How to Write Mystery Novels - Murder-Mystery Writer

==> Writing Murder Mystery Novels - 10 Must-Include Narrative Points Vital to Your Success

Writing murder mystery novels takes a clever mind coupled with a pinch of deviousness. But it need not be hard.

Here are 10 points that all would-be authors writing murder mystery novels need to include in their books if they want literary (and monetary) success.

1) There must be a "why" - a reason for the murder to be committed. And it must not be obvious.

Whether the motive is money, revenge, cover-up, love rejected, on some other, the reason for violent death must be there, and believable. The motive is the core of the plot.

2) Characters are all-important, especially the protagonist (your hero or heroine) and the antagonist (the murderer). Your good guy should be resourceful, have at least average courage, and be like
a bulldog on a scent. He need not be a cop.

Your villain should be ruthless, capable of doing whatever it takes to push forward his agenda. Hero and villain alike should be drawn as
if they were real people, not caricatures or stereotypes.

3) Your hero should have a fatal flaw, something that could cause him to fail in his quest to solve the mystery. Likewise, the villain should not be pure evil. Give him some human traits.

Actually, a bad guy with some humanity is even more likely to cause readers to cringe.

4) Introduce the hero and the villain early in the book when writing murder mystery novels. Your hero is the sleuth, and should appear
as early as possible.

The villain should come in somewhat later, but not too late. Fit his
appearance in with the other, secondary characters the detective will be investigating.

5) Include a host of colorful secondary characters who have a motive or reason to want the victim dead. Some may be likable, humorous or despicable, but all should have their reasons to kill, or the chance to have killed, the victim.

Authors, play fair here. Give your readers an honest chance, through clues planted throughout the narrative, for them to solve the mystery. Planting red herrings - false clues or mis-information - is perfectly good form, as long as it's integral to the investigation. No cheating!

6) The murder should occur very early in the book, in the first chapter if possible, but no later than the third. Make it violent, gruesome, and horrific.

If it happens to a character who's innocent and likable, so much the better.

7) Make sure your sleuth solves the crime using only his intellect and rational deductive powers, coupled with sound scientific methods.

No "God in the Machine" revelations, supernatural events, or coincidence.

8) Make your world believable. Here's where writing about what you know is good advice. Whether you live in New York City or Jekyll Island, Georgia, create a milleau based on a real place, with
vivid, accurate details. If you know the seamy side of your setting, you can bet your readers will be right there with you.

A good mystery can be set anywhere, even in space (see the movie "Outland", with Sean Connery).

9) What you don't know, research thoroughly. Use primary sources (experts like police forensic specialists) as well as secondary resources (books, magazines, historical papers).

Having the correct details are critical! For example, if you reveal the symptoms of a poison used to kill your victim, you can be sure that some of your readers will be experts on that poison, and will delight in writing to let you know when you're wrong.

A good source for weapons research is Murder by Proxy, a great little book on writing murder mystery novels. As well as weapons, it covers editing your manuscript, getting published, and more.

10) Wait until the bitter end to reveal the murderer.

Revealing the killer early in the book makes your novel a thriller, not a mystery. Readers buy who-dunnits because they want a chance to help your hero find out, well, who done it.

Keep these 10 vital narrative points in mind when writing murder mystery novels. Who knows, the next big blockbuster may be yours...

==> Elements of Writing a Mystery Novel

Like anything, a mystery novel is composed of different parts, which are referred to as elements. Each are critical in capturing the readers interest. If your story is researched and well written, it is sure to be a winner. By now, you are probably wondering what the elements are. They are the science, plot, characters with settings and writing technique.

First is the science. This needs to be accurate due to the fact several mystery novel readers are welled versed in forensic techniques. They can see through phony stuff in an instant, and you want to avoid that. If you can write a good story and have correct science then your book just went from decent to great.

Next is the development of the plot. This will make or break your story. It is crucial to have a plot that makes sense, is intriguing, and has many twists and turns to keep the reader not knowing what is going to happen next. The more they do not know what is coming the more suspense you will create and of course in a mystery novel, suspense is everything! If there was a part to really focus on, it would be the plot!

Following is creating the characters with stories settings. It is important to really develop them and make them something authentic. You want to have the audience relate them. This will increase the connection with the reader and makes it easier for you to write the rest of the novel. The more you know about your character, the easier it is for you to write about them. After the characters, the setting is extremely important to set the atmosphere for the story.

Lastly, the element of writing technique is significant when constructing your mystery novels. This is simply because this is part of what creates the emotion within the reader. It is good to include literary elements such as similes, personification, and metaphors. It is good to also include more advanced techniques such as suspense and foreshadowing. These are big keys when writing a mystery story. What is even more important is what is called red herrings. These will make reader think the story is going one way when it is actually the other. Incorporating these will enhance your story and make for a better read.

If you can have all these elements intertwined into your story, you are on the right track to write a great mystery novel!

==> The Science Behind Writing a Mystery Novel

When beginning to write a mystery novel that has police investigations it is important to understand that there will have to be some science in the story. You may disagree and say that it is not absolutely necessary, but if you want to sound professional, and be logical you want to incorporate at least a little bit of science in. This can establish credibility and the more experienced mystery novel readers will appreciate this.

The first thing you want to do is determine what science exactly you want to incorporate into your novel. It could range from something like DNA fingerprinting to cloning. You do not have to choose only one topic either, it keeps the story more interesting if you include a collection of different forensics for your readers. This also allows for more wiggle room when starting to write your novel as well. If you have more science, the story is easier to work with and build around. It may even provide inspiration when you are going over what topic you want to choose.

When you are choosing what science subject you want to involve in your story it is good to choose something that is more unique and maybe not commonly heard of. This is not the case the whole time, but it could provide for a more interesting plot. Remember you want something that is interesting, accurate, and modern. It must make sense to the reader, and it helps if the science is more up to date or even futuristic, as long as you can explain it and it is true, you have a good science topic.

After you decide what you want, it is time to research! There are many resources you can find on the internet that will supply you with valid and useful information, although you want to be careful when picking and choosing what is fake and what is true. It would not be good to be caught having false information in your story when you believe it is true. There is a way to avoid that situation though. There are books out there that offer information that works perfect for this, or sometimes there are even books made specifically for that. One book that does this is called Murder by Proxy. This will help you get all the scientific part of the plot, so that you can focus on the story writing.

Overall the science behind a mystery novel is important, simply because not only will it make your story more intriguing, but it will also appeal to the more knowledgeable novel readers. If you can add in science into your tale, you are well on your way to writing a great mystery novel.

==> Why Red Herrings are Good for your Mystery Novel

Mystery readers love to exercise. Exercise their minds, that is!

A great mystery should challenge readers and make them think. Readers want to figure out the mystery along with the detective and not be able to figure out the mystery by page two. In order to do this, the writer needs to include a literary device called a red herring.

What is a red herring?

A red herring is a dried, smoked herring that looks red from the curing process.

Why should a mystery writer stick kipper snacks into their plot line?

From the information I could find on the original of the phrase, it seems some kind-hearted folks would try to save a hunted fox by dragging a red herring across the path of a fleeing fox, confusing the hound dogs and leading them away from the little red fellow. Another mention of red herrings comes from a poem written in the 1680's, around the same time as the first written mention of the fox hunting reference.

Like the hounds who are thrown off the trail in pursuit of a smoked fish instead of a live fox (the fish probably tastes better anyway), a red herring is a clue meant to confuse readers and make them take the wrong path away from the truth and the solution to the case.

For example; my detective knows his quarry strolled out of a Super Shoe store at six o'clock on the night in question. The pavement in front of the store was freshly cemented and the suspect left shoe prints in the wet cement. The detective thinks the size 6 shoe print with the distinctive outline of the newest Stuart Wietzman Empire boots is the suspects and asks the shoe saleswomen for a printout of all the women who bought that shoe in the last week.

However, the detective didn't realize the suspect would NEVER wear a new pair of three hundred dollars boots on wet cement, and had left her treadless Nike's on! The boots are a red herring.

The best mystery writers use red herrings to keep the detective on his toes and baffle the reader. However, the writer must be sure to also put real clues along with the red herrings. You could even put the real clues and the red herring in the same scene, and have your reader try to puzzle out which clue is real, and which one is fishy.

Red herrings are an essential part of your mystery plot.. Use them judiciously to baffle your readers and keep them interested!

==> I Killed Marilyn: the most unusual mystery novel of the past two decades

The first time I read "I Killed Marilyn," I was astounded by the novel's seemingly impossible combination of fast-paced, almost light-hearted dialogue and action and the depth and seriousness of matters it covers on, alludes to, and touches upon. The second time I read it (a week later), I forced myself to slow down a bit, and a whole different layer of dramatic effects revealed itself: each character in it, no matter how secondary, has a complete psychological portrait (sometimes consisting of merely a few lines spread over the story), and is crucially important. There are no extras in this show.

The story goes something like this.

One of the financially strapped synagogues in a quiet section of Brooklyn needs a new custodian. One of the requirements is the applicant cannot be Jewish (he should be able to work on Saturdays). One of the congregants recommends a fellow from his building, a youngish, athletically built former cabdriver.

After a brief interview at which it becomes known that the fellow knows plumbing (the synagogue can thus save on some of the repair bills), they hire him.

The new custodian is diligent, thoughtful, polite, and charming. Soon the congregants become used to him and even begin to admire him. He becomes part of the community. The butcher hires him for the weekly delivery tour. An elderly lady wants him to come over to do some apartment maintenance. The secretary trusts him with the keys to the office (where the synagogue's correspondence and some charity checks are stored). He is obliging, thoughtful, and, well, indispensable.

No one can even begin to suspect that there is plenty more to the custodian than meets the eye. No one knows that his face has been changed by plastic surgery; that he used to have a different name; that about ten years ago he served as a bodyguard to the President of the United States, and when the going got really tough had to run - first to Argentina, then back to the States, eventually settling in New York.

What the custodian himself does not suspect is that his past is about to catch up with him; that a woman he once loved is about to re-enter his life; and that the "ideal refuge" may not be so ideal after all.

What sets the lead character apart from most characters in today's literature is his casually businesslike approach to any situation. He willingly helps people out; he enjoys looking out for others' interests; he's a good sport and a good trooper, and yet, when it becomes necessary to murder a former girlfriend, only a wild coincidence keeps him from doing so the way he does everything in life: thoughtfully, precisely, and in cold blood. In the noisy crowd of dashing, roguish, and largely useless lead characters today's literature seems to dote upon, the fellow in "I Killed Marilyn" stands out as a complex, intriguing, and perfectly genuine personality. He is not cruel, only efficient; not servile, only compassionate; not cynical, only realistic; not roguish, only sexually active in a world where those who should keep a low profile in order to stay alive cannot afford to be involved in a serious relationship; and not pious, only (for whatever reasons) calmly religious. Yes: he believes in God; and, no, he does not put God's interests ahead of his own. In other words, he very much resembles his former employers, the powerful siblings; only he is superior to them in one aspect, at least: he's still managing to stay alive.

