How do you plot an entire mystery novel?
How I craft plot has changed radically over the last four books. With BIG RED TEQUILA, I did very little plotting in advance. I simply began writing, then went back later and tied up all the loose ends, of which there were plenty. With each successive novel, I’ve done more outlining in advance. Strangely, this has made writing no easier — it’s only made the process harder in different ways.
My attitude about plot and how one develops effective pacing is evolving, but below are five points I stand by:
Rick’s top five tips on PLOT
5. Don’t write the parts the reader would skip anyway.
Most readers, from time to time, have skipped over portions of a chapter to get to the “good stuff.” For instance, many readers will skip a long paragraph of description so they can find the next line of dialogue. One trick for keeping the reader’s interest is to zoom in on the content they want to see and leave out the rest. Writers, especially beginning writers, tend to over-explain.
4. Distinguish between mystery and confusion.
It is good to keep the reader guessing. It is bad to keep the reader confused. The key to successful plotting is giving the reader sufficient information to keep them interested and engaged, but not so much information that they no longer care about what will happen next. The plot should be built in layers of compelling questions – “What will he do?” “What is his secret?” “Why does she hate him so much?”The reader should always have at least one question in mind, and be dying to find out the answer.
3.Get going!
Beginning writers tend to believe that they must “set things up” before they get into the real meat of the novel. They want to introduce characters, history, and setting before they start on the central dilemma. Chapter one is often limp, because of this. Even worse, some writers are so hesitant to get to the point in chapter one that they put off the action even further by writing a prologue. The problem is, until we know the dilemma, we won’t care about the set-up. Get to the point! Often manuscripts are better if they start with chapter 2.
2. Identify the moral dilemma driving the novel.
The successful novel will haunt a reader because it deals with some ethical or moral dilemma that makes the reader wonder what he or she would do in the protagonist’s place. Action may hold a reader for a chapter. A surface dilemma like a kidnapping or a romance may hold the reader for fifty pages or more, but only a moral dilemma will hold the reader for an entire novel.
1.The protagonist must exert influence to solve the problem, and the antagonist must exert influence to stop the solution.The book must be about conscious choices, carried out in active terms. It must be about conflict. A book about random events happening to passive people will not be compelling. Coincidence is taboo – things can’t just happen. There must be a cause and effect.
How do you develop characters?
Character development is paramount for me. I firmly believe that plot and character development must occur simultaneously. Plot cannot be left to chance. Neither can characters be automatons who carry out actions envisioned in the author’s master plan. Below are some things
I try to keep in mind when developing my characters:
5. Define a character through action, first. Through dialogue and description, second. Through explanation, never.
A character should be primarily defined by the choices he makes, and the actions he takes. How does he respond to violence? How does he respond to love? Secondly, a character must be vividly but deftly describe through his speech, and through the initial view you give the reader (see #4 below). Never stop to explain who a character is when we can watch him in action and decide for ourselves.
4. Be impressionist rather than realistic.
Describe characters as Dickens did – with a single deft stroke. A laundry list of physical traits is realistic, but it is neither memorable nor compelling. A jarring metaphor for the character, or a focus on one mannerism or physical trait, can be very compelling.
3. Do not be afraid to use real people as models, but do not be constricted by your models.
It is very natural to use parts of ourselves or the people we know when creating characters. Do not be afraid to do this because someone might get mad at you. At the same time, let your character develop. Do not force them to do what the real-life model would do. Characters seldom end up exactly like the real people they are based on.
2. The reader does not have to be told everything you know about the character.
It may be critically important to you that your character has blue eyes, or went to Texas A&M. But if these details have no part in the story, the reader will not care. Leave them in your subconscious. If you are having trouble figuring out a character, fill out a character profile, or do some journaling in that character’s voice.
1. Your character must act, not simply be acted upon.
We care about characters because we are interested in the choices they make. We want to boo the villain, cheer the hero, and cry with frustration when the tragic figure makes the wrong move. A character who does not act, but simply receives information and is acted upon by outside forces, is not a character who will compel the reader. Remember, plot is what the characters do next. If the characters do not create the plot, the plot is hollow.
http://www.rickriordan.com/
Showing posts with label plot. Show all posts
Showing posts with label plot. Show all posts
Plotting
Even more than writing in other genres, mystery writing tends to follow standard rules. This is because readers of mysteries seek a particular experience: they want the intellectual challenge of solving the crime before the detective does, and the pleasure of knowing that everything will come together in the end. Of course, the best way of testing the mystery writing rules that follow is to read widely in the genre. See how others use them or how and when they get away with breaking them.
