Mystery/Thriller Course at Anne Arundel Community College
WRITING MYSTERY AND THRILLER FICTION,
by Instructors Rosemary & Larry Mild ©2009
Session Three
ESSENTIALS OF PLOTTING THE MURDER MYSTERY


PLOTTING IS AN ORGANIZATIONAL TOOL
1. A plot is used to describe story structure, a framework for details.
2. The basis for a plot is that main characters want or need something, and conflicting forces exist to frustrate them.
3. A plot is laced throughout with obstacles the main characters must surmount.

CENTRAL CRIME OR CONFLICT
1. Preliminary Plotting--begins by revealing and expanding on a central crime or conflict.
    a. Prepare a brief story line encapsulating an original, media-suggested, or life-inspired idea.
    b. Reveal the major threat to society, justice in general, the protagonist, or someone the protagonist cares deeply about.
    c. Describe the extent and impact of the threat.
    d. Set seemingly impossible goals for the protagonist to accomplish.
    e. Create a timeline for story progression.
    f. List the obstacles intended to frustrate the main characters.
2. Obstacles--frustrations standing between main characters and their goals:
    a. Antagonist origin:
      1) Elusive--Antagonist is unknown, in hiding, or always on the move.
      2) Source of Danger--Antagonist is always placing the protagonist or a main character in jeopardy.
      3) Source of Confusion--Antagonist leaves false clues and misdirection or acts unpredictably.
    b. Natural origin:
      1) Time. 2) Weather. 3) Distance/Place. 4) Disaster.

MYSTERY STORY STRUCTURE
1. Basic or Linear Story Order--beginning, middle, and end.
2. Beginning--Hook and Introduction:
    a. Hook creates a sense of "must read" urgency.
    b. Introduction describes the central crime and crime scene.
    c. Introduction presents the main characters and their interrelationships.
    d. Introduction provides reader with reasons why justice should be pursued:
      1) Plants feeling for victim or victim's family and friends.
      2) Offers a challenging conundrum reader can't refuse.
      3) Appeals to a strong sense of law and order, morality, or just plain curiosity.
3. Middle--pursuit, reduction, and deduction of information:
    a. Describes the collection of clues, motives, and alibis.
    b. Establishes recognition of and reasoning behind clues and suspects with periodic revelations by the sleuth.
    c. Begins to involve the reader in the sleuthing process:
      1) Offers solution and resolution possibilities for the reader to ponder.
      2) Plants concerns for main character's safety.
4. Ending--uncovers or entraps and punishes the guilty:
    a. Closed Ending--a conclusive solution by sleuth, a "dunit" must:
      1) Climax--when the solution is known by the sleuth.
      2) Confrontation--when the who, how, and/or why is presented to the perpetrator.
      3) Denouement, unwrapping, or unknotting--when sleuths explain how they arrived at their solutions and conclusions.
      4) Resolution--how the perpetrator is brought down, i.e., trial and punishment.
    b. Open Ending--an inconclusive ending whereby readers must draw their own conclusions about what will happen next:
      1) Unsatisfying--never used in mysteries, rarely in thrillers. It's like cheating the readers after challenging them in good faith.
      2) Horrifying--used in some horror formats to sustain terror long after the last page has been read, e.g., Harris's Hannibal.
    c. Suspended Ending--lures reader to an abrupt solution on the last page.
      1) Preceded by high action, fast pacing, and maximum danger for hero.
      2) Leaves reader wanting more or possibly facing letdown.
    d. Fake-out--leads reader intentionally to believe in a false solution or resolution.
      1) Character originated or by narrator omission.
      2) May not be accomplished by narrator lies.
      3) Akin to a red herring.
    e. Perpetrator Disposition--arrest, arraignment, trial, conviction, punishment, and/or death.
      1) Closed Disposition--the reader knows exactly what happens to the perpetrator. Reader is satisfied, punishment is imminent.
      2) Open Disposition--the reader must assume what happens next to the perpetrator. Usually satisfying in the cozy.
      3) Trial Disposition--the outcome depends on the jury verdict.
      4) Emphatic Disposition--the perpetrators die by their own hand or actions or they are killed in an escape attempt.
5. Non-linear Story Order--variations in normal plotting order to reveal essential information about a particular main character, key object, or specific action.
    a. Flashback--a backward shift in time to acquire motivational, sequential, or historical information essential to the plot. It may take the form of a backstory.
    b. Flash forward--a shift ahead in time to contemplate future impact or predict possible multiple outcomes.
    c. Non-linear scenes--a rearrangement of scenes in the basic story order.
    d. Non-linear plotting (not chronological)--a rearrangement of the basic (Beginning-->Middle-->Ending) narrative order used to impress, impact, or divert the reader's attention toward or away from a major or milestone event. Examples:
      1) (Middle) confession, (Beginning) crime, (Ending) resolution.
      2) (Ending) crime gone bad, (Middle) what went wrong, (Beginning) how it started.
      3) (Ending) punishment, (Beginning) crime, (Middle) explanations.

A PLOT IS A UNIFIED STRUCTURE OF CRITICAL NARRATIVE MILESTONES
1. Plot Objectives--key events described in the story essence or story idea.
2. Critical Elements--all the events, scenes, and transitions deemed essential to telling this particular story. They're expansions of the plot objectives, providing a narrative skeleton.
3. Scene Goals--what must be accomplished by or revealed in each scene through description, dialogue, encounter, and action. Make lists.
    a. Scenes are sorted according to a timeline.
    b. Scenes are validated by their direct or indirect contribution to the plot. Is this scene necessary? Test it.
4. Plotting Points are the arbitrary details, fillers, and connectors.
5. Critical Elements--expose, complicate, and/or conflict the plot.
    a. Expose:
      1) Setting general season, time, and place.
      2) Explaining current state or condition of characters.
      3) Describing the situation--what's gone on up to now.
    b. Complicate:
      1) List the obstacles and hardships to be overcome.
      2) List the clues and motives to be found and explained.
      3) List the alibis and lies to be accepted or debunked.
    c. Conflict:
      1) Internal--within the character (e.g., shyness, weakness, cowardliness, sense of self, drive, or need).
      2) Interpersonal--among the characters. List who, why and what.
      3) Societal--with society in general. (war, poverty, government).
      4) Incidental--with forces over which we have no control (nature, fate, and birth).
6. Critical Elements--also move, turn, and twist the story.
    a. Move--advance the story:
      1) Take the reader to the next logical step.
      2) Take the reader to another level of understanding.
    b. Turn--make a gradual change or bridge in story direction.
      1) Take the reader to another place or time, perhaps unexpectedly.
      2) Provide a barrier or alternative to progress.
    c. Twist--destroy the reader's belief in what happens next.
      1) Change the reader's opinion of who, how, when, or why.
      2) Establish a new chain of belief in the plot.
7. Chapters are the natural subdivisions of the novel. Chapters:
    a. Begin with chapter numbers (and possibly titles) and end with page breaks.
    b. Often start by extricating a main character from peril or an obstacle.
    c. Often end by blocking or placing the same character in new jeopardy.
    d. Frequently provide news of the perpetrator--resulting in a new lead.
    e. Provide the means to forestall the main character's progress (lab work, missing or unavailable witnesses, procedural missteps, dead-ends, and near misses).
8. Paragraphs are the bite-sized spoonfuls of chapter information. Paragraphs:
    a. Keep to a single purpose (description, setup, action, dialog, and/or revelation).
    b. Reflect a single point of view.
    c. Convey story information in digestible amounts, usually breaking before approximately ten sentences.
    d. May take the form of dialog, internal monologue, and/or narration.
9. Time Lines place events critical to this unique story in an orderly cover-to-cover time span. Story time lines extend from minutes (short-short story) to generations (epic novel)
    a. Column lists (vertical) and diagrams (horizontal) are frequently used.
    b. Character ages are based on years from date of birth at story inception.
      1) Age time line for characters is often helpful. Everyone must continue growing older as story progresses.
      2) Relatives have credible corresponding ages (e.g., parent : child relationship).
10. Story Drive--plot, character, or conscious mind-driven engine.
    a. Plot engine--story evolves according to plan:
      1) Heavily detailed plan and rigid adherence.
      2) Writer is completely in charge of story direction.
    b. Character engine--writer is subconsciously role playing:
      1) Writer sets up loosely conceived situational planning.
      2) Characters are so well defined, they react to story situations.
      3) Based on personality and background, characters control the story.
      4) Writer may be surprised at direction story takes.
    c. Conscious mind-driven engine--writing directly from mind to paper with only minimal planning:
      1) Experienced and extremely talented writers with orderly minds. Most talk the way they write.
      2) Writers who know their series characters extremely well.
      3) Writers who wish to gamble on story direction and outcome because even they might not know what comes next until it appears on paper.
      4) Writers who are required to turn out three or more novels per year.

USEFUL PLOTTING TOOLS
1. Story Outline--an ordered and prioritized arrangement of plotting information:
    a. Allocation of major critical elements to chapters (Roman numerals).
    b. Listing remaining critical elements to be covered by scene (Capital letters).
    c. Assigning major and minor scene participants and their roles (Arabic numerals)
    d. Setting mood, time, and place (Arabic numerals).
    e. Initiating activities/positions (Lower case letters).
    f. Action/Drama details--plotting point to plotting point (Lower case letters).
2. Chapter Briefs:
    a. A collection of chapter summaries or vignettes covering the same chapter and scene goals as the story outline.
    b. Initially, a chapter/scene planning statement evolving from the storyline.
    c. Subsequently, rewritten as a tool for looking backward as the manuscript progresses.
3. Story Diagrams--a multi-sloped drawing figure used to portray the rising and falling action of a story. Plotting objectives and critical elements are ordered, labeled, and arranged along the slopes.
    a. Triangular plotting structure used by Aristotle in 350 BCE.
      1) Lacks sufficient detail for modern novel and awkward to use.
      2) Mapping based on beginning (rising action), middle (climax), and ending (falling action).
    b. Quadrangular plotting structure:
      1) Lacks sufficient detail for modern novel and awkward to use.
      2) Mapping based on beginning (introduction), middle (pursuit), pivot point (climax), and ending (denouement).

4. Flow Diagrams--orderly strings of blocks used to convey story elements. A flow diagram is the quickest and simplest way to see story at both micro and macro levels:
    a. Chapters are solid blocks arranged horizontally across page.
    b. Each chapter block is briefly identified with a major critical element.
    c. Scenes are solid blocks arranged vertically in the page.
    d. Each scene block is briefly identified with a few scene goals or lesser critical elements.
    e. Function blocks are dotted blocks arranged between scenes.
    f. Each function block is briefly identified with the purposes of the scene. (action, setup, motive, obstacle, expose, turn, twist, etc.)
    g. Character blocks are solid ovals arranged between scene blocks.
    h. Character blocks list the scene participants.
    i. Blocks are interconnected by solid lines.
Sample Plotting Flow Diagram
Sample Plotting Flow Diagram.


CREATING REAL SUSPENSE IS TAKING POSSESSION OF THE READER
1. Intensity--the text's level of attention or control exercised over the reader's mind:
    a. Curiosity is an evoked interest in a situation's outcome.
    b. Concern is a provoked worry for the welfare of main characters.
    c. Urgency is a dire constraint placed on a must-do outcome.
    d. Tension is the gripping fear of what will or won't happen next and its devastating consequences.
    e. Buildup energizes anxiety, fear, surprise, and shock.
    f. Climax is the culmination of suspense and is preceded by the main character's darkest outlook.
2. Suspense Tools--how we engage and take possession of the reader's curiosity, emotions, and expectations:
    a. Confinement and physical constraints--the need to break out.
    b. Time constraints--the ticking bomb, flooding chamber, bleeding wound, hanging by fingers, and progression of poison.
    c. Momentum--Repeated, rapid-fire hurdles to conquer. Hero fights to keep up.
    d. Atmosphere--setting the scene with sights, darkness, shadows, illusions, fog, sounds, smells, and creepy things.
    e. Interference--putting off anticipated resolution to the situation:
      1) Scene switching--suspending threat resolution.
      2) Point of view switching--seeing the other side.
      3) Blocks--delays, tainted evidence, and improper procedure.
      4) Disappointment--deceptions, false paths taken, escapes, and chases.
      5) One more thing--a battle to fight or obstacle to overcome.
      6) Threat, real or imagined, and its impact.
3. Levels of Anticipated Outcome in a Desperate Situation:
    a. No hope, the worst could happen.
    b. Small ray of hope, only a miracle can save the main character.
    c. Hope is possible, imminent danger might be avoided.
    d. Hope is probable, main character may prevail with only minimal harm.
    e. Hope is real, threat can be eliminated, but sacrifice may be the price.
    f. Hope is superfluous, main characters will prevail over antagonists and their threat for all time. No one else is harmed.
4. Character Bonding--Making the reader care enough about a main character to root for or against him, identify with him, and worry about him. Give the character:
    a. Traits, looks, and values readers can see, detest, or desire in themselves--good, bad, or imaginary.
    b. A believable and sympathetic backstory.
    c. A cause the reader can rally behind.

CREATING REAL SUSPENSE--A GLOSSARY OF SUSPENSE TERMS:
1. Story Spin--underlying theme leading the reader through story.
    a. Seeding the plot--planting reader beliefs.
    b. Varying the pace--differentiating the senses of ebb, flow, and action.
2. Story Turn--gradual change in the underlying story flow or direction.
3. Story Twist--a surprise or an unexpected major change in direction, belief, or outcome.
4. Suspended Outcome--withholding what reader wants to know most.
    a. Delaying the resolution impact or consequences.
    b. Jumping the story to another scene, character, or time.
5. Irony of Circumstances--correcting a reader's misconception.
6. Foreshadowing--hinting at possible outcome or what comes next (i.e., hidden glimpses of the future).
    a. Clues, omens, sights, smells, sounds, letters, notes, and signs, etc.
    b. Character warnings and threats: "Beware the Ides of March."
7. Rising Action--occurs each time the protagonist encounters the antagonist:
    a. Direct Confrontation (e.g., physical combat, legal struggle, chase, and/or weapons battle).
    b. Indirect Confrontation--new crimes (e.g., another body, a dire message, or something else stolen).
    c. Implication of danger, actual harm, or deeper concerns.
    d. Escape and evasion, occurring before the climax, antagonist must somehow prevail.
8. Falling Action--occurs after the climax (the "who" is known):
    a. Tricking, trapping, confronting, and arresting the antagonist.
    b. Involves the protagonist unraveling his/her solution logic.
9. Misdirection--writer'`s tool used to slip information past the reader's immediate scrutiny:
    a. Hides believable information in plain sight (e.g., a key fact in an elaborate character description or in a lengthy dialogue on an unrelated subject).
    b. Provides the means to secret clues or identities during distraction or amid clutter until the writer is ready to expose them.
    c. Conceals information essential to the plot.
    d. Misdirection is never author misinformation and never a lie unless perpetrated by a character known to be untrustworthy.
    e. When executed correctly and effectively, the blame (for misinterpretation) lies with the reader and not with the author.
10. Red Herring--establishes reader belief in false or misleading ideas. The belief might be planted by:
    a. Overlooked details.
    b. Wrong interpretation of an action.
    c. Information/misinformation by an expert character.
    d Absence or non-mention of a person or thing.
    e. Unreliable dialogue.
    f. Bandwagon fallacy--everyone in the cast believes it.
12. Anticlimax--unexpected disappointment or disillusionment resulting from:
    a. Author not delivering what was expected or promised. Possibly delivering far less than his/her buildup. An unplanned letdown.
    b. Author's ploy used to draw attention away from the actual climax, i.e.,luring the reader into thinking the climax is imminent with a major buildup. Then, one more obstacle or false turn perhaps or a planned letdown to heighten the actual climax.

ASSIGNMENT: FOR SESSION FOUR
1. Prepare an outline or appropriate diagram of your short story or the first chapter of your novel.
    a. Should include applicable plotting objectives and all critical elements for your short story, including beginning, middle, climax, and ending.
    b. Should include applicable plotting objectives and all critical elements for your initial chapter/scene goals.
    c. Should be no more than three to four pages.
2. Begin to write your short story or the initial chapter of your novel.