The Making of a Crime Writer: Derek Somto Nwokoye on the Books That Made Him

JAMES MELBIN: What kinds of books and literature shaped you during your childhood and teenage years?

DEREK SOMTO NWOKOYE: As expected of a writer, I began my reading journey early, devouring everything I could lay my hands on, from classic fairy tales by the Brothers Grimm to contemporary children’s horror like Goosebumps by R. L. Stine. I was especially captivated by Enid Blyton’s fairy tales, which shaped my view of storytelling and deepened my immersion in the world of fantasy literature. I loved not only reading but also being read to, consuming stories through books as well as animated adaptations, from Walt Disney films to their novelisations.

Over time, my reading habits shifted with the rise of technology and easier access to movies, and I eventually consumed more movies than books. Still, I have always seen myself as a storyteller as much as a writer, and this shift never dampened my aspirations. Instead, I immersed myself in crime and thriller blockbusters, drawing new inspiration and fueling my desire to translate my own imagined worlds into prose.

When did you first realise you wanted to become a writer, and what was that journey like? 

The more I consumed stories, the more my desire to write grew. In my early teenage years, I began writing short stories, inspired by literature and cinema. Ideas flowed constantly. I conceived countless stories in my head, often pitching them to myself, though many never made it to the page. I simply lived with them throughout my younger years.

Like every journey, mine had its rough patches. In my post-teenage years, I drifted away from creative writing, focusing instead on other pursuits. Even while studying Mass Communication as an undergraduate in Nigeria, I didn’t feel compelled to explore fiction.

What ultimately reignited my passion was my decision to pursue a Master’s in Creative Writing in the UK. I applied with my first written work in years and was instantly admitted. That experience revived my love for writing and revealed it as my greatest strength. It was during this time that I conceived my most ambitious story yet and began writing the manuscript that became In the Name of Murder, my debut novel.

Can you walk us through your writing process — from idea to finished draft?

To begin writing, I usually start by brainstorming, expanding on a dormant idea or developing a new one. As the concept takes shape, I draft an outline of the plot, noting key events and even lines of dialogue I don’t want to forget. One of my favourite parts of this stage is giving characters their names early on; it puts a soul into them and excites me enough to flesh them out further. Once the plot is clearer, I break it down into chapters, outline each with one-line summaries, separate the arcs, and identify the themes. At that point, I’m ready to dive in; the rest flows naturally as I begin the manuscript.

When I write a chapter, I sometimes start strong and finish weak, but I resist heavy edits until I’ve written the last word. For the first draft of each chapter, I prefer printing it out and editing with a pencil; it’s easier on the eyes than staring at a bright laptop screen. And whenever writer’s block strikes, I go for a stroll, listen to music or resume writing in my phone’s notepad, anything to keep the wheels of creativity turning.

How do you approach research and preparation when developing a story? 

As a crime writer, I begin by grounding myself in the world I want to create. I watch YouTube videos, read about real-life crimes and criminals, and research details like firearms or other elements that play a key role in the story. I aim to understand how everything works, from the meticulous planning of a crime to the mechanics of handling a weapon. I also gather visual references, downloading pictures and videos of places, people, and items, to help me describe them more vividly.

While my imagination drives most of my creative process, I occasionally draw from real-life experiences. To deepen my preparation, I often watch films or read books within the same genre, both for additional knowledge and fresh inspiration.

What inspired the story behind In The Name of Murder?

I subconsciously draw from a wide range of inspirations. In the Name of Murder actually began as a concept for an animated series, with my protagonist originally named “Wale Danger”—a vigilante in the vein of Marvel’s The Punisher. When I re-envisioned it as prose, I expanded the plot, blending influences from Robin Hood, the John Wick story world, and Amaka Igwe’s film Rattlesnake. I pulled from themes, character archetypes and names, world-building ideas, and then layered in my imagination to create something original.

My writing style, particularly my use of flashbacks, was shaped by Gregg Hurwitz’s Orphan X, the last crime novel I read before starting In the Name of Murder.

What emerged is an amalgamation of these influences: a story that goes beyond blood, gore, fast-paced action, and plot twists. At its core, I want readers to grapple with the idea of justice, who defines it, and how easily it can be corrupted. I want them to reflect on the systems we trust, government, law enforcement, the wealthy elite and how often those in power fail the people they’re meant to protect.

But above all, I want readers to see the humanity in someone society might dismiss as just a criminal. My aim is not to glorify violence or murder, but to expose the emotional weight of every choice my protagonist makes. If readers leave the book feeling conflicted, moved, and questioning their sense of right and wrong, then I’ve done my job.

What are the top three books sitting on your bookshelf right now, and why did you choose them? 

Orphan X by Gregg Hurwitz

Animal Farm by George Orwell

Carnivorous City by Toni Kaan

Orphan X represents the kind of balance I admire between adrenaline-fueled action and deeply human storytelling. Hurwitz creates a protagonist who is not only a highly skilled assassin but also someone haunted by his past and searching for purpose. That duality, lethal yet vulnerable, is something I find relatable for crime fiction. As a crime writer, I’m influenced by how Orphan X handles pacing and structure.

Animal Farm, one of my favourite non-thriller books, influences my writing through my love of fables. While I primarily write thrillers, Orwell’s classic reminds me that beneath the action, stories can carry deeper themes. Animal Farm is, at its core, a sharp critique of power and corruption, an idea that also runs through In the Name of Murder.

Carnivorous City, which I’m currently reading, is fuelling inspiration for my second novel. I’m drawn to how it handles morally complex characters and portrays the city itself as a living, breathing presence. I hope it will guide me to craft my fictional setting with the same vividness, making it feel alive, engaging, and deeply relatable to future readers.

What topics, themes, or questions do you hope to explore in your future writings? 

Not to give away too much about my current project, but I’m exploring the theme of brotherhood within a crime story, drawing inspiration from friend groups, cliques, and sibling dynamics in different narratives. At the same time, I want to push myself creatively by experimenting with new themes and branching into other genres, though not too far from my foundation in thrillers. Subgenres like psychological thrillers and horror especially intrigue me, as they present fresh ways to challenge both myself and my readers. I’m also drawn to the idea of writing a fable, inspired by my fascination with wildlife, my favourite film, Disney’s The Lion King (1994) and Orwell’s Animal Farm. Perhaps a crime fable, a thriller set in the African wilds, could be an exciting experiment. It would certainly test me as a crime writer, but that’s exactly what makes the idea so appealing.

How do you see your role as a writer in today’s literary and cultural landscape? 

As a writer, I see my role as both a storyteller and a mirror to society. Crime fiction allows me to question justice, power, and morality in ways readers can connect with. Through In the Name of Murder, I want readers to feel conflicted, reflect on what justice truly means, and empathise with characters they might otherwise dismiss. On a larger scale, I hope my work sparks conversations, especially in Nigeria, about how crime, grief, and survival shape our cultural realities.