The End That Satisfies
A mystery novel is all about a puzzle. As the story unfolds you put more and more pieces in place that lead your sleuth toward discovering the killer. Once the sleuth reveals the killer, the puzzle is complete.
As far as your reader is concerned, you have solved the puzzle. Your ending needs to come soon after that last puzzle piece is complete. Your reader has the final piece. Any delay in getting to the end of your story can leave your reader dissatisfied. Wrap up everything as neatly as possible. An unsatisfied reader will not want to read more of your books and leave less positive reviews.
3 Tips for Getting to The End in a Mystery
Mystery writers face a challenge of getting to the end of a story as quickly as possible after the killer is revealed. To give your reader the best satisfaction with your mystery help them get to the conclusion.
Reward Your Reader
Your reader follows your detective through the suspects, clues, red herrings, and evidence to discover the perpetrator. You can reward your reader by giving them a quick path to the end of your novel after the sleuth reveals the killer. You’ve solved the puzzle.
The Audiobook Opportunity for Authors
Authors and readers love audiobooks. Many authors are considering publishing audio editions of their book to add to their backlist.
Creating an audiobook has many benefits for independent authors.
With all the great reasons to create an audiobook, you’ll want to know how to work with your narrator.
Interview with Audiobook Narrator Jonathan Waters
Performance artist Jonathan Waters shares tips for authors about keeping your narrator happy. Plus you have an inside pick at a narrator’s recording studio and how he works to produce a finished hour.
Video Time stamp
0:54 What a narrator looks for in an author
2:06 Good communication
5:17 Character comes alive in narration
6:17 Provide a “casting call”
9:20 The Author in the director’s seat
9:45 How to give notes back to the narrator
14:39 The narration recording studio
19:47 What is a finished hour of production?
23:36 Editing author suggestions
24:35 The editing process
28:33 Narrator tip for authors
If you think Jon is right for your book contact him on Facebook at Jonathan.waters.524.
Two Places to Find and Audition Narrators
For years, ACX has been the go-to place to find narrators for your book. With thousands of voices to choose from, you can refine your search with many options for the voice and tone you want for your book. You can pay for the production or find a narrator who agrees to split the royalties. You book will be distributed through Amazon, Audible, iTunes with choices on distribution and royalty rates.
A new option for audiobook creation is Findaway Voices. The process is different. You tell Findaway Voices what you are looking for and they send you selections. You can always ask for more recommendations. Once you choose your narrator, you pay upfront. Your audiobook will be distributed to many outlets giving your book a much broader reach than ACX. And your royalty is higher.
Once you have selected the right narrator for your book or series, act as a professional in your interactions. You want to let your personality shine through, but treat your narrator with respect. He or she is a professional artist with other clients. Make it easy for your narrator to work with you.
Steps you can take.
You and the narrator are partners in the audiobook creation. You selected this performance artist as the right person to tell your story. Think of them as a member of your team. Give them encouragement and praise the work when deserved.
With the right attitude, you and your narrator will be on your way to creating a finished audiobook listeners will love.
How to Bring Action to Your Mystery
Mystery tropes like - the corpse, evidence hunt, sweating the perp, summation - comprise elements of the mystery novel readers expect. Action scenes will help build tension and, a well-written action scene pulls your reader into the story.
Don’t overlook action scenes to add dimension and empathy to your story. Action scenes have a place in the various mystery sub-genres. Just because you’re not writing a police procedural don’t overlook adding action to your mystery. An action scene is not necessarily a fight scene. Enhance even the coziest cozy with your heroine eavesdropping behind the commemorative statue in the town square.
Action Scene Basics
You may be used to thinking of action scenes as car chases, fight scenes, escaping the villain in the London Tube and the like, but action scenes are any time your sleuth has a physical moment. Just like the cozy heroine hiding behind the statue.
Action scenes can be written in a variety of styles. Read authors who write great action scenes to get a feel for how they are written and in differing styles. The Write Life suggests a few:
Mario Puzo, Lee Child, Karin Slaughter, John Connolly, Deon Meyer, Patricia Cornwell, Elmore Leonard, Louis L’Amour, Larry McMurtry and Robert B. Parker have all written novels chock full of bad characters doing very bad things.
