| You have the germ of an idea, a story to write. | | | | again, even at the end when the hero/heroine is |
| But you aren't sure how to go about fleshing it | | | | explaining how they solved the crime. Or to have |
| out. How do you get your hero out of your mind | | | | a seemingly important clue suddenly, without |
| and onto paper, solving the mystery you've come | | | | warning or reason, become unimportant. Also, be |
| up with? | | | | sure that your red herrings - clues that misdirect |
| One way to flesh out an idea is to ask yourself | | | | the hero/heroine from achieving their goals - |
| questions about your character and story to get | | | | make some sense and aren't just thrown in willy |
| a better feel for where you want to go. It's called | | | | nilly! They should make the main characters go in |
| brainstorming and it is a technique used by a lot | | | | the opposite direction from the solution, even if |
| of writers today. Here are some questions you | | | | only for a moment. |
| can ask yourself about your mystery story. | | | | 4. Scenes of interrogation: Who asks the |
| 1. Who dies and how? Or, if not a murder, WHAT | | | | questions? Who answers-and why or why not? Is |
| is the focus of the mystery? You need to have a | | | | your hero a police detective, a private detective, |
| clear idea of what you want to write. A murder | | | | or just your average citizen who has a talent for |
| story is told differently than a straight mystery. If | | | | solving crimes? No matter which one you choose, |
| you are going to write the murder mystery, be | | | | you must give them the abilities, and desire, to |
| sure you understand the crime-solving procedures | | | | continue their quest. And, if they are an ordinary |
| of the police, how criminals act and think, and who | | | | citizen, why would the person they are |
| you plan to have solved the crime. If it's a | | | | questioning even talk to them? |
| mystery, make sure you know what the goal is | | | | 5. Scenes of confrontation: who fights? Why? |
| for your hero/heroine. Understand why they want | | | | What motive will this give the character involved? |
| to find/solve their mystery. Are they compelled | | | | Who, if anyone, overhears the confrontation? |
| to do so because of outside elements? Or is this | | | | Give your characters the passion and desire to |
| a personal quest that they have no choice to do? | | | | complete their task. Give them people who want |
| 2. How is the body found-or what is found? How? | | | | to stop them, for whatever reason. Make sure |
| Why? By whom? Under what circumstances? Is | | | | these two meet, as often as needed to move |
| the hero/heroine the detective, or are they an | | | | the story along. Build their confrontations slowly, |
| ordinary person thrown into this problem against | | | | making both sides up the ante until the rewards |
| their will? | | | | for winning are the only thing that matters. |
| 3. What clues will you need to plant and who will | | | | Writing a great mystery takes patience, |
| find/notice them? Your detective? The reader? | | | | understanding of the criminal process and a desire |
| You'll need to keep track of the clues, what they | | | | to confound your reader until solving your |
| are, where they came from, and why they are | | | | mystery is the only thing on their minds. Being |
| important. It's always annoying to have a clue be | | | | prepared is the best way to make your story |
| given on page four and then never be mentioned | | | | happen. |