries, crimes, and things brought on by human behaviors. It always starts with the question of why they did this. It’s getting behind the character of the event or crime and then how they did it. I usually don’t get too focused on the gory details, giving intense graphic descriptions. Plenty of authors do that, and it’s not saying that there’s anything wrong with that; it’s just not me. I am more centered on the details of the crime and why it was done. Most “Bad Guys” believe they are doing the right thing. It’s about discovering why they think that and how they got there.
Your book Murder Times Six delves into the tragic Wells Gray Park Murders, a case that continues to haunt British Columbia decades later. How did you balance the need to honor the victims while exploring the grim details of the crime, and what impact do you hope the book has on readers?
With this particular book, because the events were current enough where there were still several people alive who were part of the murders, it was most important that the families of the victims be involved. It had to be about their story and what they went through. Not only at the time of the murders but even today, which includes them all having to attend parole hearings for the murderer every couple of years. It leads to how they, or even were, can move on with their lives. When I take on a more current case, I usually first contact family members and see if they want a book done, and if they do, will they take part in it. In this particular book, I even had the victim’s family members write small chapters, and the arresting officer wrote the introduction. The most important thing about this book was that it helped keep the killer in jail and get over 40,000 signatures against him getting parole.
Another thing about involving the victims’ families is getting direction from them on what is most vital for them to say and how much of the graphic detail needs to be put in the book.
In The Killing Game, you recount the chilling crimes of Rodney Alcala, the Dating Game Killer. How do you navigate the challenge of presenting such disturbing content while maintaining reader engagement, and what do you believe drives the public’s fascination with true crime?
Keeping the reader’s engagement usually isn’t my focus when writing a story like this. It’s more about getting the details correct. When it comes to the publisher, their editor is the one who helps the story be the most engaging, as that’s their specialty, knowing what works and what doesn’t for readers. This was one of the first books I wrote, so relying on the editor and publisher was important. As I have written more books, become more comfortable with the process, and learn to insert my voice in the book, I rely less on the editor. Writers gain more confidence with each book they complete.
Regarding the fascination with true crime and the public, there are probably several reasons for this. One thing that I’d like to point out is that what many people get out of true crime that they don’t get out of crime fiction or the Hollywood version of criminals is the realism of both the killers and the victims. In movies and television, quite often, the murderers are dressed nicely, very well-educated, and good-looking. In true crime, the killer is the gardener or mother working at the local drug store. They are real people that most readers can relate to.
Your upcoming fictional series marks a shift from nonfiction to fiction. What inspired this transition, and how has your extensive experience in true crime influenced the fictional stories you’re crafting?
One of the primary reasons for the switch to fiction is having control over the story’s outcome. It also allows me to create my characters and explore their growth throughout the story. The key elements and characters already exist in a nonfiction book, and it’s about learning the truth behind them. Fiction allows me to decide the outcome, the characters, and what I want to explore about them. The most important thing I take away from writing true crime stories is the research, finding, and going through old documents and newspapers. This is also crucial in fiction because it’s essential to correct everything, making the story believable. When writing a story that happened in the 1920s, you have to ask yourself about how your characters lived. What kind of lifestyle did they have? How did they eat? Did they have electricity in their home? Did they have the ability to take a hot shower every morning?
With your extensive work as a radio host on shows like House of Mystery and Inside Writing, you’ve interviewed many experts and authors in the true crime genre. How have these conversations shaped your writing, and what insights have you gained from them that you find particularly valuable?
Anytime you can talk about and share writing experiences with others, even if you don’t realize it, you’ll always learn something from the exchange. As far as true crime or nonfiction, there are usually three types of interviews that I’ve done.
• Survivors or people who were a part of the crime. These interviews always give a unique perspective from inside the case. They discuss how they felt the policing was done and how the community reacted. They also discuss what happens to the survivors after the case is solved and the culprit is in jail or sometimes when the case goes unsolved. How do they move on? Or do they?
• Police, detectives, and prosecutors or defense attorneys surrounding the case. This is a great way to see how detective work is done, including how evidence is retrieved and processed. This type of interview is also a great way to network with law enforcement, which is invaluable for writing actual crime books.
• Writers and Documentary directors and or producers. This is an excellent way to learn how to find out information and facts surrounding a case. It’s also lovely to see how others apply their writing styles to a book and what’s been important to their readers in the past.
The Killer Queens series focuses on crimes affecting the LGBTQ+ community, covering infamous cases like Leopold & Loeb and Bruce McArthur. What motivated you to focus on this theme, and how do you hope these books contribute to the conversation around violence against marginalized communities?
This series came out of the connection between the murders cases of Leopold & Loeb in Chicago and Frtiz Haarmann, who was also known as the Butcher of Hanover. Both cases happened in the early 1920s but were treated differently because of the way homosexuals were thought of by the residents of each country involved. (Germany and America)
In Germany, there were communities where gay people had drag shows, and the upper class loved them. German police issued passes that allowed men dressed in women’s clothing not to be arrested and live openly. This led to a certain amount of acceptance in the cities. In Berlin, there was also a sexual clinic that opened that performed the first sex change operation. The minds of Germans were open to progress.
Meanwhile, in Chicago, things were not so accepting of gay people, and they were forced to stay hidden for fear of being arrested. The mindset at the time was that homosexuals were criminals and had some mental issues. One of the doctors who started the sexual clinic in Germany moved to Chicago and began a similar type of clinic there. The country was still unprepared for this progress and fought against it.
This was a great way to compare how much the public’s behaviors and attitudes can affect the same crimes, giving them different outcomes. This is the heart of the series, so each additional book represents the interactions of the community, police, and government of the city and country that can change the lives of minority communities within them. Bruce MaCarthur in Canada and Stephen Port in London are two books released in the series.