Action Scene Basic 1 - Tone
Write in the style of your story. Avoid changing the tone because you’ve read Elmore Leonard and want to imitate his style. The scene should feel like an integral part of your story. If you write action in another style, it will jar your reader out of the story instead of being pulled into the tense moment.
Action Scene Basic 2 - Pace
Slow down and speed up. Slow down the pace to guide your reader through the action. Don’t just describe the blows, tell the reader how your protagonist sleuth responds. A straight blow by blow of punches and counter blocks isn’t enough. Describe your sleuth’s physical reactions. Describing the fight in this way makes it immediate to your reader and gives the feeling of speeding the action.
Action Scene Basic 3 - Minimize Feelings
If you’ve ever been in a fight or attacked, you know feelings don’t play a part in action. They come later. At the time of the action, the sleuth’s priority is winning the fight, catching the bad guy, getting to the next bend in the road without trashing the vehicle, etc. She’s not thinking about how her friend Norman is doing right now.
Action Scene Basic 4 - Move the Story Forward
Like any scene in your novel, the action scene must move the story forward. Your sleuth either gets closer to the perp or loses the round. The action scene must fit into the story leading your reader to wonder what comes next. An action scene just to have action bogs down your story. You reader will wonder why it is happening. Any time a reader stops being in the story to wonder or think you’ve lost them. The action scene must advance the story.
Action Scene Basic 5 - Be Realistic
A heroine who has no training will not win a fight with three trained assassins. Do your research. If your hero is in a car chase, watch simulations or play video games to get a feel of how quickly you must react in a fast-moving car. Things can spin out of control very quickly. Learn some basic fighting movements like the difference between a thrust and an undercut. Learn how a sidekick differs from a knee to the groin. Do the moves. It’s research. The more you understand the movements, the better you can make them come alive for your reader.
Enliven Your Mystery
Creating clues and suspects is part of the puzzle of writing a mystery. You can enliven your story with well-placed action scenes. Keep the basics in mind. You may find action scenes are fun to write. And, best of all, they keep your reader turning pages.
Challenge Your Sleuth With Mysterious Suspects
Suspects are the lifeblood of your mystery. Without them your mystery sleuth would have no challenges and solve the mystery in an instant. While evidence, clues, and red herrings help your reader keep guessing, the suspects provide personal interaction with your sleuth. That interaction is the story world that keeps your reader turning pages.
Your challenge as a mystery writer is to create characters that challenge your sleuth. Your detective must track down, examine, and determine each suspect’s relationship to the victim. Each interaction with a suspect drives your sleuth - and your reader - toward the final solution.
Four Steps to Create a Suspicious Character
Each suspect had a relationship with the victim. Use that relationship to provide insight into the victim’s world. But, each suspect also has a private life. That private life is what drives the interaction with your sleuth.
Start your suspect by building a rich background.
Go way beyond The Thug as a character. Give the thug a name, a background with relationships, a physical fallibility, and emotional weakness. Adrian McKinty creates a memorable layered hitman, Markov, in his novel Falling Glass in a relationship with his girlfriend which up the stakes of his assignment.
Authors like Ruth Rendell, Ann Cleeves, and Elizabeth George build their mysteries on deep psychological character portrayals. Even if you are not writing a “psychological” mystery, you’ll build reader engagement by delving into your characters.
The Suspense Secret
The more readers see your characters hiding secrets the more they engage in solving the mystery. Your sleuth works hard to uncover the secrets suspects hide. Your readers will work just as hard as suspects throw up screens and hide personal secrets.
The secrets your suspects harbor do not need to be related to the murder. A suspect can appear suspicious by hiding a personal secret that doesn’t relate to the victim or the murder. The very act of attempting to hide a secret creates tension in your story. Tension keeps readers turning pages.
Rich supporting characters give your readers an engaging reading experience. The obstacles they create for your sleuth are obstacles for readers who are trying to solve the mystery.
Inside The Sleuth’s Head
First-person point of view the narrator tells the story directly to the reader. The character speaks about himself or herself and share what they are experiencing.
Create a deep connection with your readers when your sleuth tells the story. You create an intimate portrayal of thoughts and emotions.
Traditionally, first person POV stories are told from one point of view. Some writers use multiple characters, each telling the story from a personal point of view. Multiple first person points of view allows you to expand the views for readers.
