Tag: writing tips

Sowing Secrets in a Mystery

It’s advisable for mystery writers to give each character a secret that may or may not relate to the murder victim. This makes them suspicious in the sleuth’s viewpoint until she can unravel what it is they’re hiding.

In Ladies of the ’80s: A Divas Christmas recent TV movie on Lifetime channel, five former soap stars reunite for a reunion show. But all isn’t as it seems in this character-driven story. (Spoiler Alert!) Two of the members have a long-standing feud. Once best friends, they broke apart when one of them moved to LA to pursue her career. As the group struggles to overcome their differences and make the reunion a success (with a budding romance between the producer and director), secrets come to light. These are the ones I remember (and any mistakes are mine):

The rich matriarch’s diamond jewelry is fake. Her ex-husband embezzled all her money and she’s broke.

The social media fashionista wears a blond wig. She’s gone natural and has gray hair.

The actress who abandoned her best friend moved to LA because her career had bombed, and she was too humiliated to tell anyone.

The health and wellness author is a junk food addict.

In writing a mystery, it helps to give each character a secret. This can be a motive for murder, or it can be an innocent secret like the ones above. Say your suspect is making unexplained payments from a checking account. The sleuth might suspect this person is being blackmailed, but perhaps instead they are funding a beloved aunt’s elder care. Or a character might disappear on regular nights of the week while the sleuth suspects they’re up to something nefarious. But they could be attending cooking school and don’t want anyone to know they want to be a chef.

These are all great examples of good secrets. They’re important to the character but do not connect the suspect to the crime. So when plotting your story and developing your characters, add in some of these hidden foibles to fool the reader and the sleuth.

Can you remember any examples from mysteries you’ve read recently?

 

A Character’s Voice

Do you ever listen to how story characters speak? I don’t mean what they say, but how they say it. I wasn’t as aware of this factor as I should have been until I put my first four mysteries into audiobooks. Then I realized each character needed a distinctive voice quality.

Now that I’m working on a new book, I need to assign each cast member a voice type. To help me in this task, I’ve devised this list of characteristics.

Then there’s the difference between a person’s speaking voice and their tone. A person with a Southern drawl could give a clipped reply. Or a man with a hoarse voice could speak in a tight tone out of concern for a loved one. How do you differentiate? I would say tone conveys emotions. Voice is what you’re born with in a physical sense, and manner of speech involves cadence, accents, dialects, slang and such. Not very academic, but neither am I. There you have it.

gravelly
grating
gruff
harsh
high-pitched
hoarse
hushed
husky
loud
nasal
raspy
scratchy
shrill
silky
smoky
smooth
soft-spoken
strident
sultry
throaty
velvety

What else would you add to the list?

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Podcasts

I’ve recently been guest author on a couple of podcasts. Check them out here:

Nancy J. Cohen visits The Book and Life Podcast hosted by Kristal Fleming

“Let’s Write a Cozy Mystery” with Nancy J. Cohen on the Florida Writers Podcast

Giveaways

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June 1st is the start of Hurricane Season in Florida. On my latest Booklovers Bench post, I discuss how hurricane prep relates to writers. Leave a Comment Here and you’ll be entered into a drawing for a signed copy of Trimmed to Death (U.S. residents only).

Trimmed to Death

Story Questions

A great way to maintain suspense in a story is to keep the reader asking questions. This will entice her to keep turning pages to see what happens next.

The Ark television series on the SyFy channel has an intriguing premise. Earth’s environment is ruined, and mankind seeks another viable planet to colonize. They send out an ark ship named Ark One. But along the way, something hits their ship. It awakens everyone from cryogenic sleep and they learn their command crew has perished.

Several questions arise at once:

What caused the disaster? Was it an impact like an asteroid, an attack, or sabotage?
Is there a saboteur on board?
Who killed the imposter posing as a crewman?
What did this fellow know about their acting captain’s past that she wants to keep hidden?
Did she murder him?
Whose influence got her on board at the last minute? What makes her so special?
Meanwhile, is anyone left on Earth? Did the other planned arks have time to lift off?
And the big question is – Will they survive?

Each time one question is answered, another disaster occurs that raises more questions.

In my Bad Hair Day series, once my main character fulfilled her basic story arc, I had to add new questions. At the end of Star Tangled Murder, book #18, a reader asked:

“With Dalton retired, is this dynamic duo hanging up their sleuthing shoes? Is Marla really going to be content working less and keeping her nose out of everyone else’s business? Will Dalton be happy with a life full of teaching, hobbies, and being a stay-at-home dad? I am very interested to see what the author has planned.”

See what we’ve done here? As soon as one set of questions is answered or a character arc is complete, you need to immediately insert more issues. Keep the reader guessing, not only about whodunit in the mystery but also about the main characters. The questions can be external, such as who attacked Ark One? Or they can be internal, such as what may be hidden in a character’s past that we need to know?

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Questions create suspense, and that’s what keeps readers turning pages.

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Scenes and Series

When you’re writing a series, you need to be aware of scenes written in previous books that might impact your current story. Has your sleuth encountered a similar character before, researched a familiar topic, or visited the same place? If so, this might change how you approach a scene for your work in progress.

During my revision for Star Tangled Murder, #18 in the Bad Hair Day Mysteries, I had two scenes that made me realize more research needed to be done. One involved a local history museum and the other a casino run by a Native American tribe.

It suddenly hit me that this wasn’t the first time for either scenario. Marla, my hairstylist sleuth, had an episode in the same museum curator’s office in Trimmed to Death. And she’d interviewed a shaman at a Seminole casino in Hanging by a Hair. I realized I had better look up what I wrote before so I don’t contradict these previous settings.

My casino descriptions didn’t match. This fix was easy. Billy, the shaman in the current story, would work at a different gambling hall. I added a few lines bringing back Marla’s memories of visiting the other place for a prior case.

Regarding the local history museum, again my description didn’t match what I’d written before. That meant I had to modify what I’d written this time around since it was the same place. No need to reinvent the wheel in this instance.

The same precautions apply to conversations. Are you relating what two characters might already know about each other? How much background do you need for new readers without repeating information? This requires a delicate balancing act. It’s best to sneak in this info in small doses.

These are only a few of the hazards in writing a series. You have to remember what came before not only so you don’t repeat yourself but also so you get descriptions right and have your character reflect upon similar incidents from the past.

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Chapter by Chapter

When we write a book, we go word by word or page by page. If we think of the story as a whole, it becomes too overwhelming. Daily and weekly writing goals help us reach the finish line.

Revisions are a different story. The words are written. Now we must hone them into a fine-tuned instrument. It can take me an entire week to polish one chapter. First, I begin by addressing critique group corrections. This may involve moving passages around to tighten the focus, deleting sections, or refining a conversation. Dialogue tags have to be added to get rid of talking head syndrome, and my sleuth’s internal thoughts need to reflect her reactions.

In addition to the above, sentence structure must be tightened. Issues that are irrelevant are removed and repetitions pared down. Inconsistencies become more noticeable and easier to correct. The story begins to take shape in a more precise manner.

What this round of line editing doesn’t do is look at the book as a continuous story. Because I forget what’s happened in preceding chapters, the second round is where I’ll catch the bigger bloopers, or so I hope. This is a read-through from start to finish. Whoops, characters A and B already had this conversation in their last scene together. Or, this information has already been revealed about suspect C. Paragraphs will have to be modified accordingly. Then another round of reading is in order for overall smoothness.

Revision is a slow process but one that cannot be rushed. Just like a gemstone, every facet must be examined and polished. And once we’re done to our satisfaction, we send our work out to editors and beta readers. Then the process starts all over again.

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Where am I now in this stage? I’m on Chapter 16 out of 25. We’re getting there. How about you? Do you rewrite as you go or wait until the first draft is finished?

Plotter or Pantser

As a novelist, we’re often asked if we are a plotter or a pantser. These refer to your technique in plotting a story. Do you outline ahead of time, knowing each plot point that will occur? Or do you fly by the seat of your pants as you write, unaware of what will come next in your novel?

