 Mystery: July 04, 2007 Issue [#1806] |
  Mystery
This week: Edited by: Vivian  
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Last week I shared the first part of my mystery writing tips: writing a good story, strong and believable characters, not relying on a technique, and having a strong plot. The information I gave in that issue and what I have this week are not all the components needed in a good mystery. Some sub-genre have different items needed, and some components can be covered another time.
Viv |
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Mystery Writing Tips II
This issue I want to cover four more components needed in a good mystery: action, tension, misdirection, and dialogue. Mix these well with a well-written story, strong and believable characters, using only techniques that work for you, and a strong plot, and you should have an interesting story when completed, one that will keep readers wanting to read more.
Action must be included in a good mystery. The action can be mental and physical, but both types are needed. Mental agility is needed not only to discover clues, but also to use the clues to solve the mystery. Some kind of physical action is required to investigate crimes, to hunt criminals, to do whatever must be done by the detective (professional or amateur). Yes, in fiction a detective may be almost non-physical, such as Nero Wolfe, but someone has to move and do. Wolfe had Archie to fight and run and kiss the girls.
Tension keeps the reader on edge waiting to discover what happens. Tension is created by showing conflict: conflict between people, conflict between right and wrong, conflict between agencies, conflict between family members. Opposition may be a way to produce tension, but remember not all tension is bad. What about romantic tension? Yes, mysteries can have some romance, too. Opposition produces energy, and energy/tension is needed in a mystery.
Another way to create tension is through foreshadowing, hints about what may happen or bits of information that might or might not be important in solving the mystery. Foreshadowing is a sense of expectation colored with uncertainty.
Misdirection keeps readers guessing, adding to the tension and desire to know. Now misdirection is not false information, but something that sends the reader's mind in the wrong direction temporarily. A writer shouldn't lie to the reader, but can create a situation so that the reader lies to himself. According to Michael Kurland (The Writer,March 2007, "MISDIRECTION The mystery writer's invaluable tool and how to use it") misdirection can be either external or internal. Often what is written is misunderstood until other information is revealed. A small detail can be hidden in a conversation that becomes important later. A red herring can cause the detective (and reader) to chase in the wrong direction.
Kurland writes, "The fiction writer, like the stage magician, can use a candy coating of misdirection to disguise the pill of truth to keep the story healthy and alive."
Dialogue also helps keep a story healthy and alive. If the dialogue is "real" and moves the plot forward, it adds power to the plot. Also dialogue is one way of building tension and inserting a bit of misdirection.
I hope I've helped you find a few ways to make your mysteries stronger. May you write powerful ones that will keep readers gripped from the beginning to the end.
Most of my mysteries are in novels for publication, but here are a couple of short stories that still rest in my port:
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Comments from Readers
wildbill 
I see so many 'mystery' stories on the site that should be labeled as suspense or action/adventure.
Why? Because they have no clue about clues.
I noticed that your essay NEVER mentioned clues as an indispensable part of a true mystery. But it is the clues that provide the answer to the mystery at the end.
I've found that hinking up clues and inserting them into the storyline without telegraphing them is the most difficult writing I've ever done, but is the job of the mystery writer.
No, I didn't mention clues as such in the first part of Mystery Writing Tips. According to dictionaries and literature handbooks, mystery (in fiction) means a novel or short story (any writing) in which a a detective (either professional or amateur) solves a crime. I was unable to find any mention of clues being a requirement. However, clues would come under plot, covered last week, and misdirection, which is covered in this issue. I also do not intend to cover every aspect which can be used to create a well-written mystery.
As far as having something labeled as suspense, suspense is a part of mystery.
If I ever guest-edit the Mystery Newsletter again, I'll write about the need and use of clues in mystery.
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ryanpie
I have to suggest having more E & ASR rated items featured, all of these were 13+ or over.
Ryan, we can use up to 18+ for the items we highlight in the newsletters. Sometimes finding E or ASR rated items is difficult, if even possible. I do my best to keep items 13+ or lower when I highlight them.
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Cat-Claws is 23 WDC Years Old!
Great newsletter! I'm writing a mystery novel myself, right now, and would like to ask 1 thing: is it okay to make 2 connected cases in one story? As in, a murder that leads to the discovery of a treasure, so to speak? Or to other conflicts? Is it okay to divert the readers' attention from the murder till the end of the story? Thanks in advance for the answers!
Good mysteries (good books for that matter) will have a main plot and at least one or more sub-plots. You might have the more serious case as the main or major plot and the other as a sub-plot. The same is true with conflicts. A novel will have more than one conflict, but one will involve the major plot.
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I've enjoyed being the guest editor the last two weeks for the Mystery Newsletter. Who knows; I may be back some day. In the meantine, please support the regular editors.
Vivian |
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