Advantages of First-Person Point of View
First-person puts the reader inside the narrator’s head immediately. You have the advantage of portraying intimate thoughts and emotions. Each moment the narrator feels, your reader feels. You deliver all the narrator’s senses of sight, sound, smell, taste, and touch.
Because your reader is inside the narrator’s head, they experience the emotions - their hopes, despair, love - with maximum emotional impact.
You create a strong sense of empathy in the reader through the narrator’s reactions to situations and other characters. Readers understand the character’s motivations behind actions and whether the narrator’s logic is right or not, the actions make sense to the reader.
The first-person voice gives the story a clear identity. You submerge your reader far into the world you create.
You can hide exposition in the narrator’s thoughts. The narrator’s thoughts about situations like class structure or social inequalities are integral to the narration. As a writer, you are spared the narrative trap of info dump to familiarize readers with the narrator’s milieu.
First-person narrators don’t have to be reliable. The story is told from the narrator’s point of view. The narrator can lie or misdirect the reader in a way that third-person narrative cannot do. Although an unreliable narrator doesn’t work well in a mystery, an unreliable narrator can tell a great crime story drawing the reader into a personal view of circumstances.
The narrator doesn’t have to be the protagonist but can be the one viewpoint that tells the story happening around them.
Drawbacks of First-Person POV
The major drawback of writing entirely from one person’s point of view is that it is limited. Because the reader experiences the world only through that character’s eyes, as a writer, you cannot share other characters’ thoughts and feelings.
Although you can describe the physical appearance of other characters through the narrator’s point of view, you can’t describe your main character. Don’t think about having them look in the mirror. The closest you can get is to have other characters periodically respond to a physical attribute.
By nature, first-person point of view is limited. As a writer, you will be challenged to present the big picture. You can’t give that character too much knowledge. Especially in a mystery you want to avoid giving away that big picture by giving your narrator too much knowledge.
The Personal Sleuth
Philip Kerr’s Bernie Gunther is a great example of first-person narrative. Set in Nazi Germany, Bernie offers his opinions and deals with consequences of his outspoken interaction while solving crime as a private detective.
If you decide to tell your mystery in first-person, know that you will work with limitations. On the other hand, you have the opportunity to build a strong emotional bond with your reader.
A View from the Edge - Third Person POV
How you tell your mystery makes a difference. Point of View (POV) is the voice that tells the mystery to your readers. Third person point of view allows readers to know what the narrator thinks and experiences without going directly into their head. You limit the perspective to one person’s perspective.
Ursula K. LeGuin gives a great description of third person limited point of view in her writing manual, Steering the Craft.
Only what the viewpoint character knows, feels, perceives, thinks, guesses, hopes, remembers, etc., can be told. The reader can infer what other people feel and think only from what the viewpoint character observes of their behaviour.
Connect with Your Readers
Third person limited point of view creates an intimacy between readers and the characters. Even though the story is not in first person, as a writer you can reveal thoughts and responses that allow readers to sense and feel what the character does.
Using different scenes, you can tell the story from the point of view of characters other than your protagonist. Many mystery and suspense writers alternate between the protagonist and the antagonist.
Create Mystery with Uncertainty
Because the story is told from a limited point of view, the emotions, secrets, and backstory of secondary characters - especially suspects - remain uncertain.
You challenge your sleuth to dig deeper to discover motivations and actions these characters keep hidden. Your sleuth’s challenge is to peel back the layers of understanding to solve the puzzle.
When the character has limited knowledge, so does your reader. Your reader is trapped in the head of the character. As you keep secrets from the character, you build tension for the reader. Page-turning is the key to keeping readers involved.
As your protagonist encounters challenges, your reader follows along expectant for the next discovery. Good mystery writing involves keeping your character, and your reader, in suspense.
Reader Comprehension Evolves
As the mystery progresses, your reader’s perspective on characters and situations evolves. This evolution of understanding is exactly what mystery readers want. Because they see only what the character sees, they are tied to the discovery path of your mystery.
Writer Challenge for Third Person Limited POV
The most common challenge, for beginning writers, to third person limited point of view is the temptation to head hop. That means changing character heads within a scene. Don’t do it.
If you go outside the view of your protagonist, use separate scenes to illuminate another character’s point of view.
