Murder Mysteries: Open vs Closed

One of the fundamental distinctions between murder mysteries is whether the plot is open or closed. Today I explore this distinction, breaking it down into its constituent parts and focusing on its significance for the writer.

Open vs Closed Mysteries

Whether a mystery is open or closed depends on when the reader discovers the identity of the murderer.

If the identity of the murderer is unveiled at the beginning of the story without the reader having to do any work to figure out his identity—that is, if the identity of the murderer wasn’t a part of the puzzle for the reader—then the mystery is said to be OPEN. In most open mysteries the reader knows MORE than the detective for much of the story.

On the other hand, if the identity of the murderer is unveiled at the end of the story and if the murderer’s identity was the main mystery—the main puzzle for the reader—then the mystery is said to be CLOSED. In most closed mysteries the reader knows LESS than the detective (though the detective may draw conclusions from the evidence, conclusions he doesn’t immediately share with the reader).

Open Mystery

Lee Goldberg, scriptwriter for Diagnosis Murder and author of many of the Mr. Monk books, advises that if you write an open murder mystery make sure that both the murderer and the reader believe the perfect crime has been committed. What they read for, what pulls them through the story, is watching the detective find all the tiny—or not so tiny—flaws you didn’t notice.[1]

The knowledge gap: Notice that through much of the open mystery there is a knowledge gap. The detective mulls over clues the reader knows MORE about. This knowledge gap occurs because the reader knows everything the murderer does. What no one knows at the beginning of the book is what mistakes the murderer made. This is what the detective figures out by the end of the book, it’s what reveals the murderer’s identity.

The question: From what the reader already knows of the murder, and from the clues the detective uncovers throughout the story, will she be able to figure out where/when/how the murderer slipped up before the detective figures out the identity of the murderer?

The suspects: The detective interviews suspects but the focus is different because, often, the detective has a pretty good idea early on who the murderer is. The problem is proving it.

Closed Mystery

If, on the other hand, a closed mystery is more to your liking make sure the crime is confounding to both reader and detective. The clues don’t seem to single out any one person. In this case what pulls the reader through the story is watching the detective come to understand the connections—connections between clues, connections between people—that aren’t immediately obvious.[1]

The knowledge gap: Through much of the story there is no knowledge gap: the reader knows as much as a detective. Everything the detective discovers the reader also knows AND the detective is the reader’s only source of information, the reader doesn’t get to peek over the murderer’s shoulder as he does the deed. That said, the detective will know more than the reader after around the two-thirds or three-quarter mark, but this is only because he has drawn inferences from the clues he has found, inferences he doesn’t have to divulge to the reader until the denouement very end.

The question: Can the reader figure out the identity of the murderer before the detective does?

The suspects: The detective searches for clues that will help him determine each of the suspects MEANS, MOTIVE and OPPORTUNITY. The detective looks for inconsistencies between what he knows about the suspects—the available clues—and what any particular suspect has told him.

Examples of Open and Closed Mysteries

Open mystery:

- Columbo.
- Diagnosis Murder (some episodes).

Closed mystery:

- Agatha Christie’s stories.
- Arthur Conan Doyle's Sherlock Holmes stories.
- Mr. Monk (some episodes).

Note:

1. To read more about open vs closed mysteries I recommend Lee Goldberg’s article: How to Write a Murder Mystery.

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Every post I pick something I love and recommend it. This serves two purposes. I want to share what I’ve loved with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, Amazon puts a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

The books I’m recommending today are Lee Goldberg’s Mr. Monk books. It has been a few years, but I’ve read each one of these and loved them! If you liked the Mr. Monk TV series and you love murder mysteries, give these a try!

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That’s it for today! Have a great weekend and I’ll talk to you again on Monday. Till then, good writing!

Purple Prose: What It Is and How to Exterminate It

The first time I heard the term “purple prose” I was puzzled. Exactly what mistake was I being warned against. For years afterward I felt I knew purple prose when I saw it but the injunction remained frustratingly vague.

What is purple prose?

Edward Bulwer-Lytton famously began his novel “Paul Clifford,”[4] with the sentence, “It was a dark and stormy night.” As wikipedia states, this phrase “is considered to represent the archetypal example of a florid, melodramatic style of fiction writing also known as purple prose.”[1]

Of course Leonard qualified his statement by saying that “If you happen to be Barry Lopez, who has more ways to describe ice and snow than an Eskimo, you can do all the weather reporting you want.”[5]

In other words, writing about the weather is fine as long as it’s either fascinating in and of itself or if it is relevant to something in the story. One way of making weather relevant is to write about a character's reaction to it. For example, is the weather preventing the character from accomplishing her goal?

Here’s an exception to the rule: One of my favorite books growing up was A Wrinkle in Time by Madeleine L’Engle. How do you think that book begins? That’s right! “It was a dark and stormy night.” I kid you not!

Which brings us to the nub of the issue: What makes purple prose undesirable? An important clue comes from the history of the term.

The history of purple prose:

The first mention of purple prose (literally, “purple patches”) goes back all the way to the Roman poet Horace (65 to 27 BC) who wrote:

“Weighty openings and grand declarations often / Have one or two purple patches tacked on, that gleam / Far and wide...”

In Roman times purple dye was expensive and therefore purple clothing was a sign of wealth. Folks who wanted to appear to have more money than they actually did sewed patches of purple into their clothing. Horace is saying that purple patches are a sign the writer is insecure about their writing and so attempts to prop it up—attempts to make it appear better than it is—by using flowery language. (An attitude which reminds me of Stephen King's injunction against adverbs! Namely, that their overuse comes from a writer’s own insecurity. See: Killing Your Darlings.)

The characteristics of purple prose:

In my opinion, these two mistakes lie at the colorful heart of purple prose:

1. Purple prose doesn’t belong. It’s markedly more floral than the prose around it.

For example, what would not be purple prose for Anne Rice would be purple prose for Isaac Asimov. Consider the the following examples:

"[T]he sky was never quite the same shade of blue again. I mean the world looked different forever after, and even in moments of exquisite happiness there was the darkness lurking, the sense of our frailty and our hopelessness." (Anne Rice, The Vampire Lestat)

"Gaal did not carry out his promise. He was awakened the next morning by a muted buzzer. He answered it, and the voice of the desk clerk, as muted, polite and deprecating as it well might be, informed him that he was under detention at the orders of the Commission of Public Safety." (Isaac Asimov, Foundation)

So, to a certain extent, whether a particular passage is purple depends on the writer's overall style. His or her voice.

2. Purple prose is intended to distract the reader from the fact that nothing is happening in the story. 

The plot isn’t moving forward, it’s stagnant. The characters aren’t pursuing their goals. As a result the story is dull and dry. The extravagance of the writing itself is the only thing driving the story forward. So, of course, it fails.

As I mentioned, above, purple prose needn’t be awful. That is, purple prose needn’t itself be poorly written. In fact, it can be beautiful. The thing that makes prose purple undesirable is that it distracts the reader. Why? Because it’s unnecessary.

Examples of purple prose

“It was a dark and stormy night; the rain fell in torrents—except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the housetops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness.” (Paul Clifford, by Edward Bulwer-Lytton)

“Grignr's emerald green orbs glared lustfully at the wallowing soldier struggling before his chestnut swirled mount. His scowling voice reverberated over the dying form in a tone of mocking mirth.” (The Eye of Argon, by Jim Thesis)

How to avoid purple prose

As we've seen, purple prose breaks the reader out of the story because it calls attention to itself. Purple prose is like a fairy tale king, dressed sumptuously giving a long flowery speech to plainly dressed commoners, a speech that holds nothing relevant to them, to their lives. His subjects would rather he just stopped speaking so they could get on with their day.