What does all this have to do with Marilyn? Plenty. I wouldn't want to spoil it for those who have not read it yet, though.

Anthony Anchor's narrative style might strike some readers as unusual in that the narrator (the story is told in the first person) and other characters are in the habit of uttering perfectly bizarre, shocking, and revolting things as if stating the obvious. In an epoch when life (and most books) tend to imitate politically correct television, the novel is a breath of fresh air. The numerous turns and twists of the plot, shot through with a string of dramatic flashbacks, only enhance the feeling that the story is as real as life itself: intricate, unpredictable, exciting, comical, tragic, romantic, and infinitely beautiful. It is a wonder how the author manages to cram so much action and detail into a fairly limited number of pages. It is one of those stories that keep inviting their readers to come back, re-read, and discover new angles, new overtones, fresh nuances, every time.

As for historical accuracy - well, that's a whole different subject. As it says on the title page, the novel is a work of fiction.

==> Merryll Manning: The Health Farm Murders-A Mystery Novel by John Howard Reid

Miami Police Sergeant Merryll Manning is on vacation at a health farm in Australia after answering an ad that promises a return to health and happiness. Just what he needed, or so he thought. Merryll's hopes for rest and relaxation are quickly dashed when a fellow guest is found dead.

Available for the first time in North America, this is the second of twelve Merryll Manning books first published in Australia in 1985 by author John Howard Reid. Despite being a sequel, the book reads well as a stand-alone, and there is no need to read the prequel to become accustomed to the character.

Sister Susan's Health Farm is set in fictional Happy Valley, based on Blackheath, in the Blue Mountains west of Sydney, Australia. Author Reid introduces a large cast of intriguing characters, each of whom have retreated to the farm for their own unique reasons. His protagonist is no stereotypical detective; Merryll (Merry) Manning is a sophisticated, eccentric policeman rather than the macho, ego-driven cops so common in the mystery genre.

When a retired film exhibitor is found dead and the local police arrive, there is immediate friction between Merryll and police sergeant George Lambert. Lambert's police skills appear limited and Merryll questions the sergeant's ability to solve a homicide. Lambert points the finger of guilt at local thug James "Jimbo" Punter. Merryll suspects the sergeant has a personal bias against Punter and learns Jimbo once had an affair with Lambert's wife.

Another guest is found dead. Merryll turns up clues that put nearly every one of the twelve vacationers, and even the proprietress Susan Delaflore, under suspicion at one time or another in the story. An enormous police manhunt for Punter begins in the vast valley. Meanwhile, the survivors of Sister Susan's farm set out on the final hike of the visit to Pulpit Rock Lookout. The hike is vigorous and dangerous as the author brings all the players together for an epic confrontation, but keeps the reader guessing the true identity of the killer until the final pages.

The author has a knack for scene-painting narrative. His vivid descriptions of the mountain scenery and the simple accommodations of the farm effectively put the reader right in the scene, watching the drama unfold. Mr. Reid has penned a captivating, soft-boiled detective story with a strong main character, a terrific supporting cast, and a plot with twists, turns, and plenty of red herrings. He treats the reader to a tale filled with tension, conflict, and quirky humor. The violence is minimal and there is no foul language.

I highly recommend Merryll Manning: The Health Farm Murders. This is an intelligent, old- fashioned-styled mystery that won't disappoint. Those who love a great whodunit will be hooked. Merryll is a superb hero and this is sure to be an entertaining, enjoyable series.

==> The Time for Gay Protagonists in Mainstream Mysteries Has Come -- Guest Article by Bob Frey

Tamara Kaye Sellman of the Writer's Rainbow Literary Services asserts on the cover of my gay detective novel, The DVD Murders, "The time for gay protagonists in all sorts of commercial fiction has come." Has it? Is the straight world really ready for an invasion of gay heroes into all genres of mainstream fiction, such as fantasy, romance and mystery? Will the girl next door become the boy next door, Plain Jane, Plain Jim, or the clueless husband, the clueless domestic partner?

Gay characters have made great strides on network television. The Jodie Dallas character as portrayed by Billy Crystal on Soap in the late 1970s is generally regarded as the first openly gay male as a regular cast member in a series. Thinking has progressed until we now have such credible gay characters as the precocious Justin Suarez on Ugly Betty and the sociopath Andrew Van De Kamp on Desperate Housewives.

Sometimes you may get the impression that everywhere you look on TV these days you see a gay, lesbian, or bisexual character. Not quite. According to estimates by the Gay & Lesbian Alliance Against Defamation (GLAAD) such characters account for only 2.6 percent of all the regular characters in TV Series in 2008-2009 season. While that was up from 1.1 percent of the previous year and was a positive sign, more work is needed to achieve fair balance. Cable, with its two gay-oriented channels, Logo and here, customarily offers a greater number of GLBT characters.

Hollywood, on the other hand, has not kept pace and seems stuck in the twentieth century. True, the major studios have turned out many films with gay characters over the years. Most of them, however, have been in minor roles, such as the flighty costume designer in Broadway Melody, closeted characters like the female schoolteacher in The Children's Hour, stereotype jokes, such as the policeman in Wild Hogs, or victims like the AIDS patient in Philadelphia.

In the four years since the groundbreaking Brokeback Mountain the major studios have only produced one gay film, the award-winning Milk. Hollywood execs claim a lack of high-quality gay scripts or that TV has a lot more time over the course of a series to develop a character whose sexuality is only a part of his life while a film only has two hours. Others suggest movie executives tend to be older and therefore less comfortable with homosexuality.

Whatever the reason, Hollywood is out of touch. Attitudes have changed, particularly among young people who tend to be more accepting of alternative lifestyles. Unfortunately, as of yet, this acceptance has not carried over into mainstream mysteries. Ask any typical mystery lover: when was the last time you read a whodunit that had a gay detective?

Gay characters have appeared in mystery novels for a long time, but like the movies they were mostly cast in minor roles as villains, victims or freaks. It wasn't until Joseph Hansen introduced the Dave Brandstetter series that we had a detective--here an insurance investigator--who was unashamedly and unapologetically gay.

The relative success of the Hansen novels paved the way for other gay protagonists and was followed by the breezy mysteries of Nathan Aldyne's gay gumshoe Daniel Valentine, the lesbian amateur sleuth Jane Lawless in the Ellen Hart books, and many others. Few, however, have made the crossover to mainstream mysteries, unless you count the Alex Delaware novels of Jonathan Kellerman which feature Milo Sturgis, a gay cop friend of the protagonist or the lovable bisexual psychopath Tom Ripley in the Patricia Highsmith novels.

Despite the many advances made for gays and lesbians, and in particular the legalization of same-sex marriages in a growing number of states, some readers because of religious beliefs or prejudice are simply not ready to accept a gay protagonist in a mystery novel or any other work of fiction. That's too bad, especially if you are a mystery fan, since not only do these novels provide us with more rounded and realistic images of gays and lesbians but some of them are simply crackerjack mysteries.

==> Victorian Mysteries: Woman in White Game Review

Immerse yourself in a 19th century mystery thriller in Victorian Mysteries: Woman in White. Play the part of a down-on-his-luck poor art tutor whose latest teaching job ends up dragging him into an inexplicable mystery. A chance meeting with a mysterious woman suddenly turns into a thrilling adventure full of secrets, murder and deceit. Use your skills to search for clues, uncover the plot and weed out the lies in this thrilling hidden object adventure game.

Woman in White is based on Wilkie Collins' 19th century mystery novel of the same name. The novel is one of the earliest forms of detective fiction with its main protagonist Walter Hartright playing the part of the "detective". In this hidden object adventure game, you take on the role of Hartright as you see the dark and mysterious Victorian England through his eyes, and attempt to solve this perplexing mystery.

As Hartright, you are short on cash and decided to take a job with the Fairlie family, teaching art to two young ladies. On your way to the mansion, you encounter a mysterious woman dressed in white who seems to know a lot about the Fairlies. The job goes well, and you get along splendidly with the two ladies, especially the beautiful Laura Fairlie. Things take a turn for the worse when Laura's fiance arrives and she becomes the center of a mysterious and treacherous plot.

You view the game through the eyes of an art teacher, and old England as shown in the game is indeed a beautiful work of art. The graphics are crisp and clean, though it is a bit dark and creepy at times due to the nature of the story. It does however create the perfect atmosphere for the game, and successfully brings the feel of Victorian England to life. It is also accompanied by a haunting soundtrack and great voice-acting that all blend together to make you feel like you're really living the mysteries in this 19th century novel.

The gameplay in Woman in White is what you would expect from a hidden object adventure game. You have the main adventure screen where you see all the locations and scenes that you can visit, with the ability to interact or zoom closer on various objects in each scene. The main screen also contains your journal which contains all the clues you have compiled so far, as well as biographies and a family tree of all the characters you meet in your adventures. Any items that you collect along the way will also appear on this screen.

Depending on what mode you choose at the start of the game, the "objects of interest" in each scene will either be highlighted to make it easier for you, or unmarked so that you have to figure out which items might be important to your investigations. Clicking on these will either zoom in closer on the object to reveal more clues and items, or launch mini-puzzles and hidden object games. Some of these objects will also require tools and items that you gather from other locations in order to interact with them. For example, you will need to collect a brush and some paint in order to touch up a dirty painting.

The hidden object scenes scattered throughout the game contain various hidden items that you will need to spot. Some of these will turn out to be useful tools to be used in other puzzles later on in your journey. The scenes are drawn up very well, with the objects blending in well with the background but not being too difficult to find. The puzzles and mini-games are also well-designed. It looks like the game developers have tried to put in new twists to these puzzles. Instead of getting a standard memory matching game, you will see a more complex version in the form of newspaper articles that you need to match... and these articles also happen to be liners for a bird cage! If you pause for too long when you encounter a new puzzle, the game will helpfully provide you with some hints on what you are supposed to do. And if you are still stuck after that, there's always the "skip" button...

What I find to be the most attractive and compelling part of the game is the strength of the story. Unlike the majority of the hidden object games out there, this one is based on a great detective novel by an established 19th century author and playwright. Because of that, the story really engages you chapter after chapter. And when you finish the game, you will feel like you have taken part in a great adventure. The Victorian Mysteries: Woman in White PC game is perfect for those of you who like detective and mystery games such as the Mystery Case Files series as well as those featuring Sherlock Holmes.

==> Keeping Track of Your Mystery Story's Plot

Writing a story, whether it's a novel or something shorter, requires focus and at least some idea of where you want your tale to go. You should have an idea where you want to begin your tale, what happens along the way, and how it all turns out. But writing a mystery requires a bit more work.

In a mystery story there are many different things to keep track of. Not just your characters, but the suspects, clues, and red herrings that make a mystery novel so compelling to read.

You may be asking yourself, "What is the best way to organize your suspects, clues and red herrings when you're planning and writing a mystery?"

What I like to use is a plotting spreadsheet. It can be done on paper, or on a computer, depending on your personal preferences. I usually do mine on paper because it's easier for me and I use a pencil so I can make corrections when needed.

I use boxes to help make the plots easier to follow. At the top of a piece of paper, centered, I make a box that labeled "Crime". Inside, I write a very brief description of the crime; usually no more than the victim's name, where and how they died and who killed them. Then I make a box for every major event in the story below it. Kind of a timeline for my tale. When the body was found, and by whom? When the first real clue discovered, the second, the third, etc? This is the timeline of my story. I try to keep the main plot line the only information in the middle boxes. You'll see why in a moment.

Now, for each subplot, I use another line of boxes along both sides the main plot boxes. If I have one subplot, then I have one line of boxes. Two different subplots, two lines of boxes, and so on. I tie the red herrings, suspects, and clues for those subplots to the main plots. When does the first suspect show up, and is he/she the real one? What are the red herrings and when are they introduced? For each different item, I place it in a box near the timeline box that it coincides with and connect them with a line.

This method not only helps me keep track of all the different aspects of my mystery story, it helps me make sure my subplot's timeline flow along with my main plot's timeline. I don't want to have a clue being introduced that has already been discussed earlier. Likewise, I don't want to introduce a clue that is never talked about again.

When finished, it should look a lot like a corporate organization chart. Each subplot nicely laid out beside the main plot. It might sound daunting, but it gives me a clearer picture of my subplots, and how each item relates to the main plot. Doing something like this should also help me decide if I have too many subplots going on. The page should be busy without being impossible to follow.

This brings me to the next point in this article. Can a mystery become too involved and tangled? How can we, as writers, be sure to have enough "mystery" without creating too much?

When I write a mystery story, I try to create enough subplots to keep the reader interested, without overwhelming the reader. Personally, if I have trouble remembering what each one is, and what it's correlation to the main plot is, then how would I expect my reader to keep track of them too? Likewise, if the story only has the main plot, or just one subplot, it isn't likely to have enough tension and suspense to keep my reader reading to the end.

So, for me, if my mystery story has two to four subplots I'm happy. I can keep track of the events, remember the clues, and keep the suspects straight.

When writing your mystery, you want enough subplots to keep the reader guessing, but not enough to make them run and hide from your story. The object of writing a mystery story is to keep your reader guessing until the reach the final page.

==> Creating the Perfect Murder Mystery Victim

Who your victim is can be just as important as who your hero and villain are. Each has the same importance in your story, and should have the same amount of care taken when you create them.

Your victim isn't just a body to be discovered or someone whose death can give your detective a crime to solve? Your victim is a plot twist that can help move your story along. He is a crucial character in your story. Here are five tips to help you create them.

1. Your victim should make sense. Think about your plot. The kind of mystery you are writing will show you the type of victim you need. If you are plotting a kidnapping and murder, you don't want to show a 98-pound weakling kidnapping a 230-pound fighter, unless you can do it in a believable way. You want your victim to match the villain and crime, so the reader can believe what you are showing them.

2. Give the hero a connection. Detectives will work hard to solve the case, whether they know the victim or not. But giving the detective a connection to the victim can make the story more suspenseful. If that can't be done, then give your detective the ability to empathize with the victim, to feel their loss, so he is more driven to find the killer.

3. Make the victim human. Give your victim annoying character flaws, something that others would find aggravating. Maybe even aggravating enough to do him in over? Just about anything can be used for this, from annoying personal habits to being too nice.

4. Mr. Popularity, or is he? There are two kinds of victims that make great characters: the victim that everyone hated and the one everyone loved. Both are good characters. The victim everyone hated would have a ton of suspects, probably almost everyone they dealt with. The victim everyone loved would have no suspects, since everyone adored them.

5. The cardboard victim. Too often the victim is the least fleshed out character of a mystery novel. They are nothing more than a body the detective has to deal with. Treat your victim like that and you are doing a great disservice to your readers. The reader has to care about the victim as much as the detective or they won't bother to finish reading to find out who killed them. So give the victim a back story and a life. Show they were someone and deserve to be avenged.

When creating your mystery's characters, give enough attention to an important character; your victim. It will make your story more suspenseful and give your detective a motive to get the job done. And your readers a reason to keep reading.

==> The Eighteenth-Century Gothic Novel - An Overview

The Gothic novel emerged in the latter half of the eighteenth-century with the publication of The Castle of Otranto by Horace Walpole in 1764. This novel inaugurated a genre of literature which was preoccupied with the supernatural and the macabre. The Castle of Otranto is set in a distant medieval past. It tells the story of Manfred, a lord who attempts to preserve his lineage by marrying his daughter-in-law, Isabella, after his son has been crushed to death by a giant helmet that has inexplicably fallen out of the sky. The novel was originally published pseudonymously and professed to be a translation of a story dating back to the crusades. It features ghostly manifestations, and revelations of identity, characteristic of much Gothic fiction.

The next major Gothic novel was The Old English Baron by Clara Reeve. This was written partly in response to The Castle of Otranto, a novel Reeve considered absurd. Walpole riposted by describing Reeve's novel as insipid and tedious. However Reeve's literary intentions were similar to Walpole's in that she aimed to merge the form of the ancient romance with that of the modern novel.

The genre arguably reached its peak in the 1790s, the decade which saw the publication of The Mysteries of Udolpho, the fourth of Ann Radcliffe's major Gothic novels. The Mysteries of Udolpho refined many of the narrative tropes set down by Walpole in The Castle of Otranto, such as the crumbling castle situated in a wild and perilous landscape. However whereas the portrayal of Walpole's castle appears rather indistinct and perfunctory, Radcliffe renders Castle Udolpho with an intensively vivid detail. The stock protagonists of many Gothic novels - such as the sensitive heroine; her impetuous lover; and a tyrannical older man - are apparent in the principal characters in Radcliffe's tale, in the form of the heroine Emily St Aubert; her lover Valancourt; and the villainous Count Montoni.

The Monk, by Matthew Lewis, is another seminal Gothic text. The story revolves around Ambrosio, the eponymous monk, and his gruesome downfall, brought about by his struggles in trying to balance monastic obligations and personal ambitions - it is a violent tale of sexual obsession and murder. One striking distinction between The Monk and The Mysteries of Udolpho is Lewis's handling of the supernatural. Whereas Radcliffe gives rational explanations for her ghostly occurrences, Lewis remains firmly within the realms of the fantastical - at the end of The Monk, the devil himself makes an appearance. Another notable distinction is the tone of these novels. Lewis concentrates on the shocking and brutal aspects of his story while Radcliffe appears to be more concerned with terrifying, rather than horrifying the reader. This distinction has led critics to consider Lewis's The Monk as a major representative of a so-called 'masculine Gothic' while Radcliffe's work is typical of a more 'feminine' school of writing.

The major Gothic novels of the late eighteenth-century had scores of imitators, mostly of debatable quality. Several of these books are alluded to in Northanger Abbey, Jane Austen's famous burlesque of the genre. While the heroine of that novel, Catherine Morland, is reading The Mysteries of Udolpho, her friend Isabella Thorpe (a connoisseur of Gothic novels) recommends a list of 'horrid novels' they should read together. This list of novels are known as the 'Northanger Canon' and for many years it was thought that their lurid titles were of Austen's own invention, until scholars revealed they did in fact exist.

The popularity of the Gothic genre began to wane by the middle years of the following century, although its influence is still apparent in many of the more realist novels of that time. Jane Eyre, Villette, and Wuthering Heights all feature Gothic elements and the aesthetic is also apparent in some of the more fanciful scenes of many of Charles Dickens's novels.

==> Writing A Killer Mystery Series

If there's one thing mystery writers hate, it's having old decisions kill new ideas. Leslie Meier, author of the Lucy Stone Mysteries, keeps a box of index cards listing all the inhabitants of the fictional Tinker's Cove, Maine.

When she starts a new book, she flips through the cards and determines which characters will fit best into Lucy's latest adventure. Readers anticipate a certain style when they read the Lucy books, and Meier must work hard to be creative within the confines she has set for herself. That means sticking to one point of view, using quirky recurring characters and balancing the mystery with Lucy's domestic life. Lucy and her family can age - but not too much.

Writers can take many steps to improve their chances at series success. Not only does your book need an original concept and characters, it must also reflect qualities expected of all series. It's not easy, but with careful planning, you can give readers what they crave. Here are 10 tips recommended by established mystery series authors. Use their advice as a blueprint for crafting your novel, or as a checklist to evaluate your completed draft.


1. Amateur or Professional?

When Roberta Isleib began her series featuring LPGA golfer Cassie Burdette, she didn't consider how many corpses could plausibly turn up on a golf course, or how Cassie could manage the mental demands of tournaments while playing detective. She advises writers to weigh the pros and cons of an amateur vs. professional sleuth.

"With Cassie, two close friends, her caddie and a sports psychologist, help her puzzle things through," she said. "They can also go off on sleuthing missions while she's playing in a tournament. Your amateur protagonist's personality will need to support her stake in solving murders. In Cassie's case, a tendency to nosiness, a preference for avoiding her own problems by focusing on others, and a soft heart, keep her involved."

While Marcia Muller is best known for P.I. Sharon McCone, she has also written about amateur sleuth Elena Oliverez and sheriff's deputy Rhoda Swift. Muller had difficulty believing that her amateur sleuth could continually become involved in crimes, prompting her to end the Oliverez series.

"With Swift, I often became mired down in procedure, and had to justify her acting in an unorthodox manner for the sake of the plot," she said. "The private investigator format is much more fluid and believable, although Sharon's constant involvement in major cases doesn't exactly mirror the often dull real-life work of investigators."

2. Identify With Your Protagonist

Laura Lippman, author of the Tess Monaghan books, recommends creating a protagonist whose company you want to keep.

"You may end up spending more time with your character than with most flesh-and-blood people," she said. "This doesn't mean your character has to be blandly likable. After all, don't you have friends who challenge or frustrate you upon occasion? But if you loathe them, you're in trouble. In my case, I chose a younger person, age 29, who was going to grow and change."

Dana Cameron, author of the Emma Fielding mysteries, also chose to have her character undergo growth. In the first novel, Emma learns that her archaeology skills are similar to those of a detective and that she feels obligated to help.

"In another book, she's contemplating getting forensic training that will make her an official part of murder investigations," said Cameron. "Realizing that if she was going to keep getting into trouble, I needed to get her some kind of protection, I decided she would study Krav Maga. (a type of self defense) I keep pushing Emma, to keep us both interested."

3. Playing Cupid

Although many series authors successfully use love triangles or on-again/off-again romances, Cameron felt that Emma should be happily married.

"This lets me show the reader some of Emma's character traits, like her sense of humor, commitment and loyalty, that might not be revealed in her professional relationships, where she tends to be more distant," said Cameron. "Even a happy marriage provides plenty of excitement and problems to solve. Emma's not immune to an attractive face, or particularly a quick mind. She's on a strict diet, but that doesn't mean she isn't interested in looking at the menu. There's always room for a little frisson."

Literary agent Evan Marshall, who writes the Jane Stuart and Winky series, has drawn out his character's romance for maximum reader interest and suspense.