Limit the number of characters you use to narrate your mystery. Besides the protagonist and the antagonist, choose wisely if you want to let your reader inside another character. The point of your mystery is to create a puzzle for your reader. Too many viewpoints muddies the waters of your story. You are more likely to confuse the reader rather than enlighten them.
Choose the point of view before you begin your mystery. If you have doubts, try writing the beginning in first person and third person to see which flows better. I tried this a few years ago thinking I wanted to be inside the protagonist’s head in first person. As I thought about how the story would unfold, I realized that third person limited would work better for the mystery.
Alternating between third person and first person is a device some writers use: third person for the protagonist and first person for the antagonist. In the hands of a skilled writer, this technique can work.
Your Choice for Storytelling
Third person limited point of view is the standard storytelling device in popular fiction. Use this point of view to your advantage as you create a mystery trail for your sleuth.
Eye on the Mystery Prize
Reading other authors in your genre is a sound practice. not just for emulating story strategy but for caution on what not to do in your story.
I just finished reading a mystery by an established mystery writer. As a reader, I was disappointed. As a writer, I thought about why I was disappointed. I reviewed the mystery writing elements and discovered the reason.
I liked the sleuth, a police inspector, and his team. But everytime the villain appeared he was snarky and overdone with throw-away lines. The villain intruded on the story rather than moving it forward. I kept thinking, “OK, let’s get back to the story.”
When readers, like me, get distracted they can and will stop reading. The only reason I kept reading was to see how it fit together because my interest as a reader was gone.
Organize Your Story
To keep the mystery in your mystery, all the the components must move the story forward. It’s challenging to keep the balance. Read other writers to know what to do and what not to do. Learn from their mistakes.
Keep these tips in mind as you build your story.
A disappointed reader, will not come back to give you a second chance. Focus on creating a sleuth your readers like. Make her character deep and empathic. Your sleuth’s reaction to other characters has a greater chance of keeping your reader involved than creating complicated interrelationships in other characters.
Take a look a popular mystery TV series. You’ll see that the emphasis is on the sleuth and the sleuth solving the mystery. Make sure your subplots don’t overshadow the mystery.
It doesn’t matter if you are a pantser or organize every scene of your story. A pantser may do the organization in the rewrite/editing phase. Planners can eliminate story clutter by creating a storyline and sticking with it.
Focus on the mystery.
Not the Villain, The Obstacle Maker
Enrich your mystery with an opponent who gives your detective problems. The opponent has a role quite different from the villain’s role. The villain in a mystery is the one who committed the murder. From Agatha Christie's Chief Inspector Japp and Hercule Poirot to the neighbor Grannen in the Swedish television series Beck.
The opponent is a character who causes trouble for your hero, the detective. They may be a rival, or a love or ex-spouse, or a neighbor… But somehow, villainous or bumbling, they are connected to the detective and oppose your central character.
Just like the sidekick, the opponent can be any age or sex. Their main role in the story is to cause problems and throw up obstacles for the detective. These obstacles force your detective to show qualities and personality characteristics that deepen your reader’s understanding of the central character.
The opponent creates obstacles that personally affect the detective and often hinder the murder investigation.
It’s up to your writer imagination to come up with ways to thwart your detective.
Sleuth Character Expansion
Depending on the opponent’s character and role in the mystery, each obstacle creates and opportunity for the mystery writer to expand your reader’s knowledge of the sleuth.
Because the opponent is outside the sleuth’s investigation, the interactions between the two characters are personal. These interactions reveal character traits the sleuth may not use in the pursuit of a murder inquiry.
Again, your writer imagination is the key to creating situations that emphasize your sleuth’s traits by interacting with the opponent.
The Free Character for Mystery Writers
The opponent complicates the sleuth’s life but not the mystery. The opponent can be a fun addition to your mystery because they don’t have to be part of the solution. As a novelist, you have a free hand in creating the sleuth’s opponent. Make the opponent as likeable or unlikable as you want and then insert them into the story to reveal your sleuth’s character traits. Readers will relate to your character and the misadventures created by the opponent.
Zara Altair writes mysteries set in ancient Italy. Her course for beginning writers Write A Killer Mystery is coming soon. Get on the notification list.
