Writing the Cozy Mystery: The Suspects

By Elizabeth S. Craig, @elizabethscraigfile000557708328

This is the second in my cozy mystery writing series.  Last week I focused on writing better sleuths. Today, I thought I’d take a look at another vital element for a solid mystery: good suspects.

How many suspects?  Fewer suspects can be easier for readers to keep up with, but can also mean that the murderer’s identity isn’t as much of a surprise.  If you have more suspects, you can more easily maintain the element of surprise at the end, but you have to be careful not to confuse the reader.  I usually prefer 5 suspects, killing one of them during the course of the book.  If you choose to have a lot of suspects, you can reduce confusion by making sure their names are very distinct or by giving them a casual reintroduction when they appear “onstage” again in the story.Continue reading

Writing the Cozy Mystery—the Sleuth

By Elizabeth S. Craig, @elizabethscraigfile000946809180

I’ve had a few people emailing me asking questions about starting a cozy mystery (or, really, any type of mystery involving an amateur sleuth).  I promised to write a post on the topic… and then I didn’t deliver!  So here, belatedly, is the first post in a crash course on cozy mystery writing.

I thought it might be easier for someone starting out to think about potential questions to answer.  This helps us flesh out our sleuth and story.  It’s also, in my view, a heck of a lot easier than just launching into a brand new mystery.

Who is my sleuth and why is she getting involved in this case?  Readers tend to be able to suspend disbelief a bit in cozies, but it can be nice in the first book of the series to make the sleuth’s involvement more of a result of a direct action.  Is our sleuth a suspect?  Is the sleuth’s friend a suspect?  Was the victim a friend of the sleuth’s?  Did the crime occur at a place the sleuth works?  Did the sleuth discover the body?  There are many different directions to go with this.Continue reading

Location, Location, Location

by Carolyn Haines, @DeltaGalCarolynBone to be Wild

In real estate, the old saw is that location is everything. For me, the same is almost always true in fiction. My reading and writing preference is that the characters are either organic to the setting, or they are fish out of water. Either choice provides the reader with a unique view of the story’s setting.

Growing up in Mississippi, I’m well aware of the rich heritage of writers from my home state. Eudora Welty, William Faulkner, Tennessee Williams—they have imprinted an image of Mississippi on multiple generations of readers and writers. My experiences were very different. I grew up during the turmoil of the 60s and 70s. My parents were journalists who believed in civil rights at a time when that wasn’t the most popular stance. So I grew up loving the incredible woods and creeks of a state blessed with natural beauty, but saddened by the willful ignorance and sometimes the pure damn meanness. It is this rich diversity that makes Mississippi such a perfect setting for novels: the very poor and very wealthy, the pine barrens and sandy beaches of the Gulf, the good-hearted and kind, and those who are not. I grew up knowing all of it. And all of it comes out in the characters I write about.Continue reading

Writing a Convincing Culprit

by Harrison Demchick, @HDemchickHarrison Demchick

Have you ever read a mystery where the culprit’s motivations made no sense at all?

Or how about one where the culprit is caught because he did something he would never plausibly do?

I’ve seen quite a lot of this in the mysteries I’ve edited. Mystery is a genre of logic, and a good mystery is a puzzle waiting to be solved, but where that puzzle so often falls apart, particularly in early drafts (and even for very talented writers), is with the culprit. And the reason is that, very often, the actions of the culprit serve the story rather than the character.

There’s a reason for that. In most fiction, we develop our story around the protagonist. It’s the protagonist with whom we spend most of our time, and if there’s a character arc, it’s usually hers. The experience of the novel is defined by her actions and experience.

But mystery is a little different, and the reason it’s different is that it’s the antagonist’s actions that really drive the story. The culprit commits the crime, and the detective reacts. That’s not to say that the detective is inactive—she’s certainly trying to solve the mystery, and ultimately both characters are reacting to one another (even before we know who the culprit is)—but fundamentally, the detective’s story is unraveling the culprit’s story. And that means that you, as author, need to know the culprit’s story as well and as clearly as the detective’s.

Moreover, that story, and the character who lives it, need to make sense.Continue reading

Tips for Better Mystery Writing

Thanks for French writer Frédérique Molay  for guest posting today.  A quick note that I’m posting on the Writers on the Storm blog today on Making Our Content Work Harder for Us.  Thanks!

by Frédérique Molay Crossing the Line

So just how do you write a good mystery? Well, I’m going to have to disappoint. I don’t have a secret recipe—for mystery writing, that is. I do have one to make delicious cookies, hot from the oven, but my repertoire doesn’t have step-by-step instructions for writing a good novel.

There is some good news though: it is possible to list some of the ingredients that belong in a good mystery. Just explore Raymond Chandler’s “10 Commandments for the Detective Novel,” or S.S. Van Dine’s “20 Rules for Writing Detective Stories,” published by American Magazine in 1928. That said, don’t be fooled, mystery is a genre that appears simple, but hides complexity.

To start, of course, all you need is a detail. A face, an anecdote, a press clipping or a work of art will do. Inspiration can come from any number of places. Anything could trigger a story, which can then unfold, like a movie in your mind.

Once you have a detail, you need to build the plot. In mysteries, there is always a crime—a murder, kidnapping, or heist, or perhaps a coded message or disappearance. It is important to control the story line and the clues that are revealed, because nothing can be left to chance. The strings all need to be connected, and they need to be credible. Van Dine’s rule number 1 reads, “1. The reader must have equal opportunity with the detective for solving the mystery. All clues must be plainly stated and described.” That should not keep both reader and detective from surprising each other.

Mysteries also need charismatic characters. They need to make the reader feel fear, intrigue, and suspense. They need a fast pace, alternating dialogue, description and actions. All these elements help keep the reader turning the pages, which is the goal.

I’d also say that mysteries require a two-fold personality—writers need to dream and be creative, all the while honing mathematical precision. You need to have your feet on the ground and your head in the clouds—in dark, stormy clouds. This genre does more than entertain. It explores our deepest fears and anxieties. It distracts readers with stories about life’s troubles waters, translating the scandals we all experience everyday. Mysteries are a pulse-throbbing fictional investigation into the truths of human life.FM

Writing has always been a passion for Frédérique Molay, author of the international bestseller The 7th Woman. She graduated from France’s prestigious Science Po and began her career in politics and the French administration. She worked as Chief of Staff for the Deputy Mayor of Saint-Germain-en-Laye, and then was elected to the local government in Saône-et-Loire. Meanwhile, she spent her nights pursing a passion for writing she had nourished since she wrote her first novel at the age of eleven. AfterThe 7th Woman took France by storm, Frédérique Molay dedicated her life to writing and raising her three children. She has five books to her name, with three in the Paris Homicide seriesCrossing the Line released in bookstores on September 23. In it Chief of Police Nico Sirsky returns to work after recovering from a gunshot wound. He’s in love and rearing to go. His first day back has him overseeing a jewel heist sting and taking on an odd investigation. Just how far can despair push a man? How clear is the line between good and evil?

 

Scroll to top