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Introduction

This course is a pre-requisite to “Writing Mysteries.”

What are your favorite genres? Romance perhaps? Maybe it’s Adventures or Comedies? How about the more intense genres of Mysteries, Detective Fiction, Suspense, Horror, or just good old Thrillers?

If you enjoy reading books by the earlier writers such as Sir Arthur Conan Doyle, Agatha Christie; or the later writers such as Catherine Coulter, Nevada Barr, Sara Paretsky; or the famous authors of suspense or thrillers such as Mary Higgins Clark, Tess Gerritsen, Stephen King, or John Grisham; then you may find yourself investigating the cases right along with the detectives. This is the essence of a good thriller/suspense book because they have already captured you and will now hold you hostage until the plot is inevitably revealed.

In this course, you will study the elements of fiction such as settings, themes, characters, plots, etc. You will also be examining different authors and scenarios, and you will be reviewing mini-mysteries and short stories that encourage the reader to solve the crime. You will learn how to ready and analyze the stories you are reading. As a result, you will develop a deeper meaning of the stories than just reading for pleasure.

Are you ready to begin your journey into the world of mysteries and the subgenres? Once you start reading some of these stories, you will find them hard to put down.

Lesson 1: Introduction

Are you ready to begin your investigation of Mysteries? To start your journey, you will learn about the similarities and differences of the subgenres. These four lessons will provide the information you need to develop your understanding of mysteries and the subgenres. The short innovative assignments will teach you the necessary elements of these subgenres.

To begin your journey, you will need a notebook for your journal. By writing down the ideas that are presented in these lessons or any ideas that come to you, you will have the information handy when you are ready to tackle your reading assignments. You will also be analyzing the mini-mysteries and short stories.

This course is a pre-requisite to “Writing Mysteries.”

Introduction

In Lesson One, you will learn about Mysteries. My objective for this lesson is to help you learn the similarities and differences of Mysteries and the subgenres. As you become familiar with the aspects of this genre, you can apply this knowledge to your writing. Materials I Used To Develop This Lesson (1) You Can Write A Mystery by Gillian Roberts (2) Plotting and Writing Suspense Fiction by Patricia Highsmith (3) Writing Mysteries edited by Sue Grafton (4) My articles titled “Detectives,” “Uniform Police Officers,” and Crime Scene Officers” (5) Writing the Novel From Plot To Print by Lawrence Block (6) Writing Crime and Suspense Fiction and Getting Published by Lesley Grant-Adamson (Available in the US and UK) Reading Assignments (1) My articles “Uniform Police Officers,” “Crime Scene Officers,” and “Duties of the Detectives” Suggested Writing Assignment Your first writing assignment will be to answer the question: “Why I Wanted To Take This Course?” This will help you to see what your goals are in reading and writing.

Lesson 1: Introduction

Notable Authors Of Suspense

According to Gillian Roberts in her book, You Can Write A Mystery, “suspense asks the question ‘What is going to happen?’” While you are reading, you are anxiously waiting to see what the characters will do next. This builds suspense.

Patricia Highsmith mentions in her book, Plotting and Writing Suspense Fiction, that suspense stories contain “a threat of violent physical action and danger or the danger and action itself.” She further states “that it provides entertainment in a lively and usually superficial sense.”

Reading suspense fiction does provide an entertaining plot as well as the intense desire to keep turning those pages. When you understand how plots are developed in the stories or books you read, you will be able to produce a well-developed plot yourself.

Writing Crime and Suspense Fiction and Getting Published by Lesley Grant-Adamson isn’t available, but she has some great ideas about those genres. The “principle of ‘let ‘em laugh, let ‘em cry, let ‘em wait” sums up suspense fiction, even though laughter is normally reduced to the occasional smile at irony or wit. These novels can be as dark and brooding as the author feels the subject demands, and a grim humour will suffice. Character in decay is a familiar theme. Crime, or its aftermath, is usualy involved but isn’t a prerequisite.” (42) Reading Crime and Suspense fiction will cause readers to laugh, cry, and anticipate all subsequent plot actions. As a result, they are captivated by the plot and anxious to find out what happens to the villain and why he or she committed the crime.

The best way that Lesley Grant-Adamson describes suspense is “by the things it doesn’t have to do. It doesn’t, for example, have to offer reassurance, as the detective story does when the killer’s identity is revealed. Neither does it have to involve crime, nor are there conventions to follow. It can be a quiet book, lacking the dash and flurry that peps up crime novels and especially thrillers.” (42-43)

Sometimes it’s difficult to determine if the story is suspense, detective fiction, or thrillers. Suspense keeps the reader intrigued in the story. Most Detective Fiction writers have a detective as the narrator. Sometimes the villain tells the story. Thrillers can be more intense for readers.

In the next section, we will discuss detective fiction. After that, we will discuss thrillers.

Lesson 1: Introduction

Subgenres of Detective Fiction – Part One

Did you know that there are different types of Detective Fiction stories? You will learn about the following categories: Classic Detective Stories, Modern Crime Novels, Detective Novels, Police Procedurals, Private Detectives, Hardboiled Detective Fiction, Urban Hero, The Amateur Sleuth, Comic Detective Stories, Historical Crime, and Noir.

Questions For You To Think About

(1) What is the difference between Classic Detective Stories and Modern Crime Novels?

(2) What is the difference between Detective Novels, Police Procedurals, Private Detectives, and Hardboiled Detective Fiction?

Lesley Grant-Adamson discusses the different categories mentioned above in her book Writing Crime and Suspense Fiction and Getting Published. However, the book is no longer available unless you can find a copy in a used book store or out of print books site.

In Part One, you will learn about Classic Detective Stories, Modern Crime Novels, Detective Novels, Police Procedurals, Private Detectives, and Hardboiled Detective Fiction.

In Part Two, you will learn about Urban Hero, The Amateur Sleuth, Comic Detective Stories, Historical Crime, and Noir.

Part Three will cover the duties of detectives, uniform police officers, and crime-scene officers. These are described in Writing Crime and Suspense Fiction and Getting Published by Lesley Grant-Adamson.

Classic Detective Fiction

Lesley Grant-Adamson in her book, Writing Crime and Suspense Fiction and Getting Published describes Classic Detective Stories as “a short, taut account of a murder investigation. The writer observes certain conventions in telling, most importantly providing the reader with every clue the detective uses to solve the case. Favorite settings are fictional villages or provinical towns, although there’s a current vogue for using real ones. Detective may be either amateur sleuths, private detectives or police officers.” (pg. 30) In detective fiction, the protagonist can be detectives, uniform police officers, or amateur sleuths.

At the end of her discussion of this section, she lists a few books that are examples of Classic Detective Stories. They are Agatha Christie’s book The Mysterious Affair at Styles and Arthur Conan Doyle’s story The Speckled Band. This last story is one that we will be reading later on.

The Modern English Crime Novels

The Modern English Crime Novel refers “to a whole spectrum of novels. At one end are those whose origins in the classic detective story are obvious. At the other extreme are novels that involve no detective whatsoever, and are distinguished from mainstream fiction purely by the fact that they centre on a crime. Social issues and the quest for justice are the usual concerns of the modern crime novel. Detective stories continue to reassure, although less confidently than once upon a time.” (pg. 32) Sometimes detective fiction doesn’t involve crime. They are known as modern English crime novels.

Detective Novels

Detective novels are “[the] whodunit, as it reappears under the heading of modern crime fiction, is justifiably called the detective novel. Rules are relaxed although the basic principles of a murder plus a successful investigation apply. It is a more spacious and profound book that allows the author to study predicaments and personalities.” (pg. 33). Detective novels involve a detective and a case they are investigating and solving.

American-Inspired Police Procedurals

These novels focus on the relationship of the people at the police station. If you are interested in a series of books, then these types of novels are for you. They usually involve series characters.

Private Detectives

Private detectives are also protagonists in detective fiction short stories or novels. If you are interested in reading stories where the protagonist is a private detective, Lesley Grant-Adamson explains that “you need to learn how the real ones operate in the country you are writing about. In Britain, they are no more allowed to run around waving firearms than you and I are. Much of their work lacks drama: they keep watch for shoplifters; check up on errant husbands and wifes; hunt for people who have gone missing; and track down any information their clients can’t find out for themselves.” (pg. 37).

Hardboiled Detective Fiction

Hardboiled detective fiction is the next term Lesley Grant-Adamson mentions in her book. Hardboiled detective fiction “has long been applied to American stories about macho characters who make their living as private detectives.” (pg. 38)

The “hardboiled detective story is akin to writng a thriller. Pace is frenetic, narration is staccato, and your average hero is a man in a hurry, not one to wait upon events. He is a memorable character with a taste in cars or clothes that make him stand out from the herd.” (pg. 39) These two passages have given you a description of the protagonist. The main character is a private detective who is a strong, tough guy and have specific tastes in clothes and the type of cars he drives. He wants people to notice him. Also, the style of writing the author uses in hardboiled detective fiction is related to the style of writing in thrillers.

Lesson 1: Introduction

Subgenres of Detective Fiction – Part Two

In this section, you will learn about the Urban hero, amateur sleuths, comic detective stories, historical crime, and noir.

The Urban Hero

In Writing Crime and Suspense Fiction and Getting Published by Lesley Grant-Adamson, “[the] hardboiled detective story is fundamentally an urban one. Unlike other detective heroes, but rather like thriller heroes, the man may be capable of enacting crimes as appalling as the ones he sets out to investigate.” (pg. 39). The Urban hero is similar to thriller heroes yet more of a black sheep.

She also mentions in another passage that these heroes try to get themselves out of the messes they are involved in, even if it means killing someone. Writers need to “avoid killing him off because he might have the makings of a series hero.” (pg. 39)

Some examples of stories featuring Urban heroes are Farewell My Lovely by Raymond Chandler and The Maltese Falcon by Dashiell Hammet.

Amateur Sleuths

Amateur Sleuths are another kind of protagonist. They “are an attractive proposition because they have even fewer restraints than the private detective and you can use a background you already know.” (pg. 40) Anyone who enjoys investigating circumstances or does it as their occupation will make great amateur sleuths. An “amateur who is in a natural position to investigate, someone like a journalist or an insurance investigator, has better scope. (pg. 40)

Some examples of stories with amateur sleuths are Wild Justice by Lesley Grant-Adamson and A Second Shot in the Dark by Annette Roome.

An amateur sleuth according to Gillian Roberts in her book, You Can Write A Mystery, “is Everyman, confronted with a problem that challenges the best of what he’s got. (pg. 12) Amateur sleuths can be anyone who has been confronted with a problem that has overwhelmed their curiosity. They are intrigued by the situation and have the desire to solve the case.

They also “run the gamut of occupational possibilities, a tiny portion of which include Nevada Barr’s park ranger, Annette Meyers’s Wall Street headhunter, Barbara Neely’s domestic worker, Aaron Elkins’s forensic paleontologist, Sarah Andrews’s geologist and Abigail Padgett’s child welfare worker.” (pg. 12) Amateur sleuths have all kinds of jobs that lead them to investigate crimes that have been committed in their environment.

The Semi-Pro

The semi-pro is another investigator. they are “[somewhere] between amateurs and professionals are the semi-pros–the journalists, lawyers and insurance investigators who in many ways have the best of both worlds.” (pg. 13) Anyone who normally investigates situations can be amateurs or semi-pros.

Comic Detective Fiction

Lesley Grant-Adamson additionally discusses the different kinds of detective fiction stories. She mentions the Comic detective stories. These kind of stories “tend to be pastiches of the real thing. The comedy depends on characters going about their business in a serious fashion, unaware that the situation they are in is ludicrous. The result should be hilarious but a fast tempo is needed to bring it off.” (pg. 41) Later on, we will be reading a Comic Detective Fiction story.

Historical Crime

Historical crime is “a story appropriate to its period, and then bringing that period alive for the reader. Some writers look no further than their own childhoods, to days whose memory shines brightest. Kingsley Amis harked back to the thirties for his version of the Golden Age detective story, complete with victim staggering in through the french windows.” (pg. 41) Some writers have looked to their past to write historical crimes. You can even try looking to elderly relatives for story ideas.

Noir

Noir is another type of detective fiction that Lesley Grant-Adamson mentions in her book. Characters for a noir novel may include “prostitutes, gangsters, drug dealers and other losers who exist on the margins of society. Characters are bitterly anarchic, the language is fierce, and phsical violence erupts frequently.” (pg. 42) These type of stories are more violent and contain foul language that wouldn’t be appropriate for certain ages. Some people are opposed to these kinds of novels because they would rather read novels without profanity, sex, violence, etc.

Lesson 1: Introduction

Subgenres of Detective Fiction – Part Three

In the first two sections, you learned about the different types of detective fiction. Now, you will learn about the duties of detectives, crime scene officers, and uniform police officers.

I wanted to interview a detective so that I could gather information for the stories and novels I wanted to write. Therefore, I had to do some research. These articles will provide you with the information you need to know about detective fiction stories or novels.

I called up a detective and scheduled an interview. Besides visiting with me on the different duties of uniform police officers, crime scene officers, and detectives, he took me a tour of the police station. He explained everything that happened at the station and who did what duties. That was a very interesting experience for me. As a result of that interview, I came up with three article ideas: “Uniform Police Officers,” “Crime Scene Officers,” and “Duties of the Detectives.”

Suggested Reading Assignments

Here is the first article that I wrote about my interview. At the end of this article, you can click on the other links to read the other two articles.

Uniform Police Officers

This article is the first of three parts. I interviewed Detective Randy Mills from the Detective Division in Topeka, Kansas. He shared with me the duties of the uniform police, crime scene officers, and detectives. The first part will be about the duties of the uniform police officers.

When a crime has been committed the uniform police are called to a scene. After they arrive at the scene, people are quite anxious and out of control. The uniform police have to gain control of the situation and slow things down so they can proceed with their investigation. The suspects are apprehended and taken to the police station. At that time, the uniform officers do not have to read them their rights. This is done at a later time.

The uniform officers also administer first aid to anyone who needs it. After that, they separate the witnesses. They will either place the witnesses in separate rooms or in one large room with a police officer standing guard to see that they do not converse with each other. The officers need to know what each person saw without being influenced by another person’s viewpoint.

When uniform officers enter the crime scene, they pick a path, which is usually next to the walls, and stay on that path coming and going. They choose this path instead of the path people normally take when they enter their house because they do not want to disturb any evidence that might be there. Yellow crime scene tape is placed around the crime scene area so that people will stay away from the area. A uniform officer will stand guard and write down the activity that is happening at the crime scene. When the uniform officer is relieved of his guard duty, then he returns to the station to write his report. The officer has to write down anything that is taken from the scene or brought into the crime scene as well as people who come and go. If there is not any activity going on at the crime scene the officer still has to write down that he stood there for a certain time period, such as two hours, and that no activity occurred during that time frame.

Crime Scene Officers http://www.suite101.com/article.cfm/3056…

Duties of the Detectives http://www.suite101.com/article.cfm/3056…

In detective fiction, the protagonist is the detective. The story is usually told in first person. However, some authors have used third person. Raymond Chandler has used both view points in his stories and books.

In crime fiction, you have to decide who your detective is going to be. You can use amateur sleuths, private investigators, police, detectives, or the semi-pro. After you make that decision, then you need to research their job so you can make them realistic.

Lesson 1: Introduction

Readers Beware! Thrillers!

According to Gillian Roberts in her book, You Can Write A Mystery, “thrillers can involve espionage, technical terrors, mutant viruses, prehistoric monsters – or lawyers.” (pg. I have seen espionage in the book I’m reading now titled “Call After Midnight” by Tess Gerritsen. She is a writer of Medical Thrillers.

Shannon OCork defines the thriller novel as a “spy-thriller.” Spy-thrillers involve more “danger and action back and forth between continents. Often it is the free world the hero is trying to save, and usually the violence is sophisticated and sly.” (pg. 16)

Thrillers also use “World Wars I and II as background, perhaps as often as it uses the possibility of WW III and global annihilation, and it uses Europe, Asia, and the Middle East more than it uses America.” (pg. 16)

She also mentions Tom Clancy’s books. She classifies them as “techno-thrillers.” They “are virtual tracts on U.S. defense systems. There are thrillers of high finance and the corporate world, and thrillers involving invasions by other worlds.” (pg. 16-17) Some books that Tom Clancy has written are The Hunt For Red October, Patriot Games, and Clear and Present Danger. I have seen the movies, but I haven’t read the books yet. They are great shows, and I’m wanting to read the books when I have time.

Sue Grafton has two complete chapters on thrillers in her book Writing Mysteries. The chapters are on Medical Thrillers and Legal Thrillers. Tess Gerritsen has written the chapter on Medical Thrillers. Linda Fairstein has written the chapter on Legal Thrillers.

Medical Thrillers

Tess Gerritsen’s novels focus on scenes of hosptitals “where we experience the best and the worst times of our lives: the birth of a child, the death of a loved one. Here is where we witness both joy and tragedy, and becasue of this, we regard hospitals with apprehension and even fear.” (pg. 234) These feelings that result from our experiences in hospitals can result in plots for a medical thrillers. However, in order to make the settings and information authentic, you need to have medical knowledge, experience, or research this field.

Legal Thrillers

Linda Fairstein discusses legal thrillers. If you want to write a legal thriller, then it might be “because you have been a participant in a dramatic courtroom battle-as a defense attorney whose skill exonerated an inncocent client, as the beneficiary of family herilooms in a hard-fought will contest, or as a juror who second-guessed the tactics of the litigators throughout a protracted trial.” (pg. 240)

John Grisham writes Legal Thrillers. If you are interested in this type of genre, then I would recommend his books.

Lesson 1: Introduction

Searching For Great Books

Suspense

Mary Higgins Clark – If you want to experience heart throbbing plots, then you need to read books by Mary Higgins Clark, who is known as the Queen of Suspense. My favorite book that I have read is “A Stranger in the Night.” Once you pick up that book, it is very difficult to put it down. You will keep turning the pages to find out what is going to happen next.

Joan Lowery Nixon – Young adults will enjoy reading books by Joan Lowery Nixon. She has written excellent books that will chill your insides from the beginning to the end of the book. Even adults will find her books enjoyable.

Detective Fiction

Sir Arthur Conan Doyle – If you enjoy well written classic detective fiction books, you will enjoy Sir Arthur Conan Doyle’s books. His famous detective is Sherlock Holmes and his partner Dr. Watson. There are several collections of short stories that feature Sherlock Holmes and Dr. Watson. Sir Arthur Conan Doyle is also featured in “Detective Stories” by Philip Pullman and “Mystery Stories” by Helen Cresswell.

Agatha Christie – She is also another great classic writer of detective fiction. Her main detectives are Hercule Poirot and Miss Marple. Two of her books that I have found very interesting are “The Unexpected Guest” and “The Spider’s Web.” These two books are both intriguing. You will be surprised at the endings.

Catherine Coulter – She has written an excellent FBI series. Her first book titled “The Cove” was very exciting and suspenseful. I kept wanting to read it to see what was going to happen next. Her other books include “The Maze,” “The Target,” “The Edge,” etc.

Nevada Barr – If you enjoy reading about forest rangers, her books are a must. I have read one of her books so far. They are very intriguing. You’ll want to pick up a copy or more of Nevada Barr’s books. They are easy to read and very exciting.

Carole Nelson Douglas – Are you a cat lover? If you are, you’ll enjoy the books about Midnight Louie. He is a Private Investigator. “Catnap” is the first book in the series. She also has a collection of short stories titled “Midnight Louie’s Pet Detectives” edited by Carole Nelson Douglas. This book features different authors like Lawrence Block, Nancy Pickard, Anne Perry, Lilian Jackson Braun, etc.

Gillian Roberts – She is the author of the book that I have required for this course. She has also written other books featuring Amanda Pepper. You’ll enjoy these books. One of her books is titled “Adam and Evil.”

Thrillers

John Grisham is the famous author of “The Firm,” “The Client,” “The Partner,” “The Summons,” and other well known legal thrillers. These are known as legal thrillers because the protagonist is a lawyer. The setting deals with courtrooms are legal situations.

Stephen King – Stephen King is the famous author of horrors, but he is also known for some thrillers. One book that I would classify as a thriller is “The Girl Who Loved Tom Gordon.” If you enjoy good thrillers, you have to read his books.

Tess Gerritsen – Tess Gerritsen is well known for her medical thrillers. One book that I have and recommend is “Call After Midnight.”

Tom Clancy – Also writes thrillers and is known for the following books: “The Hunt For Red October,” “The Patriot Games,” “Clear and Present Danger,” etc. I have seen the movies and am looking forward to reading the books so that I could compare the movie with the book.

These are just a few of the authors who have written great books in these subgenres.

Some great websites for these genres are the following:

(1) http://www.catherinecoulter.com

(2) http://www.gillianroberts.com

(3) http://www.jajance.com

(4) http://www.tessgerritsen.com

(5) http://www.randomhouse.com/features/gris…

I have written several reviews of books that I have read from various authors in these genres. You can read these book reviews at the following URL: http://www.suite101.com/topic_page.cfm/3…

Lesson 1: Introduction

Bibliography

This is the list of books that I have found valuable. Some of these books are still available, and some are out of print or a limited number of books are available.

Block, Lawrence. Writing the Novel From Plot to Print. Ohio: F&W Publications, 1986. Grafton, Sue. Writing Mysteries. Ohio: F&W Publications, 2001.

Grant-Adamson, Lesley. Writing Crime and Suspense Fiction and Getting Published. Chicago: NTC Publications, 1986.

Highsmith, Patricia. Plotting and Writing Suspense Fiction. New York: St. Martins, 1993.

Lukeman, Noah. The Plot thickens: 8 Ways to Bring Fiction to Life. New York: St. Martin’s, 2002.

OCork, Shannon. How To Write Mysteries. Ohio: F&W Publications, 1989. Pullman, Philip. Detective Stories. Larousse Kingfisher Chambers, Inc., 1998. Rberts, Gillian. You Can Write A Mystery. Ohio: F&W Publications, 1999.

Lesson 2: Elements of Fiction

When you read a mystery or a subgenre, do think about the setting, theme, characters, plot, or do you just read for pleasure?

Reading for pleasure is okay, but if you are interested in finding a deeper meaning to the story, then you will want to concentrate more on the elements of fiction.

Think about the elements of fiction as you read. Why did the author choose this particular setting? What about the characters? What are they like? What is the main idea the author is trying to reveal to readers? What about the plot? Were the clues to easy to figure out? Were they hidden or revealed? All of these questions are basic elements of writing. You will be learning the definitions and how to analyze them in the stories you read for this course.

Introduction

When you start to read, make sure you have a spiral notebook and a pen where you can write down the list of elements such as setting, theme, characters, plot, and clues. You will also want to write down the solution and how the protagonist solved the crime.

Here are some questions for you to think about as your are reading and writing down your information.

Who is the protagonist? Is it a female or male? Is the protagonist a detective, amateur sleuth, private investigator, or uniform police officer, etc.?

What about the villain? What type of character is this person? What crime did he or she commit? Do you think this person will escape or be caught?

What about the other characters? Who are they? What are they like? Are any of them suspects?

What about the genre? Is it a suspense, detective fiction, thriller, or what? Knowing the type of genre or subgenre is important to the development of the plot. What about the clues? Are they hidden or revealed?

If the themes, settings, characters, and plots are well developed, then you won’t want to stop reading. You will keep turning those pages until the last page.

Lesson 2: Elements of Fiction

Themes

Themes are the basic idea of the story. For this lesson we will be discussing my article I wrote about themes.

Suggested Reading Assignment

(1) Read the article titled “Themes.” http://www.suite101.com/article.cfm/3056…

Recycled Themes

Just as story ideas can be recycled, themes can be too. For example if you have a theme dealing with good and evil, you can have two women who are friends, but one woman may develop other friendships that lead her in a different direction–a direction of criminal activities. The other woman could be going in the direction of helping others learn how to overcome their trials.

Another example could be about a criminal and how he wants to straighten out his life. He meets another person whom he likes and receives help from.

Relationships that deal with the theme of good and evil can be recycled into all kinds of stories with different characters and circumstances.

According to Patricia Highsmith in her book, Plotting and Writing Suspense Fiction, “a writer has a theme or a pattern that he uses over and over again in his novels. He should be aware of this, not in a hampering way, but to exploit it well and to repeat it only deliberately.” (pg. 138) Some writers want to use the same theme in different novels, but they would use different characters, settings, and plots.

One theme that she has been used over and over in her novels is the theme of “relationship between two men, usually quite different in make-up, sometimes an obvious contrast in good and evil, sometimes merely ill-matched friends.” (Highsmith, pg.138) This type of theme can be used more than once. I have written short stories about children and their experiences with pets. One theme was about a child who had to put his puppy too sleep. He was given another puppy, but he had a difficult time accepting the new puppy. As a result of the puppy coming up to him, the child began to accept the puppy. Almost all of my stories have a pet involved because I have dogs and hamsters and enjoy them.

Themes May Not Appear

Later on, she mentions that “[themes] cannot be sought after or strained for; they appear.” (Highsmith,pg. 139) Sometimes writers may start writing their novels and may not know what point they want to make. As they begin their novel, it becomes evident that they are trying to get across a certain theme to their readers. Sometimes they might end up with a different theme than they thought of in the beginning.

In my book “Strange Happenings,” I have changed my themes a few times before I decided on the particular point I wanted to make. My story has two themes. The story is basically about Christy and Megan, who are identical twins. Megan isn’t as secure in her self-image as Christy is. Megan isn’t sure that she can do things like Christy. Throughout the story, Megan and Christy experience all kinds of interesting obstacles. When the climax happens, Megan begins to realize that she can do things on her own.

Another theme is the idea that something good comes from something bad. Even though the girls are experiencing different trials, they begin to realize that something good will happen, and it does. More than they realized in the beginning.

Lesson 2: Elements of Fiction

Settings

Part One – Settings Are Important

Settings are an important element in stories or novels. It is where the story takes place.

Visualize Your Setting

The way that some authors describe their settings, readers can visualize them and feel like they are right their with the characters.

Lesley Grant-Adamson mentions in her book, Writing Crime and Suspense Fiction and Getting Published, that “[every} location and building you use has to be fixed in the reader's mind." (pg.19).

When you are reading, think about the setting. Can you visualize it? Does the setting seem realistic or unrealistic? What type of setting or settings were used?

Writers can also use a real setting, but fictionalize it by adding other areas and a fictional name. This is what I did in my book that I've written. Here is an example of a setting that I used. The city has a fictious name, but I've used some of the buildings and outdoor settings of my home town when I lived on a farm.

Example Number One: River City

They climbed on their bicycles and started searching the nearby streets. River City had a main street with five blocks on each side. On the main street were several stores such as a grocery store, meat market, bank, restaurant, general store, post office, courthouse, etc. The side streets consisted of houses. One of the side streets had the school and a church. One street led to a country road where there were farm houses and the river.

This passage gives readers a visual setting of River City. By visualizing the setting, it becomes more realistic. It indicates a main street and how many side streets there are, and that one side street leads to a country road. There are also farm houses and the river.

Imagine Your Setting

Lawrence Block mentions in his book, Writing the Novel From Plot to Print,that writers should use settings that are familiar to them. However, if you aren't familiar with a setting, then you can do some research on that area. He states that maybe "there's no such place in reality, but you can build one in your imagination readily enough." (pg. 98) You can always develop an imaginary setting and make it realistic.

He also suggests that writers can use settings of their past experiences. For example, any place where you have lived can be used as a setting. If you can't remember exactly what the setting was, you can imagine it.

Before I wrote the description of River City, I made a list of the items I wanted to include in my settings. My mother, who also enjoyed writing, made a map of the farm we lived on when I was younger. I used the general description of the city and our farm, but added fictional settings and changed the name of the city.

Part Two - Ways Settings Can Be Used

There are three ways that Gillian Roberts mentions how settings can be used: action, characterization, and emotional information.

Action

Settings can be used to illustrate action. Action will move the plot forward.

When Christy and Megan climbed off the bus, they noticed that the lane leading to their house was wet. "It must have rained here," Christy said.

"It looks that way. I wonder why it didn't rain at at school?"

"I guess it rains some places and not others. Our school is five miles from here."

"That's true. It must be far enough to rain in one place and not the other. Since we live in the country, and our school is in the city, it would be too far to walk."

The plot is moving forward and going from their school in the city to their farm five miles away. The girls ride the bus to get from their school to the lane that leads to their farm. Then, they walk down the lane to their farm.

Characterization

Settings can be used as characterization. They can reveal something about the characters.

"I can't put these clothes on. What am I going to do now? I don't want mom to see us dressed alike. You know how she feels about us wearing different outfits."

"I know. I'll go around to the back door and distract Mom somehow" Christy replied.

"Thanks."

Megan is worried that she will be caught and doesn't know what to do. Megan likes to be sneaky, but she doesn't like to be caught. Christy doesn't want to be caught either, so they usually come up with plans to get away with their sneaky actis.

Emotional Information

Settings can also provide emotional information. The following passage illustrates Megan's emotions about the weather.

"Oh no!"

"What's wrong?" Christy asked.

"My clothes. I hid them under the bushes this morning." Megan rushed to the bushes and picked up her clothes. "They're all wet."

"I know. I guess you shouldn't have left them there."

"I didn't know it was going to rain. The sky was clear. Why did it have to rain here?"

"I don't know."

Megan noticed that the sky wasn't cloudy that morning. However, when they returned home from school, Megan saw that the ground was wet. She wondered why it didn't rain at their school. Her emotions began to stir up inside when she remembered her clothes were underneath the bushes.

Think about these different types of setting as you are reading short stories. See if you can recognize the different settings.

Lesson 2: Elements of Fiction

Characters - Who Are They?

This section covers characters. Characters need to be realistic. Readers want to identify with one or more of the characters.

Think about these questions: Who is the protagonist? Is the protagonist and male or female? What is this person like? What about the villain? Is the villain a male or female? What is the villain like? Why did he commit the crime? What about the suspects? Who are they? What are their motives? Did any of them have solid alibis during the crime?

Suggested Reading Assignment

(1) Suspects and Their Motives by Janet Blaylock

Making Your Characters Real

It is important that the characters (protagonist, suspects, victim, and the villain) in the stories or books you are reading are realistic. You want to identify with the characters in the stories you are reading. When you read a story about someone experiencing a difficult trial such as a relationship between a man and his wife, then you might be able to relate to that couple if you are married. The main focus of stories is the characters and the obstacles they have to overcome. Therefore the characters need to be well-developed and need to have realistic obstacles they can overcome. Everyone experiences some kind of turmoil in their lives, so it helps when you read a book about a character who is experiencing similar trials.

Example of Character Description

The following passage is an example of how I made my characters realistic.

"Christy and I want to ride our bicycles."

"After you eat breakfast," her mother ordered. She stood up to clear the table.

"Can I be excused?" Christy asked.

"Yes."

"Megan, I'm, going downstairs to start the laundry. When I return, you'd better be finished."

Hoping that her mother wouldn't hear her, Megan dumped her food in the sink and turned on the garbage disposal. Megan ran outside to escape before her mother caught her. When Megan heard the back door open and her mother calling her, she walked back inside. "What do you want, Mom?"

"You can't fool me. I heard the garbage disposal running. Now, you'll stay in your room."

"I want to go outside."

"Sorry, go to your room."

Stomping upstairs to her room, Megan plopped onto her bed and cried.

These passages reveal that Megan likes to be sneaky. She thought she could get away with fooling her mother, but she couldn't. She was also angry and hurt. Her actions showed this in the last sentence.

The door opened and another man, who was a bit taller and thinner entered the room. "Who's this?"

"She won't tell me."

Christy tried to escape out the window. "Jim, go outside and catch her."

"She won't get away. Remember the thorn bush below the window?"

When Christy screamed, Megan realized she landed in the thorns. As she stood up, Jim and Frank grabbed her and pulled her back inside and removed the thorns. "What'a we gonna do with her?"

"Let's tie her up. We could ask for a ransom."

This passage indicated the interaction between Christy and the two kidnappers. Christy wouldn't respond to any of their questions. She wasn't about to give them her name. She was also brave enough to try to escape even though she was caught. Readers could sympathize with Christy now because she had been caught and tied up. The scene changed at this point. It moved to Megan and her thoughts as she lay under the bed and watched what happened to Christy.

Suspense also increased in this passage because readers don't know what was going to happen to Christy or if the kidnappers would find Megan.

Suspects and Their Motives

When a crime has been committed, the detective, private investigator, or sleuth will enter the scene and start their investigation. They will first find out what happened, who the victim was, and the possible suspects who were in the area at the time of the crime. They will make a list of the suspects and their possible motives or alibis. I suggest reading my article titles "Suspects and Their Motives" for additional information on this topic.

Lesson 2: Elements of Fiction

Narration - View Points

This section will cover point of view. When you are reading the stories in the next two lessons think about the viewpoint. Who is telling the story? Who is this person? Why did the author choose this particular person to tell the story? What would the story be like, if it was told in a different viewpoint?

Suggested Writing Assignments

(1) In your notebook, write down the different points of view that are listed below.

Now you will learn about the differen view points writers can use. First person, third person, or omnisicient view points are all used by writers depending on the style they choose.

First person view point uses the pronoun "I. Most detective fiction stories are written in first person. However, some of them are written in third person. The detective is the one who usually tells the story in detective fiction. He is the protagonist. Readers can identify with the protagonist. When stories are told from the detective's point of view, readers can solve the crime right along with the detective. The following passages on view points are found in You Can Write A Mystery by Gillian Roberts.

First Person View Point

Writers "may never violate the idea that you are inside the character. You couldn't, for example, write 'I searched the chest, a frown contorting my mouth' because the character doesn't see that frown." (pg. 39). Writers need to be careful of the way the narrator is speaking. The narrator cannot see the expressions on his/her own face unless he/she is standing in front of a mirror. The narrator is inside the protagonist when the story is written in first person view point. Narrators can feel their muscles or aches, but they cannot see their expressions.

Gillian gives an example that writers could use: "'Every muscle in my face tightened and pulled down.'" Since the narrator is inside the protagonist, they can feel the aching muscles or the face tightening.

In another passage, she mentions how "[first] person is definitely a way to give your detective a unique sound, world view and opinions. The downside is the possibility of your detective’s preaching his views too much, so beware.” (pg. 40)

Third Person View Point

Third-person point of view is told by someone who moves about throughout the story. There is objective point of view and close third point of view.

Close third point of view. By using close third point of view, you “can actually hear his thoughts and feel his emotions, often without needing the words he thought or he felt.” (pg. 38)

Omniscient Point Of View

Omniscient point of view. If writers use omniscient point of view, then the “author can go anywhere in time and space and can be in any character’s mind. This point of view option distances the reader. We can’t identify with anyone because the God-like author is talking about ‘those people,’ leading us around, telling us what they think and what they can’t know.” (pg. 41) This point of view is okay, but readers won’t be able to identify with any particular person, like the protagonist. Everything will be known through the eyes of the narrator, who will be able to get into the mind of every character, anywhere, and at any time.

Lesson 2: Elements of Fiction

Dialogue

Gillian Roberts in her book, You Can Write A Mystery, refers to three functions of dialogue in her book. They are: Provides information that’s needed, moves the story forward, and characterizes the speaker.

Provides Information That’s Needed

Dialogue provides information to the reader. For example, let’s look at the following passage:

“I’m glad we live in town. It’s nice to walk across the street to school.” Megan said.

“I know. River City isn’t too large. We could live almost anywhere in the city and be close to the school,” Christy replied.

“That’s true.”

This passage indicates the size of the city where Christy and Megan live. It also shows readers that their school is across the street from where they live.

You can use dialogue to reveal any kind of information that you want readers to know. You might discuss the weather, size of the setting, people, etc.

Moves The Story Forward

In chapter fourteen of Gillian Roberts’ book, she mentions that “[good] dialogue is action. If your story contains dialogue that advances the action, then you have written it correctly. If your dialogue is stale and doesn’t advance the action, then you need to get rid of it.”

When you are searching for a book to read, you probably open it up and see how it is written. If it contains very little dialogue, you are likely to put in back. If the story contains dialogue, then you will pick it up and read it.

One author whose books I have read and enjoyed is Jay Bennett. He writes young adult suspense books. His style of writing moves the action along. The books are short and easy to read because it contains short speeches between the characters.

There needs to be a balance between narration and dialogue. You don’t want the whole book written with dialogue, and you don’t want to read a book that contains very little to no dialogue.

Characterizes the Speaker

Think about the types of characters the author is using in his/her story. The dialogue reflects the character’s personality. One passage Gillian mentions in her book is, “Think about the roles people play and have yours speak accordingly. Do you have a yes-man? A negotiator? A smoother-over? An agitator? A confrontational devil’s advocate? A timid, fearful, non-commital type? Each would shape different sentences.” (pg. 87) People don’t speak the same way. Everybody has developed their own style of speech. Therefore, your characters need to develop their own style of speech that fits their personalities.

You learned that characters need to be believable and realistic. Dialogue is the same way. It has to be believable, too. It should sound natural.

Lesson 2: Elements of Fiction

Plots

Plots are the main structure of the story. Without plots (main and subplots), you wouldn’t have a story.

Who is the protagonist? Is he the detective, amateur sleuth, private investigator, or someone else? Who is your villain? What crime did he or she commit? What was his or her motive? Did he or she know the person they murdered? Were they related? What other characters are involved in the plot? Are they going to be suspects? All of these questions need to be answered and connected to form the structure of the story.

Stories are also character driven or plot driven. Let’s look at character driven first.

Character Driven

If a story is character driven, then the protagonist will be changing throughout the story. The character has learned how to overcome his or her obstacles that he or she has faced in the story.

Example:

In the book that I have written, “Strange Happenings,” Megan and Christy, who are twins, go through different circumstances such as being trapped in a shack and kidnapped, escaping from the kidnappers, having separate bedrooms, having to develop their own identities, puppies disappearing, and Christy disappearing. By experiencing these different circumstances, they learn and develop their character. Megan has felt that she wasn’t able to do things as good as her sister. At the end of the book, she realizes that she can do things.

Plot Driven

If a story is plot driven, then the story is moved by the action of the story. The characters don’t really change throughout the story.

Example:

If I had written this book to be plot driven, then Megan and Christy wouldn’t have changed. It would be just a book of action. I would have told about them being trapped in a shack and kidnapped, escaping from the kidnappers, having separate bedrooms, puppies disappearing, Christy disappearing. Neither of the girls would learn anything through their experiences or change.

As you read your stories or books, see if you can tell whether the short story or book is plot driven or character driven.

Lesson 2: Elements of Fiction

Bibliography

Block, Lawrence. Writing the Novel From Plot to Print. Ohio: F&W Publications, 1986.

Conrad, Hy. Whodunit Crime Puzzles. New York: sterling Publishing Co., Inc., 2002.

Grafton, Sue. Writing Mysteries. Ohio: F&W Publications, 2001.

Grant-Adamson, Lesley. Writing Crime and Suspense Fiction and Getting Published. Chicago: NTC Publications, 1986.

Highsmith, Patricia. Plotting and Writing Suspense Fiction. New York: St. Martins, 1993.

Lukeman, Noah. The Plot thickens: 8 Ways to Bring Fiction to Life. New York: St. Martin’s, 2002.

OCork, Shannon. How To Write Mysteries. Ohio: F&W Publications, 1989. Pullman, Philip. Detective Stories. Larousse Kingfisher Chambers, Inc., 1998. Roberts, Gillian. You Can Write A Mystery. Ohio: F&W Publications, 1999.

Lesson 3: Analyzing Mini-Mysteries

For this lesson, you will be reading different mini-mysteries and puzzles that I have written. A mini-mystery is a very short story that has one or more questions at the end for readers to solve.

An excellent book that is full of intriguing puzzles to solve is “Whodunit Crime Puzzles” by Hy Conrad. These mini-mysteries feature Sherman Holmes. He believes he’s the great-great-grandson of Sherlock Holmes.

Another great book is “Detective Stories” by Philip Pullman.

Introduction

Are you ready for fun and excitement? For this lesson you will be reading and solving a puzzle, mini-mysteries that I wrote, and a collection of mini-mysteries from Whodunit Crime Puzzles by Hy Conrad.

Besides reading these for enjoyment, you will learn how they are structured and how to help the detective solve the cases. As a result, you will be able to write your own puzzles and mini-mysteries.

In Section Two, you will read and solve a puzzle titled Car Theft, which I wrote.

In Sections Three and Four, you will read and solve some of my mini-mysteries.

In Sections Five and Six, you will read some mini-mysteries from the book Whodunit Crime Puzzles by Hy Conrad.

In Section Seven, you will write a comparison and contrast review of two mini-mysteries that you read for this lesson.

Lesson 3: Analyzing Mini-Mysteries

Puzzles

Suggested Reading Assignment

(1) Car Theft A puzzle for you to solve. http://www.suite101.com/article.cfm/3056…

(2) Solution to the Car Theft http://www.suite101.com/article.cfm/3056…

Reading and solving puzzles as well as mini-mysteries will help you see how writers plant their clues. Besides learning how to analyze these puzzles, they are also fun to do. You are challenging your mind to think like a detective.

Suggested Reading Assignments

(1) Sherlock Holmes Whodunits is an excellent book for readers to challenge their analytical minds. Some of them are easy and some are a little more challenging. If you enjoy puzzles, you’ll enjoy this book. I recommend it highly.

(2) Great Book of Whodunit Puzzles by Falcon Travis. This is an excellent collection of mini-mysteries for readers to solve right along with the detectives. If you enjoy mini-mysteries, you’ll enjoy these. They are great for all ages.

(3) Clever Quicksolve Whodunit Puzzles by Jim Sukach. You will enjoy these mini-mysteries as well. They are quite intriguing and will challenge your mind. I recommend this book for all ages.

Recommended Sources

Here are some other sites that you might enjoy searching if you like puzzles, mini-mysteries, etc. You’ll want to bookmark these websites.

(1) Mystery Net.com - http://www.mysterynet.com

(2) My puzzles and quizzes can be found at: http://www.suite101.com/topic_page.cfm/3…

Lesson 3: Analyzing Mini-Mysteries

The Dusty Suitcase by Janet Blaylock

Suggested Reading Assignments

(1) The Dusty Suitcase.

The following is a mini-mystery that I wrote titled The Dusty Suitcase. The link to the solution is included at the end of this lesson.

The Dusty Suitcase

Detective Mallory was called to investigate a bank robbery that happened two days ago in a nearby town. A young couple ran off with twenty thousand dollars. The girl, who was called Teri, had long brown hair, brown eyes, and was very slender. Her boyfriend, Ron, was average weight and a little taller than the girl. Kari drives around her neighborhood looking for garage sales. She suddenly comes upon a sale six blocks west of her house. As Kari parks her car, she notices a rather handsome young looking man enter the house. Kari climbs out of her car and walks over to the items. She sees a very old dusty suitcase at a garage sale. The owner says, “This suitcase has not been opened for years, so I don’t have any idea what’s in the suitcase.” “Why are you selling it without knowing what’s in it?”

“I just didn’t want to take the time to open it. I’m in a hurry to sell these items, so I can leave town.” “I see. Where are you going?”

“Mexico. My boyfriend and I are leaving in the morning.”

“By the way, I’m Kari.”

“I’m Teri. Before I forget. The suitcase is locked, but I do have the key.” She gave Kari the key, and Kari walked back to her car.

When Kari returned home, she took suitcase to her bedroom and set it on the bed. Then, she took the rusty key and unlocked the suitcase. Kari stood in awe as she looked at the contents. “Wow! Money! This is weird. I wonder why the owner didn’t realize there was money hidden inside. Maybe she did. Oh no! Maybe this is stolen money!” Kari closed the suitcase and sat on the edge of her bed as she pondered over her situation. Finally, she said, “I’ve got to tell the police.

Kari took the money and hid it under her bed. Then, she called Detective Mallory and asked him to come over as soon as possible.

Within a half hour, Detective Mallory arrived at Kari’s house. “Hi, Kari, what’s wrong?”

“I have something to show you. It’s in my bedroom. I’ll go get it.”

“Okay.”

Kari brought out the dusty suitcase and opened it. “I bought this suitcase at a garage sale today. When I brought it home, I opened it and saw all this money.”

As Detective Mallory studied the money, he said, “This is the money that was stolen in a bank robbery two days ago. Where did you say you got it?”

“From a garage sale. A woman had the suitcase and told me that she had not opened it for several years. She also said that she was in a hurry to leave town.”

“Did she say where she was going?”

“Yes. She said she and her boyfriend were going to Mexico.”

“I see. I’ll have to go over there right away and visit with her about the money.”

Kari gave Detective Mallory the directions to the house.

On the way, Detective Mallory called for back up. When Detective Mallory arrived at the house, the woman was closing down her sale. “I just sold everything, and I’m in a hurry.”

“Well, I’m going to have to delay you with a few questions. I’m Detective Mallory.”

“I don’t mean to sound rude, but I’m in a hurry. I have to catch a plane to Texas. I’m meeting my boyfriend. We are getting married tomorrow morning.”

“I see. This won’t take too long. I want to know where you got the money that was hidden inside an old dusty suitcase that a woman bought here this morning.”

“Money! I don’t know anything about a suitcase full of money.”

“That’s not what I hear.”

“You have some wrong information.”

“A woman came here this morning and bought an old dusty suitcase. When she got home and opened it, she saw a pile of money inside. Where did you get the money?”

“I don’t know anything about it. Right now. I really have to catch my plane or I’ll be late for my job interview.”

“I’m afraid you aren’t going anywhere except to the police station. I’m placing you under arrest for robbery.”

“Robbery!”

“That’s right. I know you committed the bank robbery. All I have to do arrest your boyfriend.”

Questions:

1. What clues did Detective Mallory have that convinced him Teri was involved in the bank robbery?

2. Where is her boyfriend? Is he in Mexico, or is he in the house?

Solution to The Dusty Suitcase

You can find the solution to The Dusty Suitcase by clicking on the following link:http://www.suite101.com/article.cfm/dete…

Lesson 3: Analyzing Mini-Mysteries

Sadey, The Pet Detective

Suggested Reading Assignments

(1) Read the four part mini-mystery titled Sadey, The Pet Detective.

Sadey is the name of my chihuahua. She is 18 months old, and she acts like a detective. A few weeks ago, my dad lost his sunglasses. We looked in different places and couldn’t find them. One day while I was working on the computer, I happened to hear Sadey in the hall playing with something. I quickly got up and went to her. She’s a character for getting into things and ripping things up. However, I was shocked to see what she was doing. She was playing with my dad’s sunglasses. She found them. My dad and I still don’t know where she found them.

As a result of this incident and her other activities, I decided to write a story plot about Sadey, the pet detective. Also mentioned in the story is Penny, Abby, and Tippy. They are also my dogs. Penny is part poodle and chow. Abby is terrier, spaniel, and chihuahua mix. Tippy is part akita, sheep dog, and Irish wolf hound. I used these three dogs as Sadey’s teammates.

I hope you will enjoy this mini-mystery. I originally started out as the mini-mystery, and solution, but it continued to develop into more pages as I wrote it.

This mini-mystery can be located at the following URLS:

Part One http://www.suite101.com/article.cfm/3056…

Part Two http://www.suite101.com/article.cfm/3056…

Part Three http://www.suite101.com/article.cfm/3056…

Part Four http://www.suite101.com/article.cfm/3056…

Lesson 3: Analyzing Mini-Mysteries

Where’s Sneaky Dan?

Suggested Reading Assignment

This is a mini-mystery for readers to solve. Where’s Sneaky Dan?

Detective Mallory recently placed Sneaky Dan in jail for robbery. Simon The Inventor created a box that could accomplish strange acts when certain buttons were pushed. Sneaky Dan knew what this box could accomplish. He wanted that box. However, Simon the Inventor was also sneaky and didn’t reveal all of his inventions to Sneaky Dan. He had one invention Sneaky Dan didn’t know about.

One day, Sneaky Dan climbed into a window of Simon the Inventor’s office and took a small box. This box was an important invention that Simon the Inventor had just built. Sneaky Dan knew about the box and wanted it so he could be even sneakier. Sneaky Dan placed the small box in a secret pocket inside his coat. Just as he climbed out the window and turned around, he couldn’t move. Detective Mallory grabbed him and cuffed him. Sneaky Dan couldn’t believe what had just happened to him.

Here’s a couple of questions for readers to think about: How did Detective Mallory know that Sneaky Dan was inside Simon the Inventor’s office? What was the other invention that Sneaky Dan didn’t know about?

After they went to the city jail, Sneaky Dan was placed in a holding cell for questioning. Detective Mallory didn’t search Sneaky Dan at that time, so he didn’t know about the hidden box that Sneaky Dan had taken.

When Detective Mallory returned to the holding cell, Sneaky Dan had disappeared. Detective Mallory was very confused and wondered how Sneaky Dan escaped.

Here’s some other questions for readers to think about: How did Sneaky Dan escape a locked room? Why was that small box Simon the Inventor invented so important to Sneaky Dan?

Detective Mallory immediately called for a search of the city police station and for all doors to be locked. After a complete search of the building, nobody found Sneaky Dan.

Here’s some other questions for readers to think about: What happened to Sneaky Dan? How could he escape a police station with all of the police officers around guarding the doors? Does Simon the Inventor find out about Sneaky Dan’s disappearance? If he does, will he help the police locate Sneaky Dan?

Where’s Sneaky Dan? – Part Two

This is Part Two of Where’s Sneaky Dan?

Sneaky Dan had taken a small box from Simon the Inventor’s office. This box was important to Sneaky Dan because he could be even sneakier. However, something happened to Sneaky Dan. When he climbed out the window Sneaky Dan was caught by Detective Mallory.

Here are the questions that I gave readers to think about:

How did Detective Mallory know that Sneaky Dan was inside Simon the Inventor’s office? What was the other invention that Sneaky Dan didn’t know about?

Detective Mallory knew that Sneaky Dan climbed inside Simon the Inventor’s office because of the invention Simon had made. He invented a secret alarm that would sound only to the police. This alarm gave the location of Simon the Inventor’s office so that the police could come immediately and catch the criminal.

After they went to the city jail, Sneaky Dan was placed in a holding cell for questioning. Detective Mallory didn’t search Sneaky Dan at that time, so he didn’t know about the hidden box that Sneaky Dan had taken. When Detective Mallory returned to the holding cell, Sneaky Dan had disappeared. Detective Mallory was very confused and wondered how Sneaky Dan escaped.

How did Sneaky Dan escape a locked room?

Sneaky Dan escaped the locked room by pushing a button on the little box he had taken from Simon the Inventor.

Why was that small box Simon the Inventor invented so important to Sneaky Dan?

Sneaky Dan could escape his crime scenes. He could disappear and nobody would know where he was.

Detective Mallory immediately called for a search of the city police station and for all doors to be locked. After a complete search of the building, nobody found Sneaky Dan.

What happened to Sneaky Dan? How could he escape a police station with all of the police officers around guarding the doors?

Sneaky Dan disappeared by pushing a small button on the box he had taken from Simon the Inventor. He was able to go through the police station and hide without anyone seeing him.

Did Simon the Inventor find out about Sneaky Dan’s disappearance? If he did, did he help the police locate Sneaky Dan?

Simon the Inventor found out what happened to Sneaky Dan. However, the police found out something about the box that didn’t help them solve the case right away. It led them to another case. Simon the Inventor placed another button on the box that caused Sneaky Dan to be placed in the Past or the Future. Detective Mallory had to decide if Sneaky Dan went back to the Past or moved to the Future.

Did Sneaky Dan know about the other button that could place him into the Past or Future, or was he still in the Present? Find out next week what happened to Sneaky Dan. Will he be caught?

Lesson 3: Analyzing Mini-Mysteries

Where’s Sneaky Dan? – Part Three

Suggested Reading Assignment

This is Part Three of Where’s Sneaky Dan?

First you will read what happened so far in the mini-mystery.

In the last part of Where’s Sneaky Dan? Sneaky Dan had stolen a small box that Simon the Inventor had created. This box made Sneaky Dan disappear. After Sneaky Dan had taken the box and climbed out the window, he was surprised by his visitor. Detective Mallory was waiting for Sneaky Dan. Sneaky Dan didn’t know how Detective Mallory knew he was going to be there. Simon the Inventor created a devise that let the police department know when someone was breaking into his place. Sneaky Dan was taken to the police station and placed in a holding cell. Detective Mallory didn’t realize that Sneaky Dan had the small box hidden in his jacket. When Detective Mallory returned, he couldn’t see Sneaky Dan. Nobody in the police department knew what happened to Sneaky Dan.

Detective Mallory notified Simon the Inventor about Sneaky Dan’s disappearance. The police found out that the small box had a button on it. When someone pushed that button, that person would become invisible. The police also found out that if someone pushed another button, that person would go back to the past or to the future. As a result, the police had another problem. Where was Sneaky Dan? Did he go back to the past or did he go to the future? How far back or how far into the future did he go?

Where’s Sneaky Dan? – Part Three

When Simon the Inventor searched the holding cell, he found the small box that Sneaky Dan accidentally left behind. Simon the Inventor found that the button for the past had been pushed. Detective Mallory watched Simon the Inventor push the button for the future. Right before their eyes appeared Sneaky Dan. “Well, hello again, Sneaky Dan,” Detective Mallory said.

“What happened?” Sneaky Dan asked, with a surprised look on his face.

“Simon the Inventor pushed the button to the future on the small box that you left behind. He was able to bring you back to the present time since he realized you had gone back in time,” Detective Mallory replied.

“Thanks a lot, Simon. I thought I could trust you.”

“Sorry. That will teach you to steal my inventions. I don’t plan on using my inventions for crime.”

Detective Mallory arrested Sneaky Dan again. Sneaky Dan couldn’t escape again since he didn’t have the box.Mini-Mysteries

You have been reading some of my mini-mysteries. They are short story plots with questions at the end. If you have enjoyed reading these mini-mysteries, you will probably enjoy reading my other ones which you can read by clicking on the following link: http://www.suite101.com/topic_page.cfm/3… Happy Reading.

Related Posts:

• Invent a New Kick on an Old Gumshoe
• How to Comment on Writing
• Reading Into It
• Exercise with Writing Themes
• Perfect People are Irritating in Fiction

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By Sara Quest

Introduction

Inspirational publications like “Chicken Soup for the Soul” reveal today’s demand for writers of everyday miracles. Yes, people like you who want to tug hearts are in demand! The original Chicken Soup book expanded to become a series of approximately sixty titles, including ones like “Chicken Soup for the Writers Soul” and “Chicken Soup for the Unsinkable Soul.” All titles combined sold over 75 million copies.

What you are not aware of is, the Chicken authors were once writers with unfathomable dreams. They wanted to share the numerous stories of everyday people like you who inspired them during their motivational speaking careers. And like you, they knew struggle: not one publisher of the one hundred twenty three they approached wanted that original “Chicken Soup” book! But their stories found the way to the right publisher.

The inspirational market is NOW awaiting YOUR contribution!

You are about to go on a journey of self-discovery that will teach you how to turn life into valuable material capable of fostering the growth of your soul and career. This course will show you how to translate life’s insight onto page. Being glued to a computer screen IS an enlightening event, one that can result in spiritual and financial growth. So enter: some famous writers are about to share their inspirational lessons. And, you will learn you are not alone in your perseverance, that golden asset resulting in the writer’s finest material.

Lesson 1: Never Fear, Inspiration’s Here!

“It takes only one story to…inspire a song, create a bond, alter a path, heal a heart, mend a rift, rescue a soul, transform a relationship, re-affirm a marriage, save a life. One story can change the world.” — Patty Hansen and Joy Pieterse, excerpted from Chicken Soup for the Soul Website

Feeling positive through a sense of purpose means each time you write, you have the satisfaction of knowing it is being done for a grander good. The “grander good” often involves two aspects:

• Conquering an obstacle
• Easing a fear

When writing about conquering an obstacle or fear, content must be preventive. “Preventive” means the content should stop a bad situation from happening: you have overcome your pitfalls, so you are able to write about each one and how others might avoid them. The idea is to aid readers in attaining your wisdom without their having to go through the same tumultuous situation.

By revealing circumstances that turned you yellow and their corresponding solutions, you will have produced some very helpful material.

Or better yet — you will have inspired a song, created a bond, altered a path, healed a heart, mended a rift, rescued a soul, transformed a relationship, re-affirmed a marriage or saved a life.

In short, using trials and tribulations as focuses for your writing should serve to keep others and you bravely inspired.

Flagpole Underwear

If ever there was a trial-and-tribulation example writing would be it as it ranks high on the Fear, or “Flagpole Underwear,” factor:

When a writer submits work for judgment it is like hanging their underwear on a flagpole for a critical audience to check it for cleanliness — the whole time, the writer is praying their work doesn’t stink! If the consensus is it does, the writer can only learn from indicated mistakes.

I am the sort of writer who suffers from Is-My-Underwear-Good-Enough-Syndrome. When a company accepts me for a new project, syndrome “side effects” include worry over my contribution’s initially crude qualities and pride over its genuine ones.

As an inspirational writer you must learn to center your own energies on your writing’s genuine, humane qualities while accepting the crude ones — the flaws — as inevitable errors open to correction via word processing programs or dictionaries.

It will be your overall attitude of allowing human fear and flaw their places in your writing that will give others reason to call attention to their own Underoos.

Lesson 1: Never Fear, Inspiration’s Here!

The Rejection Section

There is a true story from the book Chicken Soup for the Writer’s Soul regarding a young woman whose college professor dissuades her from writing. He tells her her writing is terrible, and he can’t understand how she was accepted into the school. He says he’ll “help” her pass the class IF she promises never to write again. She agrees then doesn’t write for fourteen years, although writing has always been her dream.

One day the woman tells a journalist the story about her professor’s rejection of her desire to write. The journalist is shocked she gave up writing so easily. He even encourages her to send her work to him should she decide to write again. She does. He adores what she wrote. As a result, she submits her work to an agent who accepts her talent immediately.

“I will never give up my dreams again. Never,” the woman resolves.

The writer is Catherine Lanigan, author of bestselling works like Romancing the Stone and Dangerous Love, both which became hit Hollywood films — and these examples are just a couple out of the plethora of megahits created by the author.

As a writer who has submitted over one hundred article queries, column proposals and stories that were scoffed at, I am an expert of rejection. But I have learned enough about negativity to know it is subjective.

For instance, the other day I received a reply for a poem I’d submitted to an online publisher. The reply went something as follows: “Strangling syntax to achieve end rhyme is grossly outdated.”

My advice is to regard such opinionated comments as semi-constructive. By semi-constructive I mean: determine what educational value they provide. Can you research the rejection’s ideas then produce a modern article? Is the editor who made the comment respected in their industry? In my situation, the editor represented a small, quality publisher who produced literary works and poetry. I learned this: once the bruised soul heals, it learns!

PUT REJECTION INTO PERSPECTIVE:

If that same poem hadn’t previously been awarded Dana Literary Society’s Certificate of Excellence, my spirits would have sunk truly low. That it did do well elsewhere served to show the rejecting attitude IS subjective. Other professionals felt the opposite toward that poem — so what might be learned from the rejection?

PAY ATTENTION TO CONSTRUCTIVE ADVICE:

Should the rejecting editor have said, “Classical-styled poetry has less of a market nowadays than free verse. If you’d like to submit a free-styled poem, I’d be happy to reconsider” — I would have felt encouraged to learn about free style poetry and why it is more popular today than classical styles. Using your rejections as new experiences to learn and write from will prime you for more constructive suggestions.

For instance, I once had a college professor who taught a course on Samuel Johnson, an author he seemed to worship.

He began each lesson by entering the room and announcing, “Good evening, my students.”

He was a man who adored coaching students on life aspects through all he’d learned of Johnson.

While I didn’t find Johnson to be all that fascinating, my opinion of my professor was quite opposite. His enthusiasm was contagious and I looked forward to each late-night class when he would give us his brand of constructive inspiration.

Nearing finals, he told us he understood we were going through the pressure of studying — and of fearing failure.

“I will not let any of you fail this course,” he said.

He also said he knew many of us were feeling depressed and that this was normal.

“It is a proven fact people who think a lot are inclined toward depression. As students, your minds are constantly turning, making you prone to experience all kinds of emotion, including depression. The cure is also proven. It is being with people.”

He continued: “I know life seems hard right now but you have my word you will succeed in this course. And, there is something you can do to combat fear any time it hits: ask God that what is happening to you is happening for a reason.”

I’m no church-goer. Still, each time I’ve felt truly fearful since that advice, I’ve looked upward saying, “I ask that what is happening to me is happening for a reason.” And, an answer has always come without fail!

While I remember what my teacher looked like (ruddy complexion, serious eyes, man in late-forties), I can’t for the life of me remember his name. I want to say it was along the lines of “Goodman.”

Whatever the name, each of us took a moment after finals to thank the good man for his many wise words.

When it was my turn, I looked him square in the face and said, “Thank you SO much for your guidance.”

I wanted to say more, to indicate he had touched my soul deeply. Then something strange happened. My teacher’s response was a TERSE “thank you.” Had I said something wrong?

As it turns out, I had been so busy preparing my first one-on-one with my new hero, I’d not noticed him behaving the same way with all other students. It wasn’t until I was backing out of his classroom to get a last look at him that I discovered he was giving every student that brief note of thanks.

Which is when the realization came: this man had devoted a full semester’s worth of lending us his most precious advice.

In addition to educating us, he’d taken care of our spiritual need. Our thanks WERE appreciated, but not necessary.

As I watched my mentor silently incorporate each student’s thanks, it became clear he felt his station in life, to make a difference in ours, had been fulfilled. THAT was all he opted to speak for!

Like my professor, you have a gift: to speak for what you believe in through writing. You have a gift to share your compassion and integrity, two strong sources of inspiration.

And, as someone inspired, you too will find a grateful audience.

EXERCISE:

Think of a recent rejection, however small it might have been. Find a quiet moment, even if the only moment available is while sitting on the porcelain goddess. Turn your face upward and ask, “Why did it happen?” A sense of an answer to your question should come.

Now ask, “What can be learned?”

Write your answers then follow the advice.

Write what happened as a result. You are encouraged to share your writing in Discussions.

Lesson 1: Never Fear, Inspiration’s Here!

Writers in Prison

In Chicken Soup for the Writer’s Soul, Claire Braz-Valentine contributes a personal story titled “Writers in Prison.” It involves her conducting a guest writing workshop at Susanville State Prison in Northern California. She explains men there are in for drugs and have no quiet time for contemplation.

A young, handsome man in the workshop declines to show her his writing or share in group discussion. However, a miraculous event occurs, evidenced on the last day of workshop when students are invited to share what they’ve spent days focusing on.

The young man again refuses to share. But his peers encourage him to do so, promising they won’t judge. So, he shares. He tells Valentine and his classmates he is dead. He “died” when he came to prison as a drug addict. He also explains that during the course of the workshop he wrote from the heart, discovering he could write well. He resolves his story (and life) with, “I died a drug addict and I was reborn as a writer.”

The power of self discovery and worth through writing instead of negative influences like drugs is evident, along with the promise of a bright future – even for a man who thought he was “dead” inside.

This story shows how writing a piece and its resolution can do wonders for a life. By writing with hope and purpose, the young man discovered his regrets over doing drugs and his subsequent need to do something healthy – to write. When he formulated a resolution within his essay, he was doing so within his life as well.

With this knowledge in mind, it should suffice to say all writing has the power to uplift. Knowing how to write an uplifting work is half the battle. The following exercise should help you learn how.

EXERCISE:

Write about something that evokes a numb, or “dead,” response of defense within you. Why does this happen? What can you do to prevent it?

Lesson 1: Never Fear, Inspiration’s Here!

Bibliography

Chicken Soup for the Soul Website (About Us): http://www.chickensoup.com

Chicken Soup for the Writer’s Soul, “My Professor and Me” by Catherine Lanigan and “Writers in Prison” by Claire Braz-Valentine

Lesson 2: Write for Your Life.

The great novelist Toni Morrison said, “There’s a difference between writing for a living and writing for life. If you write for a living, you make enormous compromises and you might not ever be able to uncompromise yourself. If you write for life, you’ll work hard, you’ll do what’s honest, not what pays.” Still, having the desire to write for life, or record hard-earned insight from actual events, can lead you to write for pay.

Being rewarded in cash for doing something you love should not be considered a bad thing. Remuneration gives a writer further incentive to nurture an already fulfilling activity.

Every trade master began his/her dream through practice and nurture. Skilled doctors, carpenters and singers once set out to accomplish small but adored goals each day because they loved their hobby enough to make it a part of their life.

As a writer, you can do the same. Nurture your hobby daily by learning to recognize share-worthy situations then recording them on paper.

As a human being you have a natural inclination to share experiences. By doing what comes naturally you should become an expert at this business.

The Heart of the Matter

Learn to capture the heart of the matter. The idea is to present everything that is “the story.”

For example, you are writing an essay about a kind stranger who helped you pick up some spilled groceries. Does it matter what sort of groceries spilled? Probably not, unless the stranger commented on how s/he buys all the same brands, beginning a new friendship with you. Might it matter how s/he behaved while helping? Absolutely. The heart of your essay is, after all, the heart of the stranger — any of her/his actions are significant.

SEEK AND SPEAK TRUTH:

Very simply stated, write plainly. Using plain language will allow you to present one important point then move to the next, which will better serve you in presenting the story — which will motivate your readers to enjoy all you’ve written. And, writer-Reader communication can be a valuable asset.

Take Lois Duncan, author of the book (and film) “I Know What You Did Last Summer.” As a teenager she wanted to write for audiences her age. She studied teen magazines. Before she was out of high school she had learned how to contribute concise and helpful articles to Seventeen Magazine.

Her secret? Focusing her writing on what she has learned.

FOCUSING ON WHAT YOU’VE LEARNED:

Duncan wrote a section in our recommended book titled “How to Write Your Way Through College.” The section describes how she was a professional writer and mother of five children who up and decided to go to college. She needed a way to help with family income. So she came up with a scheme: she would sell everything she learned. Her husband didn’t believe she could do it but was willing to give her a chance.

As an undergraduate at the University of New Mexico, she turned targeted skills into effective articles, poems and books! Using textual quotes and those supplied during professor lectures, she came up with the following:

From Psychology 101, she wrote an article titled “Our Son was Uncontrollable” for the “My Problem and How I Solved It” section of Good Housekeeping magazine.

From a Poetry Writing course, she sold poems to Guideposts and Woman’s Day magazine.

Additionally, she was inspired by a class in Edgar Allan Poe to create a Poe-like novel: “Down the Dark Hall” is still in book stores today — and novel writing became a hit and life’s work for Duncan.

A “Myths” class gave her the information necessary to sell works to The Encyclopedia Britannica.

Most importantly, literature courses created new goals of writing proficiency for her. She ended up tripling her writing income and some!

Using Duncan’s example, each time you write about a subject you should ask, what have I learned? Your answer is your story.

*Note: From a course in Photo Journalism, Duncan sold one hundred fifty photos to publishers. She even created a book with photos and poems of children that sold to a religious publishing house. Per number of photos Duncan sold, it is evident submitting photos for reference increases the likelihood of being accepted by publishers (and you have my permission to use an average camera)!

MENTAL EXERCISE:

Think of a learning situation. What would you write about it?

Lesson 2: Write for Your Life.

They Aren’t Called ‘Role Models’ for Nuthin’.

We all have days when the only difference between us and the corpses at our local morgue is we’re breathing and they aren’t. What to do if such a day is the day you write? Dress yourself in the best attitude possible.

A positive attitude influences whether or not you’ll be equipped to write for life. This includes writing when having a throat culture would be more entertaining.

USE ROLE MODELS TO INSPIRE:

Do you have a writing role model(s)? If you do you know as sure as the sun exists, a content muse is whispering in their ear daily. If you don’t, I invite you to share mine, below!

Having a role model(s) is the ticket for your continued contentment. Use whatever keeps them inspired to do the same for you. You will find most writers have home or web pages devoted to a personal biography and writing samples. Keep in mind you are welcome to steal their uplifting careers! What I mean by this is you should use the list of credits within their biography to consider options for yourself. I’ve learned from investigating my role models’ credentials they put their hearts and souls into writing creative and motivational works.

What follows is information about two of my role models, a sampling of their works and links to the writers’ guidelines of publications they’ve written for. Through these examples you should get a feel for the positive writing persona, the sort of writing derived from it and the types of publications and guidelines suited for it.

1) Renie Burghardt, a gracious and talented elder of mine, is a prolific anthology writer. She wrote one of the most popular columns at Suite101.com. Suite101.com is an Internet search community unique for its five hundred plus contributing editors. It was not unusual for Renie’s articles to draw over one hundred discussion postings. Her column was called “Nature Sketches.” Each article was infused with grace and beauty. Since, Renie has become a professional writer, writing informational pamphlets and such.

You may view Renie’s “Suite” profile here: http://www.suite101.com/profile.cfm/Reni…

One particularly stunning article of hers is “The Ghost of Lost Creek Hollow.” To write it Renie used the true love story of a female friend who with her husband, began building a majestic home. The husband died en res but remained on earth to help her finish building the house. The story, also accepted for publishing by UnseenPress.com, may be read here: http://www.suite101.com/article.cfm/natu…

Links to Writers’ Guidelines of Publications Renie Has Written For:

Chicken Soup for the Soul – http://www.chickensoup.com/ Guideposts –http://guideposts.com/writers_guidelines… Cup of Comfort – http://www.cupofcomfort.com/share.htm

2) Jenna Glatzer is a young woman whose writing I first encountered in several informative articles she’d written for Writer’s Digest magazine. I liked her concise, friendly style so I checked out her website Absolute Write, where one can sign up to receive a free newsletter that includes free writer’s markets.

Jenna is a sinfully persistent writer who has written articles and books, among other writing endeavors. To view her COMPLETE biography, go here (and jot notes) http://absolutewrite.com/jenna/bio.htm

Links to Writers’ Guidelines of Publishers Jenna Has Written For:

Booklocker.com – http://www.booklocker.com/getpublished/p… Hunter House –http://www.hunterhouse.com/publish.asp Lyons Press – http://www.lyonspress.com/authors.cfm

Notice how each role model has written for some higher good, allowing them to stay positive and persistent. In Renie’s case, her writing educates readers by way of natural beauty and truth. In Jenna’s case, she uses how-to content to help writers like herself improve on skill.

Follow a similar formula and you will become a role model — perhaps for yourself.

Lesson 2: Write for Your Life.

Writers Unite to Make Things Right

“FOREVER UNITED -

For every me, there is an I,

For ever I, there is a you,

For every you there is a we,

And every we stands for a them,

For every them there is an us,

And forever us,

We are united!”

- Natalie Ferro, age twelve

The above poem was written by my twelve year-old cousin after September 11th’s attacks. The undying devotion of New York City officials, firemen, police — and of U.S. citizens — is a clearcut example of the sort of devotion you should give to and through writing.

As writers, you can “right through write.” Young Natalie contributed her own portion of relief via her poetry. Like her and the citizens of New York, your written contribution can offer your own portion of guidance.

Consider author Richard Paul Evans. He is best known for his book “The Christmas Box,” which is about an ambitious man who favors work over his children. Through a box of letters, he learns the woman his family is caring for once lost a child much like the one Christmas was named after, much like his own still alive.

This tale made its way around town, eventually winding up a bestseller. