Write Track Newsletter
11/15/2002
Editor: Carol Kluz



TWISTS IN WRITING

Aspiring writers sometimes wonder how some writers are able to consistently inject surprise twists in their stories. I’ve been asked myself how I’m able to think along those lines. My immediate response is; it takes a twisted mind. I give them a subtle side-long glance...a mix of the Mad Hatter and Mata Hari. Once they get over the initial shock and realize I’m being my usual (never take me seriously) self, they press for a ‘real’ answer. So, after thinking long and hard about it, I’ve decided to offer what advice I can.

Some writers prefer to write an outline detailing the plot, chapters, and characters; others don’t. I fit into the latter. For me, an outline wouldn’t work because I don’t know exactly where my plot is going or which characters will move it along until I sit down and begin to type. But, if you use outlines, be prepared to be flexible. Let your characters help in the decision making.

In some cases, the prospective criminal will have a few characteristics, habits, or even a possible motive for having committed the crime. The key is to convincingly point the finger of guilt at the ‘wrong’ person. Remember that nothing is as it appears to be. You can plunge right into scenes showing how A must have killed his brother. He was, after all, always jealous of his brother’s success, and he did have opportunity. Not only was B killed by a blow from a golf club; everyone knew that A always carried his golf clubs in his car. Now A was claiming they were stolen less that two days before the murder of his brother...but, he didn’t bother to report it to the police. Also, A showed absolutely no remorse nor did he stay for the reception after his brother’s funeral.
A even admitted to the investigating detective that he never cared much for his brother.

Okay, we’ve established that a man was murdered with a golf club and we’ve pointed the finger quite convincingly at his brother. Of course, all of that condensed writing will be fattened out into various scenes as the story takes shape. It is through the course of these scenes that we introduce other characters, one of whom will be the real murderer (C). He or she can be someone close to the victim or someone obscure. Little by little, as the story moves into the scenes above, little hints can be pointed at others as well, including C.

At the climax of the story when A is on the verge of being arrested or leaving the country, or something showing he’s headed for justice, someone (it could be A, a detective, a friend) finds a new piece of information that combined with other subtle clues points to C as the killer.

Many readers try to guess at surprise endings, but be warned, they want to fail. You must be convincing and spring your twists with believability. If it’s too pat, it won’t work. If it’s unbelievable, it won’t work. That isn’t to say you can’t use unusual or rare plot ideas that wouldn’t normally happen in real life. It means that you must make what your characters do...believable. It’s how they act and react to situations that make them convincing. Sometimes, you can talk out a plot idea for a murder or crime, name all of the characters, name the guilty party. Have it all worked out on paper or in your mind. Then remember none of it is as you have it mapped out...because you’re wrong...enter that twisted mind.

Remember, too, that people will deliberately lie to cover up, they’ll frame someone, they’ll seek revenge, they’ll cry, put on acts to mimic the innocent. Many criminals are clever...and devious. Use these characteristics to develop your criminal character.

Little and big clues have a place. Regarding the above plot. Supposing C has a reputation of being a kind and generous man. You can give a little hint to his dark side by showing him talking sweetly on the phone to A, then slamming the phone down in anger after A hangs up. Your imagination and your developing characters will help you with these scenes.

It isn’t fair to your readers not to put clues out for them. To suddenly spring it that someone else committed the crime at the last minute is a no no. They must have the opportunity to cipher the puzzle, but not necessarily to solve it...until you reveal it. When you spring your twist, and your protagonist explains his/her reasoning, the reader should be able to say: “Oh, yes, that makes sense. That’s why he did that.”


QUOTES

“The cleverly expressed opposite of any generally accepted idea is worth a fortune to somebody.”
—F. Scott Fitzgerald

“The two most powerful warriors are patience and time.”
—Leo Tolstoy

“A weaver of tales, he shuttled words back and forth across the loom of his imagination.”
—Patricia O. Grady

“If you have a garden and a library, you have everything you need.”
—Cicero

MYSTERY WEBSITES

www.bookwire.com/index/mystery-publishers.html
www.cluelass.com
www.hollywoodnetwork.com/crime/
www.swifty.com/cwc/links/mystery.htm
www.webfic.com/mysthome/
www.mysterynet.com/mwa/
www.zott.com/mysforum/default.html

In our next issue, we’ll have Christian romantic suspense author Ann McDonald as our guest. She’ll talk about her novel as well as the reopening of her writer’s community ChristianWriters.
Editor: Carol Kluz AKA Kaz. Email: Kluzwriter@aol.com