Lesson 2 -The skeleton
Now you will hopefully have discovered that it is not as complicated as one might first think to find a detective intrigue. Scales to remove everything around it is about to come on a subject, create a killer and find the one (or more) ways to murder. Based on that, we will go forward and build on the elements that form the story. We start with the most important component – how to create excitement.
Now we have to write an exciting story. The greatest horror of a crime novelist is to bore the reader. There are a variety of tricks up to create tension:
Change the external environment
External environment is what we often just call the environment. It can for example be a city, a country or a culture. By switching the external environment, increase voltage.
The preacher, I divided up the family Hulth into two parts and had them stay at different places. One branch of the family had to live in a mansion and have the lifestyle that belongs to the life, while
the second family branch is housed on the exemption in a shabby hut and was seedy and small time gangster. The Ice Princess, I chose to spend part of the story to a place other than Fjällbacka. Some of the characters had to stay in Gothenburg.
There are many different ways to vary the environment, not only the purely geographical – use your imagination!
Replace internal environment
Internal environment is what we have within us, thoughts, thoughts, personality, and more. The internal environment can fluctuate by alternating individuals whose perspective the reader may follow. It makes me happy when I write. It makes the pace, tone and much more in a natural way switches.
Place false clues
Or Red Herring, as it is called in English. There are several ways to use this power tool. One is to create a character that is without motive and opportunity, and that seems completely innocent. According to the thesis “the least suspect is the murderer”, the Reader will monitor that person like a hawk.
Another example of a false clue is to let an innocent person is revealed to have lied about his alibi. The reader’s suspicions will be raised against him, but actually he has nothing to do with the murder. He might have lied to cover up an affair.
Yet another is that a person in the book is subjected to an attempted. Police chase understood the suspected killer, but actually the victim in this case rather than the murderer who orchestrated the assassination attempt on himself.
A classic way to put out a false clue is to let murderers Daren look like one of the murderer’s potential victims. (For example, read Agatha Christie’s Ten little negro boys where we are even led to believe that the killer has murdered …)
As you can see there is no limit to what a little imagination can find in order to deceive. The purpose of the false clues then, is to draw the reader’s suspicions in the wrong direction. Properly used, they are one of the best tools a crime writer can use to increase the voltage.
Have several suspects
Make sure there are several people in history who may have motives for murder. Is it just one that has been justified expects the reader him / her directly.
This is a very effective tool. Suggested for example, that a person carrying on a secret. The reader does not know what it is or if it even has to do with the murder, but is still curious. What you are in fact doing is choosing to only tell a small part of the truth. The preacher did such as here at the end of a chapter:
“But it was something that Martin watched as gnawed in the back of my head at him. He searched frantically among visual impressions from visitors Ket at the camp but remained confused. It was something he looked like he should have been registered. He drummed irritably with his fingers on the steering wheel, but was finally forced to drop the idea of the elusive memory. The journey home took place in total silence. ”
Sure you become curious about what he saw, but not yet come?
Make use of cliffhangers
It is my personal favorite that is to be closing a chapter with an element. The term cliffhanger comes originally from the TV world and as the name suggests, it means that, for example, concludes a section with someone hanging from a cliff and you have to wait to the next section to see if the person will survive.
In crime writing, the world of the protagonists may be just at the end of the chapter come up with anything vital to the case – but the chapter ends before the reader gets to know what it is. Or, a person end up in a real pickle – and left there for a blow when the author writes other parts of the story. Although this is just imagination. Cliffhangers are good to get the reader to eagerly read further. But it is not exciting unless they are interspersed with sections where the reader is allowed to rest.
Here are two short passages from the preacher. In both cases, the last sentences of a chapter, to get the maximum effect.
“Just as he got up to go and talk to them, the phone rang again. This time it was the right medicine. With trepidation he prepared himself to hear what the lab had to say, maybe they would get the puzzle piece missing within the next few minutes. But never in his wildest dreams had he imagined the answer he got. ”
“Just a few hundred meters away sat the couple Moller in his caravan and waited for her daughter. In the stomach area Patrik had a chilling feeling that Per was right and maybe they waited in vain. Someone had picked up Jenny. Someone who had good intentions … ”
1. Select one of Agatha Christie’s books and read it twice. The second time, when you know who the killer is and what ledtrå- where used, so you will see very clearly how elegant Agatha Christie throws out their clues – often very open.
2. Enter the four short paragraphs of at least half a page where each piece ends with a cliffhanger. Vary the happy type of cliffhanger use.
3. Describe how a woman goes shopping with her daughter. Write four variants with different external environments. Replace such country, culture or age. Notice how different it will be depending on the external environment you have chosen.
Agatha Christie: Ten little negro boys
Sue Grafton: Writing Mysteries, pp 109-116, 126-131 Shannon O’Cork: How to write mysteries, pp 56-86