So here are 2 ways to avoid purple prose:

1. Kill your darlings. 

The advice to “kill your darlings” is, at least in part, an admonition against purple prose. Purple prose is, above and beyond anything else, unnecessary. If you removed a purple passage the story itself would not change. That’s the test.

The action of every character needs to have a goal, a purpose. It should either forward the plot or advance a character’s goal (and, really, these two are the same thing).

2. Minimize modifiers.

Instead of writing “Grignr’s emerald green orbs glared lustfully” write “Grignr glared.” The two statements express more-or-less the same thought.

Eliminate adverbs whenever possible. Instead of writing, “He crossed the street quickly,” go with “He ran across the street.” They say the same thing and the second one is clearer.

Recommended listening:

Writing Excuses: Beautiful Prose, Purple Prose. As I mentioned in a previous article (6 Inspirational and Informative Writing Podcasts), I’m a big fan of podcasts, especially writing podcasts, and Writing Excuses is one of my favorites. Recently they published an episode (see link, above) all about purple prose. Highly recommended!

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Every post I pick something I love and recommend it. This serves two purposes. I want to share what I’ve loved with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, Amazon puts a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

Today I’m recommending an anthology put out by the hosts of Writing Excuses: Shadows Beneath: The Writing Excuses Anthology.

From the blurb: “From the Hugo Award-winning hosts of the Writing Excuses writing advice show comes a collection of all-new stories of the fantastic, with beautiful illustrations and a behind-the-scenes look at each story’s creation.”

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That's it! I'll talk to you again on Friday. Until then, good writing!

Notes:

1. “It was a dark and stormy night” from wikipedia.org.

2. Writers On Writing; Easy on the Adverbs, Exclamation Points and Especially Hooptedoodle, by Elmore Leonard.

3. Eye of Argon, by Jim Thesis.

4. “Paul Clifford,” by Edward Bulwer-Lytton.

5. Here's an example of prose which doesn't at first seem to have a clear purpose but which, nevertheless, drew me in: "When I think of my wife, I always think of her head. The shape of it, to begin with. The very first time I saw her, it was the back of the head I saw, and there was something lovely about it, the angles of it. Like a shiny, hard corn kernel or a riverbed fossil. She had what the Victorians would call a finely shaped head. You could imagine the skull quite easily." (Gone Girl, by Gillian Flynn) 

8 Ways to Get Honest Reviews for Your Books

It will come as no surprise that the number one way to get reviews is to ask for them. Today I talk about, first, who to ask and, second, how to ask. Let’s get started!

1. Use focus books to find reviewers.

Ask yourself, “What other well-reviewed books is my book most like?” Go to your book’s product page and scroll down until you see the heading “Customers who bought this item also bought.” This tells you what other books your customers are interested in. For our purposes here, what we’re interested in is who reviewed these books.

Step One: Filter the reviews.

Go to the page of a book similar to yours. As an example, here’s a link to the review page for Jim Butcher’s Changes. You’ll notice, near the top of the page, Amazon gives you the option to both sort and filter the reviews. I used the following settings:

- Sort by the MOST RECENT:

I chose to sort by the most recent reviews because CHANGES was published in 2010. I suspect some folks who left reviews in 2010 don’t review books anymore, or perhaps their tastes have changed.

- Filter by ALL REVIEWERS

The other option is “verified purchase only.” I didn’t choose this because reviewers who were given a copy won’t show up under the verified purchase option.

- Filter by 5 STAR ONLY

I’d suggest concentrating on 5 star reviews because you want to reach out to reviewers who love this sort of book.

- Filter by Kindle Format

Personally, I find it easier to give reviewers an electronic version so you will want to find reviewers who read digital books.

Step Two: Choose 10 reviews.

10 is an arbitrary number; choose whatever amount works for you.

The process:

Look at the list of reviews you’ve discovered and read the first. Was it well written? Did the reviewer demonstrate she has a clear understanding of the book reviewed? Did you think the review was well written?

