A Word from the Author ... T.G. Campbell; Mastering the clue-puzzle mystery
Like all literary genres, crime fiction has many subsets
attached to it. These range from the cosy mysteries set in quaint English
villages to gritty police procedurals touching upon politically charge topics
such as terrorism. Yet, the origins of crime fiction lie in humanity’s innate
need for reassure. In other words, for every crime committed there’s a
detective able to solve it. This, in turn, restores order to the world and
reassures the reader.
In his book, Writing
Crime Fiction, HRF Keating refers to the clue-puzzle mystery as the
“Classical Blueprint”. It was perfected by writers, such as Agatha Christie, in
the golden age of crime fiction in the 1930s and 1940s. According to Keating, “crime
writing is fiction that puts the reader first, not the writer.” In other words,
the crime writer puts the readers’ enjoyment above any deeper meaning they may
want to present. This enjoyment comes from the satisfaction of solving a puzzle
in the form of a mystery.
·
The victim and crime
·
Suspects and setting
·
Clues and red herrings
·
Motives
·
Alibis
·
Means.
The writer’s skill is tested and demonstrated by how well
they lead their reader through the maze of deception to the final solution. For
clue-puzzle mystery devotees there are no greater sins than the detective
revealing a previously held back clue during their final summing-up, or the
murderer being revealed as a previously unknown suspect. In essence, the
fundamental difference between a well-executed clue-puzzle mystery and a dud is
the writer’s ability to play fairly with their reader. The reader must be given
a sporting chance to solve the mystery themselves. If they’re not, they’ll feel
duped by the writer and their enjoyment of the story will vanish.
of setting brings us back to the notion of fair play in that it defines the clue-puzzle’s boundaries by closing off the circle of suspects. Though quaint English villages are popular settings to achieve this purpose, there are others which work just as well, e.g. a train trapped in a snow drift. Suspect circles may also be closed by circumstances, e.g. the crime could’ve only been committed at a certain time.
Though not a rigid rule of thumb, having the suspects known
to one another assists the writer in developing them as characters in the
limited time a mystery story provides. Furthermore, it allows the writer to
forge ‘clue-trails’ between the suspects a lot more easily than if everyone
were strangers. Of course, you may have your suspects appear to be strangers to
each other but forge subtle clue-trails between them which your detective
gradually uncovers as the story progresses.
When planning and writing your mystery you should keep this
analogy in mind: a mystery story is like a walk through a garden with the
writer as the guide and the reader as the traveller. The crime is the gate where
the writer and reader enter the garden together. The investigation is the
writer guiding the reader through the garden. There may be more than one path
and red herrings and misinformation may send these paths into different directions.
Yet, as the story progresses, the writer must narrow and barricade these paths
through the use of alibis, witness testimonies, and clues to eliminate (or at
least lesson) the credibility of each suspect’s potential guilt until one path
remains. The end of that path is the way out of the garden, i.e. the final
solution.
As HRF Keating wrote, “the crime story can, to a small
extent or to quite a large extent, do what the pure novel does. It can make a
temporary map for its readers out of the chaos of their surroundings. Only it
should never let them know.”
Source:
Keating, HRF Writing Crime Fiction: Second Edition A
& C Black (Publishers (Limited),
(1994, London)
To find out more about
my own clue-puzzle mysteries—and where to buy them—please visit my website: www.bowstreetsociety.com.
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