I tend to work from
outlines, even with my fiction writing. It flows, but I need to have some kind
of foundation to get a grip on what I am writing, In the first chapter I look
at introducing the main character, and setting the tone for the story – I am
working on a mystery, so I set the plot for the mystery itself, and what needs
to be solved. The time and place of the mystery itself needs to be clearly set.
This can get tricky, because often a mystery that occurs in the present is
based on actions in the past.
In the second chapter, I start
setting out clues … some of which may be real, some of which may be false.
There needs to be a few twists and turns in this story, after all! Secondary
characters may also start appearing as soon as the second chapter. A little “back
story” on my characters – I do a complete identity sketch on each of my
characters: their name, where they are from, what their physical
characteristics are, what they do for a living, where they live, what they
wear, what their beliefs are, what their goals are. This helps me to keep
things straight, and to keep each character and their relationship with the
other characters authentic.
In the third chapter I
want my characters to start following leads. To start trying to solve the
mystery. Odd facts start popping up, some leads end up nowhere, other leads
bring out information that sheds new light on people and events. This is the
chapter that I introduce a sub-plot … something for the reader to follow that
has nothing to do with the mystery being solved. The sub-plot for me has to be
two things: interesting and relevant.
In the fourth chapter the
plot thickens! Clues start coming together, and suspects start revealing themselves.
Clues may disappear, or people may disappear. Suddenly there is more of a sense
of urgency to get this mystery solved, before something else happens, or someone
else gets hurt.
In the fifth chapter
evidence that is coming out of the investigation starts to point at a specific
suspect, or group of suspects. A solution begins to reveal itself … although
this may not be the right solution, or at least not the complete solution.
In the sixth chapter the sub-plot
takes precedence. This generally has to do with the main character, and
addresses what makes them tick, what drives them, that little something in
their own background that has them taking the actions that they have taken.
In the seventh chapter things start to get a nit sticky. Hidden
motives, and hidden relationships start to reveal themselves.
In the eighth chapter the
main character in some way reveals the results of their investigation. I try to
put things together in a way that makes sense, but that does not reveal the
solution to the mystery.
In the ninth chapter my
main character is going over their actions, the clues that they have revealed,
and the information they have gathered. Basically, they are looking to see what
they may have missed. At this point, I will bring out critical evidence that
has somehow been missed up until now.
In the tenth chapter I
bring things together, and the mystery is solved. I love dramatic resolution,
and I love justice for all!
This is my basic outline
for mystery writing. Things can be adjusted, more chapters can be added, but
the basic ingredients need to be there: there needs to be a crime, the crime
needs to be investigated, there has to
be tension and drama, and my primary character needs to be deeply involved.
Here’s to a good mystery!
© 2000 – 2013 Bonnie Cehovet
Reproduction prohibited in any venue without the written permission of the
author.