1. In mystery writing, plot is everything. Because readers are playing a kind of game when they read a detective novel, plot has to come first, above everything else. Make sure each plot point is plausible, and keep the action moving. Don't get bogged down in back story or go off on tangents.
2. Introduce both the detective and the culprit early on. As the main character, your detective must obviously appear early in the book. As for the culprit, your reader will feel cheated if the antagonist, or villain, enters too late in the book to be a viable suspect in their minds.
3. Introduce the crime within the first three chapters of your mystery novel. The crime and the ensuing questions are what hook your reader. As with any fiction, you want to do that as soon as possible.
4. The crime should be sufficiently violent -- preferably a murder. For many readers, only murder really justifies the effort of reading a 300-page book while suitably testing your detective's powers. However, also note that some types of violence are still taboo including rape, child molestation, and cruelty to animals.
5. The crime should be believable. While the details of the murder -- how, where, and why it's done, as well as how the crime is discovered -- are your main opportunities to introduce variety, make sure the crime is plausible. Your reader will feel cheated if the crime is not something that could really happen.
6. The detective should solve the case using only rational and scientific methods. Consider this part of the oath written by G.K. Chesterton for the British Detection Club: "Do you promise that your detectives shall well and truly detect the crimes presented to them using those wits which it may please you to bestow on them and not placing reliance on nor making use of Divine Revelation, Feminine Intuition, Mumbo Jumbo, Jiggery-Pokery, Coincidence, or Act of God?"
7. The culprit must be capable of committing the crime. Your reader must believe your villain's motivation and the villain must be capable of the crime, both physically and emotionally.
8. In mystery writing, don't try to fool your reader. Again, it takes the fun out. Don't use improbable disguises, twins, accidental solutions, or supernatural solutions. The detective should not commit the crime. All clues should be revealed to the reader as the detective finds them.
9. Do your research. "Readers have to feel you know what you're talking about," says author Margaret Murphy. She has a good relationship with the police in her area, and has spent time with the police forensic team. Get all essential details right. Mystery readers will have read a lot of books like yours; regard them as a pretty savvy bunch.
10. Wait as long as possible to reveal the culprit. They're reading to find out, or figure out, whodunit. If you answer this too early in the book, the reader will have no reason to continue reading
1. In mystery writing, plot is everything. Because readers are playing a kind of game when they read a detective novel, plot has to come first, above everything else. Make sure each plot point is plausible, and keep the action moving. Don't get bogged down in back story or go off on tangents.
2. Introduce both the detective and the culprit early on. As the main character, your detective must obviously appear early in the book. As for the culprit, your reader will feel cheated if the antagonist, or villain, enters too late in the book to be a viable suspect in their minds.
3. Introduce the crime within the first three chapters of your mystery novel. The crime and the ensuing questions are what hook your reader. As with any fiction, you want to do that as soon as possible.
4. The crime should be sufficiently violent -- preferably a murder. For many readers, only murder really justifies the effort of reading a 300-page book while suitably testing your detective's powers. However, also note that some types of violence are still taboo including rape, child molestation, and cruelty to animals.
5. The crime should be believable. While the details of the murder -- how, where, and why it's done, as well as how the crime is discovered -- are your main opportunities to introduce variety, make sure the crime is plausible. Your reader will feel cheated if the crime is not something that could really happen.
6. The detective should solve the case using only rational and scientific methods. Consider this part of the oath written by G.K. Chesterton for the British Detection Club: "Do you promise that your detectives shall well and truly detect the crimes presented to them using those wits which it may please you to bestow on them and not placing reliance on nor making use of Divine Revelation, Feminine Intuition, Mumbo Jumbo, Jiggery-Pokery, Coincidence, or Act of God?"