Plotter or Pantser

It’s possible to be a bit of both. For example, as you approach each chapter, you may know what is supposed to happen. But how do you get from Point A to Point B? That’s where creative magic comes into play. It’s exciting to discover things about your characters that weren’t in your original notes.

I got into the habit of writing a synopsis for each Bad Hair Day mystery. These ran fifteen or so pages long and acted as a daily writing guide. I always knew where I was going if not how to get there. If the story changed along the way, I’d revise the synopsis accordingly.

A synopsis may be required by traditional publishers. As in indie published author, it’s a choice. You may need a short synopsis to enter your book in a writing contest, or to send to a blurb writer or cover designer upon request. It’s still a good thing to have and can point out any flaws in your story that aren’t readily evident.

Despite my preference for plotting ahead, I found myself unable to get past the first few pages in writing a synopsis for my current Work in Progress. I had done rough sketches of the suspects but still wasn’t clear on all their motives. And so I began writing to get a feel for the story. Now I’m 75 pages into the tale and still winging it. I’m learning things about my characters I didn’t expect. Nor do I have any idea whodunit at this point. My only fear is writing myself into a corner and getting stuck.

To avoid this mishap, I’m writing down every loose end or question that comes to mind from the reader’s viewpoint. If I run into a wall, I can go back and pick up on threads I’d missed. Will being a pantser work for me? Time will tell. So will my critique partners who’ll let me know if the plot doesn’t make sense. Here’s an example of some of these loose ends from the opening chapters:

Loose Ends

Plotter or Pantser - Which type of writer are you? #writingcommunity #amwriting Click To Tweet

Which one are you – a plotter or a pantser? Or a combination of both? Do you have any advice for aspiring writers other than to use whatever technique works for them?

Adding Descriptive Details to a Scene

How do you avoid turning descriptive details in your novel into an info dump? When writing fiction, you have to be careful how you weave in this information. Add too much prose, and your reader will skip over those passages. You can insert material more enticingly by using dialogue, brief introspections, and short paragraphs.

Descriptive Details

My readers like to learn new “factoids” as they call them, and they’ve come to expect these tidbits in my books. It’s thanks to my editor and critique partners that these don’t become lengthy dissertations on my research findings. It’s tempting to share what you’ve learned, but you need to limit your enthusiasm and save this fascinating material for future blog posts.

Nonetheless, a critique partner recently asked me for more details regarding my story’s historical background. The setting involves a battle reenactment at a living history village. I’d skimmed over the details, but my writer friend wanted more. She even suggested I make the guide’s lectures more touristy.

Okay, I could do this. Here’s an example from a scene that takes place during the skirmish. Be kind in your appraisal. It’s a first draft excerpt.

Original Passage:

A man’s voice on a loudspeaker rang out, welcoming the guests. She recognized the marshal’s gritty tone.

“This battle is representative of the one that occurred on July 3, 1836. Out of one hundred and ten soldiers, only two survived. They made it to Fort King to explain what happened and so a contingent could return to bury the dead.” He continued to narrate as the action unfolded.

A line of blue-coated soldiers moved out at a slow pace, muskets at the ready. They followed a dirt trail among the pines and scrub brush. A small group wheeled a cannon, the only artillery in sight. The officers rode on horseback behind the troop’s drummer. The men looked weary, as though they’d been on the road for days.

Suddenly, shots rang out. The solders scrambled for defensive positions as the officers rode up and down the line, shouting orders.

Rewrite:

A man’s voice on a loudspeaker rang out, welcoming the guests. She recognized the marshal’s gritty tone.

“Today we are commemorating a massacre that occurred on July 3, 1836. One hundred and ten U.S. Army troops were on a mission to deliver a cannon to Fort King in Ocala. Along the way, they were attacked by one hundred and eighty Seminole warriors. Only two soldiers survived. Hungry and wounded, the men made it to the fort and explained what happened so a contingent could return to bury the dead.”

The blue-coated soldiers moved forward in a column. They followed a narrow dirt trail among the pines and scrub brush but still in view from the bleachers. A small group wheeled the cannon, the only artillery in sight. Three officers rode on horseback behind the troop’s drummer. The soldiers looked weary, as though they’d been on the road for days.

“The troops weren’t ready for action,” the marshal continued. “Their muskets were not loaded, and their ammunition was stuffed under their jackets. They’d grown tired and didn’t notice the tribesmen following them.”

Suddenly, shots rang out.

“The captain is hit!” the marshal exclaimed as the other officers shouted orders. The soldiers scrambled for defensive positions. Then the lieutenant toppled from his horse.

“Another officer down! The Seminole chief is a wily fellow. He knows which men are commanding the force, and he’s taking out the leaders one-by-one. Oh, no! There goes the sergeant. Now the rest of the troops will be mowed down like blades of grass.”

Which version is more vivid in your mind? What else should I add?

Another suggestion was that Marla’s husband Dalton should share some of his knowledge during the battle sequence since he’s a history buff. In the original draft, he said nothing.

New Passage:

Dalton nudged Marla. “The army soldiers had muskets that were smooth-bore and more suitable for short-range firing. The Native Americans used Deringer percussion rifles given to them in the Treaty of Paynes Landing of 1832. These had greater accuracy from a distance but took longer to load.”

“Why was that?” Marla asked. Clearly, he’d researched the topic.

“Both were muzzle-loaders, at least until 1850 or so. This means a powder charge and ball had to be inserted into the end of the barrel and pushed down to the firing mechanism. It was easier to do this for a smooth-bore musket with a larger barrel. Pushing the same ball down a tighter-fitting rifle took longer. However, the spiral grooves, termed rifling, inside this barrel meant greater accuracy. For tribesmen shooting at a distance on horseback, it gave them the advantage.”

What do you think? Too much detail or are these revisions just right? You be my critic.

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Blending Romance and Mystery

Mystery fans enjoy a romantic subplot that is slow and subtle. In a series, you don’t want to resolve the relationship by the end of book one. You’ll want to build it step-by-step, advancing or retreating with each story. Especially in a cozy mystery, any graphic sex scenes must take place behind closed doors. Sexual tension is welcome, but it’s not an essential element.

Romance Mystery

As for the heroine juggling multiple boyfriends, this gets old after a few installments. Have her make a decision after the first few titles. It doesn’t have to be the right one, but it’s less frustrating for readers than to keep stringing two suitors along.

The key is to have complications so the main couple can overcome the issues that keep them apart. Once one complication is solved, you need to bring in another. Life is never smooth and always has problems.

Keep in mind that you are writing a murder mystery, and the romance takes second place to the puzzle of solving the crime. If you include a strong romantic subplot, your story may be termed a romantic mystery.

How to Blend Romance and Murder

Give your characters conflicts to keep them from making a commitment. The external conflict is your mystery. The internal conflict is the reason why the protagonists are hesitant to get deeply involved in a relationship.

Conflict

Maybe your heroine was hurt by a former lover and fears getting burned again. Or she has a fierce need for independence because she has to prove herself worthy of respect. Why? What happened in her past to produce this need? Keep asking questions to deepen the motivation. Maybe your hero doesn’t want a family because his own parents went through a bitter divorce. Secretly he feels he isn’t worthy of being loved. Or maybe he suppresses his emotions and doesn’t know how to give affection. Whatever the opposite sex character does seems to deepen or challenge this inner torment.

Your characters are immediately attracted to each other through physical chemistry. This pulls them together while the inner conflicts tear them apart. Yet the benefits of being a couple begin to outweigh the risks. As the characters become emotionally closer, they’ll progress through the stages of intimacy.

Six Stages of Intimacy

1. Physical awareness: Your characters notice each other with heightened sensitivity. For example, the heroine is aware of the man’s physical attributes. She detects his personal scent and has a physical response to his presence. They steal looks at each other when together.
2. Intrusion of thoughts: Your character begins thinking of this other person often. The love interest invades your character’s mind.
3. Touching: First, it may be an arm around the shoulder, lifting a chin, touching an elbow. The couple comes closer until the desire to kiss is almost palpable. Have them lean in toward each other for a kiss and then interrupt them, so when they get to the next stage, it’s highly anticipated. Use the five senses as much as possible to enhance the sexual tension. Flirtatious banter can add to this mounting desire.
4. Kissing
5. Touching in more intimate places
6. Coupling: In a cozy, these scenes are off the page. But if you’re writing romantic suspense, you can include them. Here it’s important to focus on the emotional reactions of your characters rather than the act itself. This is lovemaking, not just sex.

Throw a wrench into the relationship when all seems to be going well. His former spouse appears on the scene. Her on-again, off-again other boyfriend shows up. The heroine does something thoughtless and alienates the guy she likes. He feels pressured and backs off. Finally, they both change and compromise to resolve their differences. Let’s see how this works.

The Bad Hair Day Mysteries

PERMED TO DEATH: Hairstylist Marla Shore meets Detective Dalton Vail. [girl meets boy]. While instantly attracted to each other, they share a mutual distrust. Marla is the prime suspect in her client’s murder [external conflict]. Dalton is suspicious of her, and rightfully so. Marla hides a secret that gives her a motive. Meanwhile, Marla is suspicious of Dalton’s interest because she thinks it’s a pretense to interrogate her. At the story’s end, he asks her for a date and she accepts [relationship moves forward].

HAIR RAISER: Marla meets Dalton’s daughter [forward]. She dates a handsome accountant who earns her family’s approval but may be a murder suspect [relationship moves backward]. Marla and Dalton share their First Kiss [forward].

MURDER BY MANICURE: Marla takes Dalton’s daughter, Brianna, to dance class [forward]. Marla pretends to be her friend Arnie’s fiancée so he can rid himself of an amorous old flame. They coax Dalton to date the woman instead. Marla gets jealous of Dalton when he pays the woman more attention [backward]. Marla earns his daughter’s regard [forward].

BODY WAVE: Marla’s ex-spouse, Stan, enters the picture when his third wife is murdered. Marla and Dalton work together to solve the case [forward]. Stan stirs up feelings Marla would rather forget. Dalton is jealous. Marla accuses him of wanting to pin the murder on Stan [backward].

HIGHLIGHTS TO HEAVEN: Marla and Dalton argue over his restrictive rules for Brianna, and Marla feels she has no place in his life if he won’t listen to her advice [backward].

DIED BLONDE: Dalton acknowledges his need for Marla, and he proposes [forward].

DEAD ROOTS: Dalton meets Marla’s extended family. He presents her with an engagement ring [forward].

PERISH BY PEDICURE: Marla meets the parents of Dalton’s dead wife. Dalton takes their side [backward].

KILLER KNOTS: Marla meets Dalton’s parents on a cruise. She and Dalton set a wedding date [forward].

SHEAR MURDER: Marla and Dalton tie the knot.

If your people get hitched, it doesn’t mean their problems are over. Keep throwing roadblocks in their way. Life is never perfect. In reality, married couples still have conflicts as they learn to face life’s challenges together. If you keep your sleuth single, make sure to motivate her choices to show why this path is right for her. Either way, keep things changing and evolving between your characters. It’s this personal thread that compels readers to come back for more.

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Are you a fan of a romantic subplot in a mystery?

Planning a Sequel

When you’re writing a series, how do you know what comes next? Book One lays the groundwork, introducing the setting, characters, and premise for the entire series. How can the second book build on this beginning?

Planning a Sequel

That depends on if your stories are more episodic or serial in nature. For whodunits, we’re more episodic with a different murder mystery to solve in each book. The crime is the focus of the plot, like exploring a new planet on each episode of Star Trek.

But this is only your main character’s external conflict. What about their internal angst? Here’s where you can introduce a serial element. By this, I mean an overarching thread that isn’t solved in book one. This thread deals with the protagonist’s struggle to overcome obstacles to achieve her ultimate personal goal. Each book should evolve from this core inner conflict.

In my Bad Hair Day series, hairstylist sleuth Marla Vail progresses in her dating life and matures to overcome past traumas and to embrace a happy future. But once your character fulfills her destiny, you’ll have to throw in another wrench to clog the wheels. This means that when one thread is tied up, you’ll need to introduce another source. Each story should evolve from the personal issues introduced in the previous story as well as any external problems that remain.

   First Four

A romance series is more likely to feature spinoffs, or a new set of protagonists per book. These stories might take place in the same town or share a theme, thus adding a commonality. i.e. A missing object must be found or something bad will happen. Each book would then focus on the protagonists revealing a new facet to this mystery, perhaps leading to another clue. It would reflect on their inner journeys as well. This is in addition to whatever external conflict is affecting their relationship.

Or in a science fiction series, perhaps the evil galactic warlord must be stopped. The heroes have many adventures along the way, making friends and enemies as they seek to end the tyranny or to prevent a worse threat from emerging.

Drift Lords Series

Think of Harry Potter. Readers know he’ll have to face Lord Voldemort someday. Meanwhile, he has other villains to defeat. Along the way, he has to find the courage and power to defeat his mortal enemy.

Your cast of secondary characters can provide plenty of opportunities for sequels based on their goals and conflicts and interaction with the protagonist. Give one a prominent role in the next story and focus on this person’s problems. Your hero gets involved because she cares about this character. She’s also grappling with some aspect of her own personal struggle to overcome.

It all goes back to the writing advice that your main characters must grow and change. What would normally happen next in this person’s life?

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Figuring out what to write next hasn’t been a problem for me. The biggest obstacles have been time and marketing decisions. What about you?

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A Eureka Moment

Every author likely goes through a phase when we are waiting for inspiration to strike. Or perhaps we have a plotting problem and need to find a solution. If you’ve been thinking about this issue for some time, the response will pop into your head at unexpected moments. It’s like a lightbulb turns on in your brain with just the answer you need.

A Eureka Moment

It’s ironic that I was slated to speak to the Citrus Crime Writers chapter of Sisters in Crime on “Creating Settings that Sizzle.” I was struggling to figure out the setting for my next Bad Hair Day mystery.

It had been several weeks since I’d started preliminary research for this book on topics that interested me. But I still lacked the single cohesive factor I needed. In my blog post on the Five Stages of Writing, I mention Discovery as number one. This is wherein you discover the story before you begin writing. I knew the inciting incident had to take place at a fairground or a park. I had several disparate elements that I couldn’t tie together. What was I missing? The setting within a setting, which I’ve discussed in a previous post. I needed a group of people who knew each other, but I couldn’t repeat what I’ve done before. This will be my 18th book in the series, and it becomes a challenge to keep things fresh.

I sat on my couch, intending to ruminate about the plot, when EUREKA! The answer popped into my brain! It was PERFECT for what I needed!

It’s amazing how the subconscious works. This is why you need to give yourself time during this discovery phase and not rush things. Gather the story elements, let them stew in your mind, and out will come the answer you need.

I’d visited this place and wrote a blog on it. I had an album with over sixty photos. And there was even a haunted house with ghost tours on the premises! Moreover, this setting within a setting was located at a fairground and would have a built-in group of suspects.

I’d have to adjust things a bit to fit my scenario, but this idea hit the nail on the head. I even remembered an episode of The Brokenwood Mysteries that took place in a similar setting. I’ll watch it to see how they set things up. Fortunately, I have the DVD in my collection.

You never know when a research trip will pay off. As a writer, you should take notes and photos wherever you go. At some point in the future, you might need those notes to set a scene or an entire story in that place. Every site you visit becomes a potential goldmine.

Now I’m excited to bring the pieces together. I’ll have some weaving to do but I have my basis to get started. At this point, I can determine the suspects. Then it’s a matter of figuring out their secrets and interconnecting them. All of this takes place as part of the Discovery phase before writing the story. More research may be required but at least now I have a direction to follow. I’m excited to see where the trail will lead.

My fellow writers, have you ever experienced this Eureka moment? It’s a glorious feeling, isn’t it?

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