Mystery Vs. Suspense

By Josi S. Kilpack

A couple years ago I started writing what I called a suspense novel. About 75 pages into it I decided maybe I ought to read up on writing suspense novels, since I'd never done it before. I got the book "How to Write Killer Fiction" by Carolyn Wheat and I realized that I was not writing a suspense after all, instead I was writing a mystery.

Now, I freely admit that suspense and mystery have seemed a bit interchangeable to me in the past. They are both a kind of Whodunit, and they are both intense and fast paced, however there are some specific differences that need to understood a so that you can pitch your book correctly and fulfill the 'contract' with the reader that picks up your book expecting a specific experience. Here is a summary of what I've learned.

Mystery
*Crime to be solved happens offstage
*Reader is two steps behind Main Character (MC)
*MC usually a detective or sleuth
*MC uses skills already possessed
*Intellectually stimulating
*Intellectually satisfying ending
*Danger already took place
*Story is about what happens to someone else
*Central question: Who did it?

Suspense
*We see the action that begins the story
*Reader is two steps ahead of MC
*MC can be anyone
*MC learns new skills and grows
*Emotionally gripping
*Emotionally satisfying ending
*Danger throughout the story
*Story is about what happens to MC
*Central question : Will the Hero survive?

In the book, Wheat compares a mystery to a carnival fun house, where the floors shift and things aren't what they seem, you have to pay close attention to find your way out. A suspense, on the other hand, is compared to a roller coaster ride, intense, heart pounding, pervaded with fear of survival.

There are some cross overs, books that use both elements but it's usually pretty easy to determine which type overshadows the other one--calling your book a mystery suspense really won't work.

Through reading this book I learned that I use a lot of suspense elements in my books, but not so much mystery. It helped explain why writing this book was different and harder than anything else I had written--it was totally new.

I recommend the book How To Write Killer Fiction to anyone that would like a crash course in either mystery or suspense as Wheat offered great information on both genres. I'm still working on my mystery--it's been a slow process and I'm still learning a lot but it's been fun to try something new.

Happy Writing!

3 Point of View Pitfalls

by Annette Lyon

I recently pulled out an ancient manuscript of mine and read through the first few pages. At first I was pleasantly surprised; the writing and dialogue weren't too bad. I still thought the language was fresh and fun.

One big problem, though: the point of view was nonexistent.

While some of my favorite authors, like L M Montgomery and Charles Dickens, could get away with either not having a point of view or using an omniscient point of view (where the narrator can see into everyone's head--and DOES, at any point), that method is far less likely to get your work into print today.

Readers and editors expect a clear point of view. Who's head are we in? Whatever is seen, thought, heard, felt, experienced, and (most importantly) interpreted, is through one person's eyes in that particular scene. You can have a few points of view in a novel, although more than 3-5 can get cumbersome.

Below are three pitfalls to avoid so your readers aren't getting dizzy trying to keep it all straight.

Pitfall #1: Hopping heads
As I said, you can have more than one point of view per book. Just don't hop between them willynilly. Don't switch even in the course of a scene. And absolutely never do what an author I recently read did by switching points of view at paragraph breaks--at nearly every paragraph break. It was hard to connect with the characters' thoughts and reactions when every few lines we're seeing the story through a different lens. The experience was flat at best and jarring at worst.

Pitfall #2: The Boring POV
Don't pick a random POV for each scene, showing the story from one person's head just because they happen to be there. Maybe another key person in the scene would provide a different--better--angle for the story.

Think about who has the most to lose. Often that's the right POV to pick. Maybe there's someone who has the possibility for misinterpretation of what's happening. Pick that POV. Who will react the strongest to the conflict in this scene? Latch onto that. Whichever POV you pick should help the scene be the most effective dramatically.

Pitfall #3: The POV Intrusion
This particular pitfall is so easy to fall into and not even realize it. The POV Intrusion is when the author is being so careful to stay inside one person's head that they get a little too carried away with pointing it out.

If we're in Sally's POV and she's waiting at a crosswalk, we don't need to be told that she sees a red car drive by. If the red car drives by (and we're in her POV), we can easily assume that she saw it. Same goes with all the other senses. Don't tell us that she heard the car's engine or noticed the cloud of exhaust. Just describe the sound of the engine, the smell of the exhaust.

This may sound like a little thing, but it's not: Every time you use a POV Intrusion, you're throwing up a flag to your reader that says, "POV Alert! Did you see it?" That pulls the reader out of the story.

Worse, it makes your reader less connected to your character. If Sally sees or notices something, the reader doesn't. It effectively keeps your reader one step away from the vicarious experience you're trying to create.

On the flip side, if you describe Sally's experience without the POV intrusion, the reader will feel it too, almost as if it's happening to them. In short, you've shown instead of told.