7. The culprit must be capable of committing the crime. Your reader must believe your villain's motivation and the villain must be capable of the crime, both physically and emotionally.
8. In mystery writing, don't try to fool your reader. Again, it takes the fun out. Don't use improbable disguises, twins, accidental solutions, or supernatural solutions. The detective should not commit the crime. All clues should be revealed to the reader as the detective finds them.
9. Do your research. "Readers have to feel you know what you're talking about," says author Margaret Murphy. She has a good relationship with the police in her area, and has spent time with the police forensic team. Get all essential details right. Mystery readers will have read a lot of books like yours; regard them as a pretty savvy bunch.
10. Wait as long as possible to reveal the culprit. They're reading to find out, or figure out, whodunit. If you answer this too early in the book, the reader will have no reason to continue reading
Mystery Novel formula
The following outline serves the modern mystery novel, as defined by editors and publishers. A typical story will contain 60,000 to 65,000 words (205 manuscript pages) and will be divided into 12 chapters, each approximately 17 pages in length.
The Classic 12-Chapter Mystery Formula
Introduction of the crime (mystery) and the sleuth
Chapter 1
A. Disclose the crime and mystery to be solved. The crime must capture the imagination. It should have been committed in an extraordinary way and either the victim the perpetuator, or both, should be unusual. Give the reader enough information about the victim to make them truly care that the perpetrator is found out and that justice is served.
B. Early in the story, clues should be revealed which suggest both physical and psychological aspects of the initial crime. Those clues should point to suspects and motive which will cary the sleuth to the end of Act I. Some clues should point the sleuth in the right direction, others may not be obvious or be recognized as actual clues unto later in the story.
C. Introduce the sleuth who will solve the crime early, and have him or her do or say something very clever or unexpected which will establish that person as unique. Create this character with care. His or her personality should be interesting enough to sustain the interest of the reader to the very last page. (or through an entire series of books). It is not necessary to disclose all aspects of the sleuth’s personality at the onset. Let the description unfold gradually to sustain interest. Do reveal enough background to let the reader understand the world in which the protagonist functions. (Small town sheriff, Scotland Yard detective, Pinkerton agent in the old West, country squire, investigative reporter in New York City, etc.)
D. Ground the reader in the time and place where the crime occurs. It is often useful to include some sort of symbol, an object or a person, in the opening scene which serves as a metaphor for what occurs in the story. The reappearance of this symbol at the conclusion of the story will create a certain organic unity.
E. Begin with a dramatic event. Some writers offer a prologue, describing the execution of the crime in detail, as it occurs, possible from the point of view of the victim or perpetrators. The same information could also be revealed by a character, through dialogue. Sufficient details should be furnished to allow the reader to experience the event as though he or she were actually there
Chapter 2
A. Set the sleuth on the path toward solving he mystery. Offer plausible suspects, all of whom appear to have had motive, means and opportunity to to commit the crime. Select the most likely suspects, and have the sleuth question them. One of these suspects will turn out to be the actual perpetrator.
B. At the approximate mid-point of Act 1, something should occur which makes it clear to the reader that the crime is more complicated than originally thought. Hints may be given to allow the reader to actually see possibilities not yet known to the sleuth.
Chapter 3
A. The sub-plot should be introduced. The plot will continue to maintain the progress of the story, but the sub-plot will carry the theme, which is a universal concept to which the reader can identify. Sub-plots tend to originate either in a crisis in the sleuth’s private life, or in the necessity of the sleuth to face a dilemma involving a matter of character, such as courage or honesty.
B. The ultimate resolution of the sub-plot with demonstrate change or growth on the part of the protagonist, and will climatic on a personal or professional level. That climax may coincide with, or occur as prelude to the climax of the main plot. The sub-plot may be a vehicle for a romantic interest or a confrontation with personal demons of the sleuth. The author can manipulate the pace of the novel by moving back and forth between the plot and sub-plot.
Direct the investigation toward a conclusion which later proves to be erroneous.
Chapter 4
A. Reveal facts about suspects, through interrogations and the discovery of clues.
B. Flight, or disappearance of one or more suspect.
C. Develop a sense of urgency. Raise the stakes or make it evident that if the mystery is not solved soon, there will be terrible consequences.