Photo by Gaumont - © 2000
A Sidekick Amplifies Your Sleuth and the Story
The sidekick is a traditional literary archetype that will enhance your mystery novel. The sidekick can be a working partner or a friend. The sidekick’s role in the story will vary depending on how you choose to amplify your sleuth with the sidekick. The ways your sidekick can mirror your sleuth depends on his story role.
Although some sleuths work alone, using a sidekick in your mystery can illustrate your sleuth’s weaknesses or strengthen his personal traits. When you expand your protagonist with interaction with a sidekick, reader’s engage with your story.
The Role of the Sidekick
The sidekick has a special role in your story and that is to accompany the hero on his quest. In a mystery, the sidekick helps your sleuth track down the murderer.
The sidekick is not necessarily a mentor. The role of the mentor is to appear periodically and provide sage advice. Your sidekick doesn’t have to do this. The sidekick wouldn’t be a sidekick if he wasn’t there through thick and thin.
Your sleuth and the sidekick have a connection that sets them on the trail of discovery to find the murderer. Even if the sidekick is assigned to your sleuth - this often happens in police crime novels - they both are set on solving the mystery.
How The Sidekick Mirrors Your Detective
Because the sidekick and the sleuth work together, they have something in common. It may be a knowledge of police procedure or a common interest. In the film The Crimson Rivers, thoughtful Pierre Niemans (Jean Reno) works with action-oriented Max Kerkerian (Vincent Cassel). Though they are often at odds on procedure, they both have the goal of finding the killer. John D. MacDonald created Meyer, the economist, to help readers understand Travis McGee in his long-running series.
The sidekick holds up a mirror to your sleuth by highlighting their strengths and weaknesses. Sometimes the sidekick compensates for the weaknesses by having an opposite personality or style of response. Some sidekicks may pick up the slack, others may not. The sidekick can highlight the strengths by pointing them out when your sleuth meets an obstacle.
Points to Consider as You Create Your Sleuth’s Sidekick
As a writer, you have a lot of leeway as you create your sleuth’s sidekick. Your sidekick can be male or female, younger or older or the same age, new to the game or an old hand. It’s up to you to create a sidekick that will accompany your sleuth on the discovery journey.
The Sidekick Supports Your Sleuth
Your sidekick supports your sleuth physically and emotionally as they work to solve the whodunit puzzle.
Collaboration is the Fast Way to Book Cover Design Success
Every author wants an eye-catching cover for their book that draws potential readers to their book. Your book cover is the first step in the buying journey for many readers. Unless you as an author are also a graphic designer, Investing in a skilled graphic designer is worth every dollar spent. For authors on a limited budget finding a good cover designer is the first outside investment to take to give your book the best opportunity in a competitive market.
Prepare for Collaboration
Your responsibility as an author is to convey the concept of your novel. If your book is first in a series, you’ll want to share the sense of your series as well so the artist can set up a replicable model that makes your series readily identifiable.
As an independent author, you can minimize cost and speed up the design process by preparing information for your cover designer.
For this cover, I wanted to focus on the grain merchant’s daughter, a bodyguard, and a broken contract. We got them all in the cover.
Co-Create The Final Image
Depending on your cover designer’s personal working style, the process of arriving at agreement for the final image requires communication. It may be through a series of messages or a brief video conference with screen sharing.
I’ve been working with Ryan J. Rhoades for several years with cover design for the Argolicus mysteries. This session took a little longer than usual because the conversation was typed rather than spoken. Ryan communicates with his clients through video conferencing. As he shares his screen, you can watch the cover take shape, move elements around, change colors, and other changes before your eyes.
Wait Before Final Approval and Delivery
Give the image a rest for at least 24 hours before you give final approval. Go back to revisit the cover and look for any details that may distract or need emphasis. For example, in this cover there was a squiggly line in the background that was distracting. We took it out, did some shading, and arrived at the final image.
Two Skill Sets, One Cover
As an author, you may fall into the trap of thinking your creative skills transfer to cover design. A little knowledge is not only dangerous, it can be detrimental to your book sales. If you are starting out with a limited budget consider a cover designer as an investment in your author career.
Zara Altair, Author
The puzzle of politics, the mystery of murder in ancient Italy. After Rome, before the Middoe Ages, Italy belonged to the Ostrogoths.