"I gave a lot of thought to Jane's personal life and how it would change as the series progressed," he said. "She's a widow when the series begins, and I decided to give her a romantic interest, police detective Stanley Greenberg, but not to rush the relationship. In book six, Jane and Stanley are quite serious about each other, but not yet engaged. In book seven, due largely to reader request, I'll be moving the relationship to the next step."

4. Consider Time Elements

Joanne Fluke, creator of bakery owner Hannah Swensen, recommends that writers consider how to handle the passage of time. Fluke needed to decide early on whether Hannah should age one year for every book. She chose to slow things down instead.

"By book 30, the sleuth who seemed so agile and fit could be using a walker," she said. "Real time also weds you to a certain time of year. In my case it would be March, my pub. month. My books are set in small-town Minnesota and I didn't want the setting to be exclusively winter. I had so much fun with Hannah's sister's pregnancy, I stretched it out over four books. You couldn't do that in real time, thank goodness."

5. Choose a Unique Hook

Often, the author's vocation or hobbies trigger a hook for a series. Deborah Donnelly, author of The Wedding Planner mysteries, stumbled onto her hook accidentally.

"When a writing instructor startled me by demanding my sleuth's occupation, I, being recently married, blurted out, "She's a wedding planner!"" said Donnelly. "I expected to change my mind later, but it works quite well. My heroine gets a fresh cast of characters with each new wedding, and nearly everyone has seen or heard of some sort of bridal catastrophe. The real key is finding an angle that excites you, because you'll have to live with it. I'd much rather research cakes and gowns than autopsies and blood spatters."

Vicki Stiefel found her newspaper reporter protagonist a tough sell as the premise had been done before. She switched gears and now has a contract for her Tally Whyte homicide counselor novels.

"I spent a lot of years writing more generically than I should have," she said. "Get a unique protagonist. This is a business and publishers want something they can sell."

6. Invent a Sidekick

Hallie Ephron, co-author of the Dr. Peter Zak mystery series by G. H. Ephron, recommends that writers create a sidekick - but not just any sidekick. She points out how Robert B. Parker's poetry-quoting Spenser has tough-talking Hawk. Harlan Coben's former basketball star-turned-sports agent, Myron Bolitar, has rich preppy friend, Windsor Horne Lockwood, III.

"My protagonist is cerebral neuropsychologist Peter Zak, a self-proclaimed pointy-headed academic who'd probably shoot himself in the foot if someone gave him a gun," said Ephron. "His sidekick and main squeeze is Annie Squires, a private investigator who teaches self defense, packs a pistol and knows how to use it. Sidekicks are the yin to the protagonists' yang. The place to start is with the sleuth/protagonist, then, think opposite."

7. Create Vivid Secondary Characters
Julia Spencer-Fleming, who writes about Anglican priest Clare Fergusson, likes to know more about her minor characters than she shows on the page. In one book, Clare speaks with the historical society's librarian. Unbeknownst to her, he is dying from cancer, which has no effect on the plot.

"But I could picture his lank wasted frame, his curt, don't-waste-any-time way of speaking, and the way he was sinking into his devotion for his collection, the thing that would outlive him," said Spencer-Fleming. "He became a fully-realized person to me, despite his entire appearance being limited to a few pages. In my first book, I decided the county Medical Examiner was gay. The only indication comes from a single reference to a photo of him and his partner on his desk. When a real-life gay-bashing incident inspired part of the plot of A Fountain Filled with Blood, I had an established character, with a background and connections to my heroes, ready at hand."

8. Keep Things Fresh Yet Familiar
Bruce Hale, author of the Chet Gecko books for juveniles, notes that readers want the ease of slipping into a familiar world with known characters while also craving novelty.

"I maintain this balancing act by keeping the setting and the main characters consistent," he said. "However, I'm always bringing in at least 3-4 new characters with each book, and the series' rules stay flexible. Although Emerson Hicky Elementary is a normal school, it has had ghosts and killer robots. It is familiar to my middle-grade readers, but it's populated with animals that sometimes behave as if they were in an old Humphrey Bogart movie. That makes it novel."

9. Don't Get Lost in the Details
J.A. Jance, who writes the J.P. Beaumont and Joanna Brady books, maintains files that include characters' names, physical descriptions, habits, weapons and vehicles so details remain consistent from book to book.

"This is important for even minor characters who may show up in another book later on or who, without my expecting it, may turn out to be major characters after all," she said. "I also set my books in places I know well. That way I can report on the background - the weather, the changing seasons, how long it takes to get from one place to another, traffic congestion - all the while paying attention to what the characters are saying and doing."

10. Write a Winner

Once you finish the first book, indicate in your cover letter that the idea has series potential. Be prepared that if the publisher likes the concept, you may be asked to develop titles and summaries of future books. But no editor wants to hear how great the next installments will be if the introductory novel has flat dialogue, a lack of character development and plot holes. Finishing your sample novel means rewriting, rewriting and rewriting until it shines.

"Above all else, write the best first book you can, or you may not get the chance to write its sequels," said Hale.

==> Castle as a Murder-Mystery Writer

Meet Richard Castle (Nathan Fillion): he's a successful murder-mystery writer who has just killed off his main character. However, it seems one of his fans liked his books just a bit too much when a copycat murderer starts running around killing people as described in Castle's books.

Rick is soon questioned by NYPD Detective Kate Beckett (Stana Katic, "The Spirit"), a very bright, aggressive detective who keeps her investigations under tight rein. Rick and Kate's styles instantly clash, yet sparks begin to fly, leading both to danger and a hint of romance as Castle steps in to help find the killer.

And once that case is solved, he and Beckett build upon their new relationship as they look to solve strange homicides in New York - as much fun as one can have with death & murder. Castle is kept grounded by his Broadway diva mother, Martha Rodgers (Susan Sullivan, "Dharma and Greg") and quick-witted teenage daughter Alexis (Molly Quinn, "Walk Hard: The Dewey Cox Story").

The show is produced by ABC Studios and Beacon Television. ABC is set debut the show in March 9, 2009. Castle was given a 10 episode order for the first season.

On May 15, 2009, Variety reported that ABC had renewed Castle for a second season. The second season premiered on Monday, September 21, 2009. On October 20, reports emerged that ABC has ordered a full season of 22 episodes.

Heat Wave, the novel the fictional Richard Castle wrote in the series, is published by Hyperion. Written by an anonymous author under the name "Richard Castle", it is entirely in character from the dedication to the acknowledgments, although the latter references the principal cast and the show's creators by name. The first half of the novel was released on the ABC website in weekly increments, but it must be purchased to be read in its entirety. Heat Wave was released on September 29, 2009, and debuted at #26 on the New York Times Best Seller list. In its 4th week on the list, Heat Wave broke into the top 10 at #6.

The third season has proven to be darker in tone, although it still keeps a lot of the classic detective feel like other new programs like MURDOCK MYsteries...

==>> Hollywood Mystery and Suspense Classics

Who doesn't like a good mystery? Mystery based movies have always been, and always will be, loved by movie fans. A good Hollywood mystery with a solid story line, a healthy dose of suspense, and an often violent portrayal of crime is almost guaranteed to provide the viewer with a heaping portion of thrills and chills.

When it comes to mystery and suspense classics, Director Alfred Hitchcock is legendary. His contributions to this movie genre are virtually unequaled in the history of motion pictures. One of Hitchcock's classic thrillers is Rear Window, released in 1954. This film successfully combines a murder mystery with an examination of personal ethics. James Stewart plays magazine photographer L.B. Jefferies who sits confined to his wheelchair as a result of a broken leg.

To help pass the time, Jefferies watches his neighbors from the rear window of his third-floor apartment. Directly across from his apartment live salesman Lars Thorwald (Raymond Burr) and his bedridden wife. The two quarrel often. It isn't long before Jefferies penchant for voyeurism has him convinced that Lars has murdered and dismembered his wife. Rear Window is a mystery and suspense classic, and is widely considered as one of Hitchcock's very best.

Another Hitchcock film that displays his ability to entertain with mystery is North by Northwest. Released in 1959, the movie employs the classic mystery suspense concept of mistaken identity to involve an innocent man in espionage and murder. Advertising executive Roger Thornhill (Cary Grant) is mistaken to be a government agent and seized by two unknown men. After interrogating Thornhill, who his captors believe to be a government agent named Kaplan, they unsuccessfully attempt to murder him.

When no one will believe his story, Thornhill sets out to find the real Kaplan only to end up implicated in murder. Innocent man Roger Thornhill is now being pursued cross country by both his own government, and the representatives of an unknown organization. The film climaxes with a dramatic cornfield chase (the famous crop dusting scene), and a breathtaking battle on Mount Rushmore.

The film noir crime drama Murder, My Sweet directed by Edward Dmytryk, and based on the Raymond Chandler novel 'Farewell, My Lovely' was released in 1944. In the film, Detective Philip Marlowe (Dick Powell) is hired by Moose Malloy (Mike Mazurki), just out of prison after serving seven years, to locate his former girlfriend Velma (Claire Trevor). This job is easier said than done, as lead after lead turns into lies, bribery, theft, and the dangerous noir inevitable - the femme fatale. This film gave actor Dick Powell an opportunity to change his screen image. Primarily known as a song and dance star, Powell's performance as the hardboiled detective was a successful one.

Also from the film noir genre is 1953's tense and well-crafted story The Hitch-Hiker, directed by film-noir actress-turned-director Ida Lupino. This movie was based, in part, on a true story. While on a fishing trip, a car driven by Roy Collins (Edmond O'Brien) accompanied by his friend Gilbert Bowen (Frank Lovejoy) stop to pick up a hitch-hiker. This is not just any hitch-hiker. Emmett Myers (William Talman), who appears to be a stranded motorist, is in fact, a murdering psychopath. Myers orders the men to take him to Baja, California. Along the way, he sadistically taunts the men letting them know just what he has in store for them at the end of the journey.

Enjoy the powerful, creepy, and sleazy performance of actor William Talman. This motion pictures tag-line says it all - "When was the last time you invited death into your car?"

Film noir provides another mystery and suspense classic with the film This Gun for Hire, based on author Graham Greene's novel 'A Gun for Sale'. The film stars Alan Ladd as Raven, a hit man who has been double-crossed by nightclub owner Williard Gates (Laird Cregar). As the club owner will soon find out, double-crossing a hit man is not a very good idea.

While on a train taking him to Gates, Raven meets nightclub magician and singer Ellen Graham (Veronica Lake) who is working with Detective Michael Crane (Robert Preston) to use Gates as a way of finding out who is manufacturing poison gas for the Japanese. Together they form an uneasy alliance against a common enemy. This film is credited with making Alan Ladd a star.

The 1940s and 1950s are considered 'the golden era' for film noir movies. These crime-based movies were able to provide many of the mystery and suspense classics that audiences loved to watch.

Carl DiNello is a Blog Owner whose passion is Hollywood history and those movies from the 1920's - 1950's that make up this rich history.

==>> To read more articles about Mystery Novels by these authors and to go to their websites, Click Here...