Chapter 5
A. The investigation should broaden to put suspicion on other characters.
B. Information gathered through interviews or the discovery of physical evidence, should point toward the solution, although the relevance may not yet be apparent.
Chapter 6
A. The sleuth’s background is revealed as the sub-plot is developed. Tell the reader what drives the protagonist, what haunts or is missing in his or her life.
B. Make it clear that the sleuth has a personal stake in the outcome, either because of threat to his or her life, or the possibility of revelation of matters deeply disturbing to the protagonist on an emotional level
Change of focus and scope of the investigation. This is the pivotal point in the story where it become evident that the sleuth was on the wrong track. Something unexpected occurs, such as the appearance of a second body, the death of a major suspect, or discovery of evidence which clears the most likely suspect. The story must take a new direction.
Chapter 7
A. Reveal hidden motives. Formerly secret relationships come to light, such as business arrangements, romantic involvement's, scores to be settled or previously veiled kinships.
B. Develop and expose meanings of matters hinted at in Act I., to slowly clarify the significance of earlier clues.
Chapter 8
A. The sleuth reveals the results of the investigation. The reader, as well as the protagonist and other characters, are given an opportunity to review what is known and assess the possibilities.
B. The solution of the crime appears to be impossible. Attempts to solve the crime have stymied the sleuth. Misinterpretation of clues or mistaken conclusions have lead him or her in the wrong direction, and logic must be applied to force a new way of grasping an understanding of the uncertainties.
Chapter 9
A. Have the sleuth review the case to determine where he or she went wrong.
B. Reveal the chain of events which provoked the crime.
C. The crucial evidence is something overlooked in Act I, which appeared to have been of little consequence at the time it was first disclosed. That evidence takes on new meaning with information disclosed in Act III.
D. The sleuth (and perhaps the reader, if a keep observer) becomes aware of the error which remains undisclosed to the other characters
Solution
Chapter 10
A. The sleuth weighs the evidence and information gleaned from the other characters.
B. Based on what only he or she now knows, the sleuth must seek positive proof to back up the yet undisclosed conclusion.
Chapter 11
A. Resolution of the sub-plot
B. The protagonist, having been tested by his or her private ordeal, is strengthened for the final action leading to the actual solution of the mystery.
Chapter 12
A. The Climax - a dramatic confrontation between the sleuth and the perpetrator in which the sleuth prevails. The more “impossible” the odds have been, the more rewarding the climax will be.
B. Resolution - Revelation of clues and the deductive process which lead to the solution. Establish that the case has been solved and justice has been served to the satisfaction of all involved (except, the villain).
The Classic 12-Chapter Mystery Formula
Introduction of the crime (mystery) and the sleuth
Chapter 1
A. Disclose the crime and mystery to be solved. The crime must capture the imagination. It should have been committed in an extraordinary way and either the victim the perpetuator, or both, should be unusual. Give the reader enough information about the victim to make them truly care that the perpetrator is found out and that justice is served.
B. Early in the story, clues should be revealed which suggest both physical and psychological aspects of the initial crime. Those clues should point to suspects and motive which will cary the sleuth to the end of Act I. Some clues should point the sleuth in the right direction, others may not be obvious or be recognized as actual clues unto later in the story.
C. Introduce the sleuth who will solve the crime early, and have him or her do or say something very clever or unexpected which will establish that person as unique. Create this character with care. His or her personality should be interesting enough to sustain the interest of the reader to the very last page. (or through an entire series of books). It is not necessary to disclose all aspects of the sleuth’s personality at the onset. Let the description unfold gradually to sustain interest. Do reveal enough background to let the reader understand the world in which the protagonist functions. (Small town sheriff, Scotland Yard detective, Pinkerton agent in the old West, country squire, investigative reporter in New York City, etc.)
D. Ground the reader in the time and place where the crime occurs. It is often useful to include some sort of symbol, an object or a person, in the opening scene which serves as a metaphor for what occurs in the story. The reappearance of this symbol at the conclusion of the story will create a certain organic unity.