Point of view can be tricky, but it's a skill that's worth learning, especially if it gets your readers so entrenched in your story that they forget they aren't your characters.

Because you deserve it!

I met a writer the other day who has yet to complete a novel. He has several beginnings and even a couple of endings (though the endings don't go to his already written beginnings). He asked me for advice.

It seems to me his problem is not one of ability. He writes all the time. I believe his issue lies more with motivation and very likely, a dash of fear.

At a recent conference I learned a little about goal setting. I already do most of what the instructor told us we needed to do in order to have successful careers, but my goals are thoughts in the back of my head, never written down . . . not really.

Never before had anyone explained to me the fine art of good organization and the importance of goal setting with rewards.

It isn't enough for the would-be-writer to say, "I'm going to write a book." Because at the end of that sentence remains words left unsaid. The sentence really is this, "I'm going to write a book SOMEDAY."

Someday always seems so distant. We always have time to worry about things SOMEDAY. But what happens if your someday doesn't come because you never sat down and decided on a concrete goal?

Kay Lockner suggested that first off you need to define a career goal such as: I want to be a best selling author. Best selling is a pretty subjective goal so she suggests you narrow it down into something tangible. Give you concept of "best-selling" a number. In some markets 2000 books is considered best-selling. So you need to determine what best selling means to you.

Next she suggests you consider what this goal will do to your life. Will it offer you financial security? Will it offer you truckloads of fan mail? Will it offer you time to spend with your family? Will it offer you the chance to live a career you love? When you figure out how you want this to impact your life. Write that down along with your goal.

Next you need to do some "snap" planning that will push you along the road to your ultimate goal. Along with the goal you need a target date for completion. If your goal is to finish a novel, then you need a date by which you must complete the novel. Then you need to have three milestone goals so that you can check your progress along the way.

The milestone goals are dates. For example my goal is to complete "the Nightmare Givers" by December 31st. My first milestone is the full introduction of all main characters by October 31st (which I've met. My second milestone is that I must come to the middle of the story where all issues are introduced and all obstacles in the way by November 31st. By December 31st, all obstacles must be removed and they live happily ever after (or happily until the sequel).
You need to set three smaller goals in order to achieve the larger one. She breaks it up into "goal-genre" if you will.

• Production goal--this is where you create the product. This is the "how many words am I going to write a day" goal.
• Marketing goal--this is where you plan on how you're going to get the manuscript read by others.
• Wildcard goal--this can be anything (hence the name). You can have a goal to establish an internet presence or read a few books on the craft of writing.

What I really really love about this is you get to reward yourself when you achieve small goals and reward yourself even more when you achieve the big ones.

So if you meet your target date for getting to chapter ten, you get a movie night, or a manicure, or a new miter saw. You cannot reward yourself with stuff you're going to do anyway. If you get a manicure every week, then what point is there in using that for your motivation?

For me, a simple reward isn't good enough. I take away things I love, and only return them to myself when I achieve my goals. For instance I love to read. I love love love to read. I love to read in a way that could be considered an unhealthy addiction. So, in order to get my writing done, I buy new books that I desperately want to read, then set those books on my shelf at my writing desk so I have to stare at them, knowing I cannot have them until I achieve my goal.

Whatever reward you pick for yourself, make sure it's one that is properly motivating as well as properly accessible. Don't make a Caribbean cruise your reward if you know there isn't a snowball's chance in the hot place you can afford it. But do make sure it's something that will put a fire in your belly. Because whatever your reward for reaching your goal . . . you totally deserve it!

Monday Mania: Query Letter

One of our readers submitted her query letter. Feel free to make comments, but please keep them constructive.

Critique Archive 0010:

The Carrot Skin Factor
(YA novel—approx. 53,000 words)

Tomorrow night, Yankee Stadium will be attacked by a group of rebels known as the Gaddi-Anons. Can four teens and a whacky inventor discover the meaning of ‘Crying the Neck’ in time to save thousands from disaster?

Fifteen-year old Zack’s life sucks. His divorced parents have no time for him. Following a creepy midnight encounter, Zack and his three friends find a mysterious gadget called DINGO (Delivers Information, Navigates, Goes Overseas) belonging to a British inventor and secret agent, Hunter MacMurray. It's weird the things DINGO can do and foresee using holograms, known as Dingograms. One snag—the operator must be crazy about carrots.

A mysterious clue (Crying the Neck) takes the four from Connecticut , USA , to Cornwall , England , transporting by DINGO. Will Zack's fears let everyone down? Is Libby’s faith the waste of time Zack thinks it is? Suspense builds to a surprise ending—not only do they win the fight, but it turns out Hunter is Zack’s mom’s lost brother.

I decided to contact you after researching many literary agents as you have found homes for exciting YA books in the past. Enclosed is a synopsis. I have completed the entire manuscript—a fast paced suspense with mystery and science fiction for readers age twelve to seventeen.

As for my qualifications, I have three published books, one of which is short stories for Young Adults; and over seventeen years of published magazine articles and fiction for both youth and adult readers.

Thank you for your time. If I am a writer you can represent, please may I send the full manuscript? I enclose an SASE for your response.

Sincerely,

Facing Your Audience

by LuAnn Staheli

Sometime in junior high, I decided to be a writer. I wrote poetry and short stories, but I looked forward to the day when I would grow up and write novels. It took me several years to get there. Only eleven years ago I completed my first, the story of my mother’s childhood. My second novel was born three years later from a random idea. It was followed two years ago by a book based on my own teenage years, then last year I completed a historical set in the time of the Aztecs that I had been working on for nearly twelve years.

So, four complete novels reside on my computer hard drive. All have been through my critique group, revised, and prepared for publication. And that’s where the problem lies. Despite the fact that I’ve queried several editors and agents, I’ve not yet sold one of these manuscripts. Like many want-to-be authors, I could just give up and set my dreams aside, but after all these years and the amount of work I’ve already put into them, I don’t want to.

I decided to face my audience. All four of my books are meant to be read by teenagers, and every day I see over one-hundred teens in my Honors English classrooms. Copies in hand, I approached several of my best editors. “Would you be willing to read and critique this for me?” The response has been overwhelmingly positive. At last, the chance for the student to tell the teacher what they need to fix.

With delicious glee, the students were off, taking their task seriously. I’ll admit, I was nervous. Sending my babies off to faceless readers was one thing, but knowing I would see my new editors face-to-face every day for the rest of the school year was frightening. “What if they don’t like it? What if they think I’m a terrible writer? Will I be able to fix anything they don’t understand?”

As manuscripts started to come back to me, I discovered that sending them home with kids was the best thing I could do. The responses have been positive; the comments specific and helpful. As I’ve started revision based on my target reader’s input, I feel my manuscripts will be better than ever.

Writers need feedback to improve their work, and no response is as constructive as that from a real audience. Sure, agents and editors may hone my work, but the kids—they are the ones who will really matter when the books finally get published.

A Writing Schedule that Works for you.

By Josi S. Kilpack

Earlier this week my friend Anne Bradshaw forwarded some advice from Dave Wolverton, a very successful and well published author. It was full of wonderful information about things that might interfere with your writing such as medication, depression, too much caffeine etc. I found many very valuable things in what he had to say. Hopefully Anne will let us know how we can get on his "Kick in the Butt" e-mails, as I couldn't seem to find his website in the 47 seconds I allotted to research for this blog.

Amid the info were some suggestions on how to find what works best for you. He mentioned things like finding what time of day you're most creative, and then working out a schedule so you can write at that time. For just a moment I closed my eyes and fantasized I was a single, non-mother that was either a) an heiress or b) so successful in my writing I didn't have to work another job and could treat my writing as if it were my only Dependant. Then I opened my eyes to a cup being shoved in my face followed by the words "I need a drink", my desk piled with homework, the phone ringing, and someone announcing that the cat had peed on the carpet again.

Fact is, I have no idea what time of day I'm most creative because I have not yet reached a point of being able to schedule my writing--it is still fitting into the nooks and cranny's of daily life where my family and home responsibilities keep it terribly suppressed. However, the way I write has changed a lot since I started writing and the last few days have allowed me to think of things that have worked for me. My life, as is any writer's--even those that do have a schedule--is a constant work in progress and one thing to keep in mind about the beauty of writing is that it is so flexible. I can write at 1:00 a.m. or 11:30. I can write at home, or on the bus, or in a plane or on a train. I can write both here an there, I can write most anywhere!

The key is being able to evaluate what works NOW, this week, this month, this year, and then making it important enough to do.

Things that have worked for me:
*One day for me, one day for them--If I can spend one day catching up on laundry, phone calls, bills, vacuuming and running errands, the next day can allow all those things to slip a little. Often having three hours of total writing time in one day is more effective than one hour every day because I can stay more focused. I tend to work harder on my days 'off' writing so that the days 'on' can be more effective.
*Planning in advance--By looking at tomorrow's calendar I can see where my free (ha, ha) time lies and can often determine where I can fit my writing in. Knowing this in advance helps me stay on target.
*Setting a timer--this is especially effective when I'm feeling blocked and don't want to write, or I'm super busy. I'll set the timer for 10, 20, 45 minutes and write for that amount of time. When it dings I'm able to feel proud of making the commitment and go on to other things.
*Take it with you--I find I can write in the car for about 30 minutes without getting sick. I can write on a plane for hours (my husband loves that). I have both a laptop and an Alphasmart that are very portable. Whether for trips or just really busy days, I can take my writing with me.
*Goals--sometimes I just want to get a certain amount of writing done. I either want a word count to applaud my efforts, or a time commitment. Shooting for a specific target often sharpens my aim, whether my goal is 3,000 words a week or 5 hours of writing. You can use a stop watch to track it, write it down, or challenge a friend. Either way you have a bigger reason to write than just to say you've done it.

What's worked for other people, but not necessarily me:
*Getting up earlier than the rest of the house and using the alone time to put your words down--this doesn't work for me because we're up at 4:45 anyway.
*Staying up later than everyone else, when the day is behind you and all else is washed, asleep, folded, or put off until tomorrow--this doesn't work for me unless I have a GREAT idea. seeing as how we get up so early, bedtime can't be pushed off for long.
*A set schedule is something I drool over. The idea of having a set time every day that you always right truly makes me heart all aflutter, however, it's not my life. . . yet. If you can discipline this kind of structure into your writing you don't have to work so hard to fit it in which would just be heavenly.
*Blocking out huge chunks of time, or even days, to focus only on writing is another dream I have. Brandon Sanderson wrote an entire book in 16 days, and Jeff savage worked a more than full time job and wrote a book in I think 40 days or something insane like that. It takes cooperation from the other people in your life, for sure, but if you can get 5 hours to yourself, or even a weekend--wow! One day, this will be my life. I'm sure of it.

The point is that what works for one person won't necessarily work for another--even if you're lives are very similar. I know many stay-at-home-mom's that find writing time in completely different ways than I do. But remember the plane, train, box thing--you can write any way that works for you.

Got any ideas I didn't mention? I'm taking notes.

What Are Agents Looking For Right Now?

by Heather Moore

This is a tough question. You can browse Writer’s Market, subscribe to Writer’s Digest, search through AgentQuery.com, read submission guidelines . . . all great sources. But lately I’ve found many interesting tidbits on BLOGS. Yes, there are some agents who run blogs and they have fabulous information.

On October 25, Johnathan Lyons of Lyons Literary said he’s looking for the following three books:

“A serious treatment on the rise of cable television, filled with behind-the-scenes interviews with both the suits and artists who made it happen. Journalism credentials necessary.

American history in the 19th century. The issue chosen needs to be specific, but with enough umph to carry a whole book. I also think that there's room for more history books focusing on a single year or even a few months (April 1865 is a great example).

A gritty, hard-boiled urban fantasy mystery series. Imagine Lehane or Connelly, but paranormal. Must be set on earth in the present or very near future.”


On October 8, the agents at BookEnds Literary said they are looking for:

Jessica:

“I would love to add some really strong and scary romantic suspense to my list, and when looking at paranormal I have been gravitating toward work that leans to fantasy. I’ve also noticed an upswing in the historical market and I’m very excited about that.

I’m most actively looking for suspense and thrillers—books that make my heart race and my eyes widen with excitement. I would love to find a fresh new voice that could be compared to Karin Slaughter, Lisa Jackson, or Barry Eisler.

Women’s fiction is probably one of the harder genres for me to break down. What do I look for in women’s fiction? I think it’s the relationship. I love Elizabeth Berg, and Jennifer Wiener for me has been hit and miss (I did like Good in Bed, but not In Her Shoes). I like characters who are obviously flawed but who we can all relate to. I love stories about friendship and women who break out of a mold. Either way I want to see the heroine grow and change throughout the book.

For those writing nonfiction the key is platform, platform, platform.

And as for YA. I don’t represent it. I believe I’ve gotten on some YA lists so there’s obvious confusion, but it isn’t something I’m actively looking for at this time.”


Jacky:

“I am looking for fiction with a strong hook and voice, including mysteries of all kinds, romantic suspense, women’s fiction, erotic fiction, thrillers. I am open to seeing young adult fiction that is edgy, hip, or topical. I haven’t represented any Christian fiction, science fiction, and spiritual fiction. I look for highly commercial books that will appeal to a wide market. I prefer a brief email query to see if I’d like to take a look at more. I’m attracted to fiction on the dark side; however, I represent a number of cozy mystery writers whose stories are light and often humorous.

In nonfiction I am looking for health and wellness, business, psychology, parenting, career, finance, self-help.”

Kim:

“I represent a wide range of genres, including westerns, romance, women’s fiction, crime novels, cozy mysteries, true crime, and pop culture. However, the areas in which I’m currently interested in expanding are women’s fiction and romance.

I gravitate toward the more serious women’s fiction in the vein of Jodi Piccoult. I’d love to see more great Southern fiction. I’m also in the mood for great romance. Lately, I’m hungry for more terrific historicals.

I, too, would love to find a great romantic suspense author. I love Lisa Jackson and Sandra Brown. I think the “ultimate” book for me would be a romantic suspense that’s reminiscent of those old gothics I loved by Phyllis Whitney, but modern enough to succeed in today’s market.”

(If you are interested in submitting to these agencies, please read their submission guidelines in their entirety)