That is the question the Do Some Damage crew has been discussing over the last week or so. And for me, plotting works. This is more or less the basic outline I used to write my latest mystery, Mistress of Lies.
The detective takes the case. The Special World of the investigation. The detective crosses the threshold into the special world of the adventure. Something might happen to lock him into the investigation.
Perhaps he discovers he needs the money, or a rival detective bets he will fail, or his love interest is arrested for the murder. The detective discovers many clues.
Some of them are false red herringssome of them are true but not related to the murder irrelevantand some are true and related to the murder critical. The detective's job is to figure out which clues fall in which categories.
The detective interviews suspects, gathers evidence and thinks about the crime. Perhaps more murders are committed.
If there is a B-story it will come into play around points 4 or 5if not sooner. It seems as though the murderer has been found.
This could be someone the police have fixed on and the detective doesn't agree, or it could be that the detective is working from false or insufficient data and identifies the wrong character as the culprit. The police, and perhaps even the detective, believe the case is closed. This would be a good place to have something exciting happen in the B-story.
Something ruffles the still waters of the newly accepted status quo. Suspicion is raised that the person arrested for the murder might be innocent. Everyone comes to know that the person they thought was the murderer really isn't. Perhaps someone comes forward with evidence that the person thought to be the murderer couldn't possibly have committed the crime.
For example, the suspected murderer is a parent who believes their child is the murderer and, since they feel they are somehow responsible for their child's actions, seek to take the blame.
Perhaps evidence is discovered which reveals it was impossible for the supposed murderer to have done the crime s. Perhaps there's another murder while the suspected murderer is behind bars.
Perhaps something, an idea, was nagging at the sleuth but he couldn't quite but his finger on it. Or all seems to be lost. Perhaps they're on the right track but something--perhaps some item of information--they've accepted as true really isn't and is leading them astray.
Of course it doesn't have to be misinformation that throws the detective off. Perhaps his personal life is blinding him to something his love interest is leaving him; children in crisisperhaps there's someone he believes is above suspicion that he hasn't examined seriously enough; his mentor, for instance.
The mentor might not be the murderer, but the detective's failure to take that possibility seriously has, perhaps, kept him from fully examining those around the mentor, like the man's personal assistant.
If, as I suggested above, the detective believed something false that was tripping him up, this is removed. If there's a B-story, then this is where the resolution to the B-story could supply the missing piece of the puzzle.
This is where the detective gathers everyone together, lays out all the clues, explains which category each falls in red herring, irrelevant or criticalunveils the deep dark secrets the suspects were hiding, and, finally, unmasks the murderer. The guilty party has been exposed and so we know that those who appear innocent really are.
The detective has removed the pall of suspicion from the community and they can return to their ordinary lives. There's a lot more to say about this but that's enough for now. I'd like to come back in the near future and talk more about setting both human and physical and characters suspects, detective, murderer.Write from an outline, or scrap the outline and write from your gut.
Aim to complete something for a contest deadline. Take an old short story that’s begging to be expanded into a novella or a novel. This is more or less the basic outline I used to write my latest mystery, Mistress of Lies. I usually try to fill in as many of these "blanks" as possible before I start writing the novel.
I usually try to fill in as many of these "blanks" as possible before I start writing the novel. Aug 22, · Consider writing an outline for each individual chapter. An effective way to organize a novel is to begin with an outline, both of your characters and the plot.
If it helps, you can go chapter by chapter creating an outline of what happens in each one%(33). The following outline serves the modern mystery novel, as defined by the old style editors and trade publishers.
A typical mystery will run 60, to 70, words ( manuscript pages) and will be divided into 12 chapters, each approximately pages in length.
Though early detective stories often featured a group of amateur crime sleuths trying to find the murderer, later detective stories introduced the hard-boiled private investigator.
For anyone who wishes to learn how to write in the crime genre, the detective story provides a . The traditional mystery is sometimes referred to as a cozy mystery, as I explained in last month’s The Mystery of Mysteries post on the 12 steps to writing a traditional benjaminpohle.comr, that seems to be more of a U.K.