E. Begin with a dramatic event. Some writers offer a prologue, describing the execution of the crime in detail, as it occurs, possible from the point of view of the victim or perpetrators. The same information could also be revealed by a character, through dialogue. Sufficient details should be furnished to allow the reader to experience the event as though he or she were actually there
Chapter 2
A. Set the sleuth on the path toward solving he mystery. Offer plausible suspects, all of whom appear to have had motive, means and opportunity to to commit the crime. Select the most likely suspects, and have the sleuth question them. One of these suspects will turn out to be the actual perpetrator.
B. At the approximate mid-point of Act 1, something should occur which makes it clear to the reader that the crime is more complicated than originally thought. Hints may be given to allow the reader to actually see possibilities not yet known to the sleuth.
Chapter 3
A. The sub-plot should be introduced. The plot will continue to maintain the progress of the story, but the sub-plot will carry the theme, which is a universal concept to which the reader can identify. Sub-plots tend to originate either in a crisis in the sleuth’s private life, or in the necessity of the sleuth to face a dilemma involving a matter of character, such as courage or honesty.
B. The ultimate resolution of the sub-plot with demonstrate change or growth on the part of the protagonist, and will climatic on a personal or professional level. That climax may coincide with, or occur as prelude to the climax of the main plot. The sub-plot may be a vehicle for a romantic interest or a confrontation with personal demons of the sleuth. The author can manipulate the pace of the novel by moving back and forth between the plot and sub-plot.
Direct the investigation toward a conclusion which later proves to be erroneous.
Chapter 4
A. Reveal facts about suspects, through interrogations and the discovery of clues.
B. Flight, or disappearance of one or more suspect.
C. Develop a sense of urgency. Raise the stakes or make it evident that if the mystery is not solved soon, there will be terrible consequences.
Chapter 5
A. The investigation should broaden to put suspicion on other characters.
B. Information gathered through interviews or the discovery of physical evidence, should point toward the solution, although the relevance may not yet be apparent.
Chapter 6
A. The sleuth’s background is revealed as the sub-plot is developed. Tell the reader what drives the protagonist, what haunts or is missing in his or her life.
B. Make it clear that the sleuth has a personal stake in the outcome, either because of threat to his or her life, or the possibility of revelation of matters deeply disturbing to the protagonist on an emotional level
Change of focus and scope of the investigation. This is the pivotal point in the story where it become evident that the sleuth was on the wrong track. Something unexpected occurs, such as the appearance of a second body, the death of a major suspect, or discovery of evidence which clears the most likely suspect. The story must take a new direction.
Chapter 7
A. Reveal hidden motives. Formerly secret relationships come to light, such as business arrangements, romantic involvement's, scores to be settled or previously veiled kinships.
B. Develop and expose meanings of matters hinted at in Act I., to slowly clarify the significance of earlier clues.
Chapter 8
A. The sleuth reveals the results of the investigation. The reader, as well as the protagonist and other characters, are given an opportunity to review what is known and assess the possibilities.
B. The solution of the crime appears to be impossible. Attempts to solve the crime have stymied the sleuth. Misinterpretation of clues or mistaken conclusions have lead him or her in the wrong direction, and logic must be applied to force a new way of grasping an understanding of the uncertainties.
Chapter 9
A. Have the sleuth review the case to determine where he or she went wrong.
B. Reveal the chain of events which provoked the crime.
C. The crucial evidence is something overlooked in Act I, which appeared to have been of little consequence at the time it was first disclosed. That evidence takes on new meaning with information disclosed in Act III.
D. The sleuth (and perhaps the reader, if a keep observer) becomes aware of the error which remains undisclosed to the other characters
Solution
Chapter 10
A. The sleuth weighs the evidence and information gleaned from the other characters.
B. Based on what only he or she now knows, the sleuth must seek positive proof to back up the yet undisclosed conclusion.
Chapter 11
A. Resolution of the sub-plot
B. The protagonist, having been tested by his or her private ordeal, is strengthened for the final action leading to the actual solution of the mystery.
Chapter 12
A. The Climax - a dramatic confrontation between the sleuth and the perpetrator in which the sleuth prevails. The more “impossible” the odds have been, the more rewarding the climax will be.
B. Resolution - Revelation of clues and the deductive process which lead to the solution. Establish that the case has been solved and justice has been served to the satisfaction of all involved (except, the villain).
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