If the answers to the above questions are yes, then right-click on the reviewer’s name to bring up her page. Look at other reviews she’s written (sometimes the reviewer’s profile contains a list). What you’re trying to assess is whether the reviewer has done a good job. If the book under review was poorly written then a negative review is warranted. (If you don’t want to buy and read the book reviewed, think about reading the sample.)

Also, and perhaps more importantly, pay attention to whether the reviewer is careful to separate the writer from their work. After all, even a good writer can produce an awful book.

For example, though I admire Stephen King’s work, he’s written at least one clunker. It happens. But just because King wrote an awful book doesn’t mean he’s an awful writer; you want to try and get an idea whether the reviewer respects the difference between the author’s work and the author.

Why is this important? After all, your book isn’t an awful book. Your book is well-written, well-formatted and has been copyedited.

Here’s why: Everyone is different. Ask 10 people what they think of something and you’ll get 11 opinions! Because taste is both idiosyncratic and quirky it’s inevitable that someone, sometime, is going to think your story is complete and utter dreck. When this happens you hope they will review the work not the writer.

Step Three: Contact the reviewers.

Sometimes reviewers give their email address in their profile. If the reviewer doesn't, you can leave a comment on their review. If you feel comfortable, leave your email address in the comment so the reviewer can contact you. (Amazon will notify the reviewer that a comment has been made.) If you don’t want to leave your email address for all the world to see, come back in a week or so and either delete your comment or edit out your address if the reviewer hasn’t responded.

How to ask for a review

At this point you’ve got a list of 10 people you want to ask to review your book. How do you go about contacting them? Joanna Penn in How To Get Amazon’s Top Customer Reviewers To Review Your Book) has you covered. She suggests sending an email that includes the following information:

• How you found them.
• Why you think they will like your book. Mention you’ve read another review of theirs (include that book’s title) and mention that your book is similar.
• Offer them a copy of your book, free of charge. You’re not offering the book in exchange for a review. You’re offering them the book and if they choose to review it then great. If not, that’s okay too.
• Thank them for their time.

For example:

Hi [Name], I read your review of [book title] on Amazon and noticed you liked [list points]. Given this, I thought you might like my book, [your book’s title], since they’re both [list similarities].

[Include a one paragraph summary of your book].

I’ve included a link to it, below:

[Link to a downloadable version of your book.]

Thank you for taking the time to read this email. If you read [book title] I would love to know what you think of it.
[Your name]
[Your email]

2. Offer your book, free of charge, to anyone on your mailing list who would like to write a review.

Another way to get more reviews for your book is to offer it to anyone on your reading list who would be interested in reviewing it.

If you don’t have an email list then forget about soliciting reviews, set up a mailing list! Here’s a terrific article on how to do this from Joanna Penn: How Authors And Writers Can Build An Email List For Marketing.

3. Develop a list of dedicated readers, people who will receive a copy of your book before it’s published.

The next time you send out a newsletter you could mention you’re looking for dedicated readers. These folks would get a copy of your upcoming books before they’re published. The main purpose of such a list is for you to receive feedback about a book BEFORE it’s published, but dedicated readers often end up leaving a review as well.

4. Offer a free review copy to your contacts on social media.

If you have a presence on Facebook, Twitter, Instagram, Pinterest, etc., don’t be shy about asking the folks you’ve connected with if they would like a review copy of your book.

5. When someone leaves a review, thank them publicly.

Use social media to share each positive review you receive. I think this is a lovely way of thanking the reviewer for taking time to write a review as well as subtly encouraging anyone who has read and liked the book to leave a review of their own.

6. Ask book bloggers to review your book.

Years ago, this was one of the better ways of getting reviews. Recently, writers I’ve spoken with have reported mixed results. If you do contact book bloggers for reviews it’s important to record which ones you were able to contact, which ones read your book and posted a review as well as any personal details about them that will help break the ice and show them you’re not a bot! Keeping a spreadsheet of all these details will save you a lot of time in the future (I talk about this, below, as well). Here are a few directories that contain links to a number of book blogs:

The Indie View
Karen Tilton
Directory of Book Bloggers on Pinterest
YA Book Blog Directory
The Book Blogger List
Book Reviewer Yellow Pages

7. Ask Amazon’s top reviewers if they would consider reviewing your book.

To read more about this I recommend, “How to get reviews on Amazon once you’ve launched your book,” by Milena Canizares. Here is her advice:

• Make a list of reviewers. If you want 10 reviews, MC advises compiling a list of 40 names.
• Put these names into a spreadsheet. Include the reviewer’s email addresses and personal interests. (KW: If they have a website or blog I would list that as well as their social media accounts. You don’t want to stalk them, but any information you can obtain will help you tailor your pitch.)
• Put together a template you can send out to reviewers (see above), making sure you personalize it for each reviewer.

Pertinent links:

• Amazon’s top 10,000 customer reviewers are listed here: Top 10,000 Amazon Reviewers.
• The Hall of Fame reviewers are here: Amazon’s Hall of Fame.

This is a lot of work, but it's difficult to overstate the importance of reviews to book sales.

8. Offer reviewers your book in the format of their choice.

Although digital publishing is easiest, some reviewers prefer reading physical books. Using a print on demand (POD) service like CreateSpace you can order a book and send it directly to the reviewer: this has the advantage of being easy, quick and not very expensive.

Tip: Say Thank You!

When you approach someone to review your book it’s nice to give them something, a small gift.

For instance, if your book—the one you want reviews for—is fiction then perhaps put together a short document that contains information about your characters’ backstories. Or perhaps write a short story, perhaps even a piece of flash fiction, about a crucial bit of your most popular character’s backstory.

The point is that it’s often unproductive to ask someone for something without first giving them something. I’m not talking about payment or tit-for-tat, this is just being considerate.

Here’s my own (not terribly subtle!) pitch: If you would like a review copy of my book, The Structure of a Great Story: The Structure of a Great Story: How to Write a Suspenseful Tale! please contact me and I'll send you one.

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Every post I pick something I love and recommend it. This serves two purposes. I want to share what I’ve loved with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, Amazon puts a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

Today I’m recommending The Author Startup: A Radical Approach To Rapidly Writing and Self-Publishing Your Book On Amazon, by Ray Brehm.

From the blurb: “[T]he truth is, you do 20% of the work for 80% of the result (The Pareto Principle). How does one accomplish this? By streamlining all the tasks down to the minimum requirements, and focusing on those. The Author Startup is a process to create a minimum viable product for your book. It is used to get your book out there and build momentum for you.”

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That’s it! Thanks for reading and I’ll talk to you again on Wednesday. Till then, good writing!

Writing a Murder Mystery: 7 More Characteristics That Make a Murderer Interesting. Part Two of Two

This post is a continuation of my last post, Writing a Murder Mystery, Character Creation: The Murderer, Part One of Two.

Let’s continue our discussion.

7 More Characteristics That Make a Murderer Interesting:

1. The murderer must be a worthy adversary for the sleuth.

Storytellers want their audience to think the detective is clever and resourceful. How is this done? Easy! SHOW the detective being clever and resourceful by pitting her against an opposing force—the murderer—who is as clever and resourceful as herself.

When the detective fails (as she inevitably will at some point) the reader will understand that the detective is up against someone brilliant. If the murderer isn't clever, then when the sleuth fails there is a real danger the reader will lose interest.

In addition, if the murderer is at least as clever as the detective, when the detective solves the mystery and unmasks the murderer it will mean more. We want the murderer to be perceived as being so clever that ONLY your detective could have brought him to justice.

2. The murderer should act from motives of self-interest.

No inexplicable desires or drives, please. The murderer should have an easy-to-understand motive. This goes back to what P.D. James wrote about all motives boiling down to lust, lucre, loathing and love (see: The Murderer, Part One of Two[http://blog.karenwoodward.org/2017/03/writing-murder-mystery-character.html]).

3. The murderer often has a deep psychological wound.

Having a deep wound will help humanize the murderer, it will make him more sympathetic. A sympathetic character is one a reader can understand and understandable characters are ones readers can relate to. They are compelling.

4. The murderer’s ‘type’ is clear.

The murderer is brilliant.

Fictional murderers come in all sorts of flavors but we could say, broadly, that they come in two types: some murderers are brilliant (e.g., Moriarty from Sherlock[link]) while others ... not so much.

If a murderer is brilliant then, often, their strength is also their weakness. For example, in the TV show Sherlock[link] Moriarty is a brilliant psychopath. I say brilliant but it seems he’s not QUITE as clever as Sherlock. Moriarty’s oddness is explained by his intelligence, as is Sherlock’s (in this sense Moriarty is Sherlock’s nemesis[http://blog.karenwoodward.org/2013/09/character-types-and-five-bad-band.html]).

Moriarty is so intelligent ordinary humans are like ants to him. The master criminal thinks of himself as a different, and clearly superior, species. Just as many humans wouldn't bat an eye at killing a mouse or deer so Moriarty wouldn't hesitate to kill a human if it was in his interest to do so (shades of Hannibal Lecter).

As for Sherlock, his friends—John Watson and Mrs. Hudson—keep him connected to humanity, they keep him human. Moriarty has no such connection and in consequence his brilliance has stripped him of his humanity.

Another detective who, broadly speaking, fits this pattern is Mr. Monk[link]. Recall Mr. Monk’s catch phrase: It’s a gift ... and a curse. Sherlock’s brilliance is both what allows him to solve crimes and it’s also what isolates him from other people; it’s what sets him apart.

The murderer is garden variety.

If the murderer is more of a garden variety murderer then his motive usually has something to do with greed, desperation, depravity, and so on.

In a psychology course I once took the professor said that humans have four motivations for all their behavior: feeding, fleeing, fighting and ... sex. Translating this into the language of a murder mystery, the common murderer is interested in:

• Feeding: The murderer wishes to continue life as it is but someone is threatening his status quo.
• Fleeing: All hell has broken lose and the murderer has to disappear but someone is preventing this.
• Fighting: The murderer is in a smiting mood. He wants to destroy an enemy. 
• Sex: Love and lust. Obsession. Love and lust are distinct and yet intertwined. Though, arguably, one can love or lust after something inanimate, here I’m talking about loving or lusting after a person. The murderer would do anything—and I do mean ANYTHING—to gain the affections of this individual, but someone is standing in her way.

4. Make the conflict personal.

Make the conflict between the sleuth and the murderer personal. Whatever motivation you give the murderer, make him want to taunt the sleuth. Also, make the sleuth willing to take crazy risks to catch the murderer.

If the murderer is caught then his/her life is over, perhaps literally, but if the murderer gets away with it, what then? What will the sleuth lose?

If the sleuth isn’t able to solve the puzzle and figure out the who, what, where, why and how—or, worse, if he offers up an incorrect solution—this would not only ruin the sleuth's reputation but send an innocent person to prison. And condemning the innocent is something the sleuth MUST care about unless he or she is an anti-hero. Caring about justice, about fairness, is a large part of what separates white hats from black hats.

5. Show that the murderer is one sick puppy.

For most of the story the antagonist is going to wear a mask. Underneath the mask she is getting more desperate and her sickness, her desperation, escalates.

One way we could show this is by escalating the number of murders, their violence, as well as the murderer's reckless daring.

6. Let your antagonist win occasionally.

Your sleuth needs setbacks. He needs strong opposition to battle against and, so, occasionally, he needs to fail. Often this happens at or near the midpoint. The sleuth—or the sleuth's helper, his Watson—thinks he knows who did it. But he’s wrong. Around either the Midpoint or the All Hope is Lost point, the suspect is found dead, killed the way the other victims were.

7. Show the killer's true face at the end.

So far the killer has hidden her true face: she is a cold-blooded killer. She has taken the lives of those she knew, perhaps even those she loved. And she did it for personal gain. She's not nice, not ordinary, perhaps not even sane. But for most of the story she has hidden in plain sight and has acted like everyone else. At the end we need to show her as she really is. We need to show readers the murderer's contempt for those around her, for those who counted themselves as her friends.

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Every post I pick something I love and recommend it. This serves two purposes. I want to share what I’ve loved with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, Amazon puts a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

Midsomer Murders, Season 18.

From the blurb: “The cozy villages of Midsomer County reveal their most sinister secrets in these contemporary British television mysteries.”

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That’s it for today! I’ll talk to you again on Friday. Till then, good writing!

Writing a Murder Mystery, Character Creation: The Murderer, Part One of Two

"Once I figure out whom to kill, and how, and of course why, then I start asking myself what the killer did wrong, or what he overlooked, that will lead to his undoing." —Lee Goldberg[1]

“One of the most critical skills an aspiring writer needs is the ability to build a solid villain. Even the greatest protagonist in the world cannot truly shine without an equally well-rendered opposition. The converse of that statement isn’t true, though—if your protagonist is a little shaky but your villain absolutely shines, you can still tell a very successful story.” —Jim Butcher[3]

A murder mystery is primarily about the murderer. It is not primarily about the detective, it is not primarily about the sleuth’s sidekick, it is not even primarily about the victims. After all, it is the murderer's desire, his goal, that drove him to kill. If your detective doesn’t have a strong antagonist to butt heads with, things will get boring quickly. In a murder mystery creating a strong murderer can be especially tricky because readers (hopefully!) don’t know who the antagonist is until the very end.

It is difficult to overstate the importance of creating a strong antagonist, one your readers will love to hate. It is the battle between the protagonist and antagonist, their contest of wills, that generates the narrative drive that will mercilessly pull readers through the story.

How to Create an Interesting Murderer

Make the antagonist sympathetic: As strange as it may seem, we want readers to become emotionally connected to the antagonist. Readers need to be able to see themselves in the antagonist and, in so doing, understand her. (Or at least that's one way to go. Many of Agatha Christie's antagonists weren't in the least sympathetic and yet her stories are worldwide bestsellers.)

The antagonist provides obstacles for the protagonist: The antagonist puts obstacles in the way of the protagonist as she seeks to identify the murderer. This generates narrative drive by either providing new clues (or pseudo clues) or by resolving one clue while providing another.

The antagonist is equal but opposite: The antagonist is often very much like the protagonist. For instance, Luke and Darth Vader were both strong in The Force and both trained as Jedi Knights. One could say they both wanted what was best but they had very different ideas about what that was.

One crucial difference: There is one crucial difference between the protagonist and antagonist. The protagonist will hold a value that the antagonist doesn’t. So, for instance, the protagonist generally does something unselfish, sometimes it doesn’t even make much rational sense. In Raiders of the Lost Ark, Dr. Belloq was Indiana Jones’ nemesis. They were both archaeologists, they were both passionate about finding and bringing back the Ark and they both liked Marion Ravenwood. The big difference? People were more important to Indiana than relics.

5 Questions to Ask about the Murderer:

1. Who does the murderer need to kill? 

I’ve found that, usually, the first victim is the person the murderer needed to kill. But there are notable exceptions. Agatha Christie often broke with convention and used her readers' expectations against them (for example, Three Act Tragedy, The A.B.C. Murders).

2. What is the murder method?

Is the murder method, the means of death, an arcane poison? Or perhaps it's a normal poison but there is a problem figuring out how, or when, it was administered? Get creative! If at all possible make the murder method unique and extreme—which is to say, memorable. Read books, watch TV. Write down the many and various ways characters are dispatched. Mix and match. Use what you find to generate your own ideas.

3. Why does the killer need to kill? What is her motivation?

P.D. James once wrote that "All motives can be explained under the letter L: lust, lucre, loathing and love.”[2]

Lust. This is perhaps the oldest motive. Someone sees something they feel they can't live without. Something they covet, something they obsess over. It could be the corner office or the most beautiful girl at prom. It could be your neighbor's wife.

Lucre. Greed. The murderer wants to experience the lifestyles of the rich and famous and is willing to do anything to make that happen.

Loathing. Hatred. The desire to settle a grudge. A perceived offence. The desire to do unspeakable things to the drunk driver who mowed down your wife and children. His lawyer got him off on a technicality, so now you're taking matters into your own hands.

Love: Someone stole the heart of the person you've loved since fifth grade and then threw her away like garbage. As a result she committed suicide. Now you're out for revenge.

4. What does the murderer stand to lose, what are the stakes?

The murderer wants to prevent the detective from identifying her. If she fails in this then she will either be killed or spend the rest of her life in prison. In addition, she'll likely lose all her friends and possibly her family as well.

Of course often the stakes are more specific, more personal. It could be that the murderer is trying to save something he loves, a winery, a restaurant, or a relationship. For him, the worst thing in the world would be to lose that, but if he is revealed as the murderer the thing he loves most in the world will be ripped from him.

5. What did the killer do wrong? What did she overlook?

It seems axiomatic—at least in fiction—that every killer, no matter how intelligent or how well planned the crime, will make at least one mistake. With Agatha Christie, often the killer's mistake was trying to be clever, trying to pull the wool over the detective's eyes. But her detective turned this into a trap. For example, Poirot assumed the guise of the silly foreigner and so invited the proper English people of his day to underestimate him. His quirks, his foreignness, was his armor, his disguise.

What the killer did wrong, what she overlooked, has to be something the detective could discover, as well as something that plays to her strength. There are countless examples of this, but what comes to mind is the episode of Sherlock entitled The Great Game.

Sherlock Holmes is wonderful at noticing minutiae and bringing together diverse threads, strands of information and, from them, creating a synthesis that yields the answer (usually the 'ah-ha' clue triggers this epiphany). The graphical way the show's writers/producers/director have used to illustrate the information Sherlock notices (words suspended in air) works brilliantly and adds another dimension to the storytelling.

My point is that by working backward, looking at the killer, figuring out the motive and the murder method, and then asking where she slipped up is much easier than doing things the other way around.

The Goal: To Surprise the Reader

Never lose sight of the goal: to surprise the reader. I like it when I figure out the identity of the murderer a few paragraphs before the detective unmasks her. That way I feel clever because I've guessed right but I’m not bored.

Even more important, though, than surprising the reader is playing fair. Or, more precisely, it is important that the reader believes you’ve played fair and haven’t unfairly misled them. The reader must feel that everything hangs together and makes perfect sense.

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Every post I pick something I love and recommend it. This serves two purposes. I want to share what I’ve loved with you, and, if you click the link and buy anything over at Amazon within the next 24 hours, Amazon puts a few cents in my tip jar at no cost to you. So, if you click the link, thank you! If not, that’s okay too. I’m thrilled and honored you’ve visited my blog and read my post.

This is one of my favorites: Murdoch Mysteries, Season 10.

From the blurb: "At the dawn of the 20th century, Detective William Murdoch (Yannick Bisson) solves Toronto's trickiest cases with scientific insight and ingenuity in the tenth season of the award-winning mystery series."

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Next post in this two part series: Writing a Murder Mystery: 7 More Characteristics That Make a Murderer Interesting. Part Two of Two.

Notes:

1. How to Write a Murder Mystery, by Lee Goldberg.

2. Talking About Detective Fiction, P.D. James.

3. How to build a Villain, by Jim Butcher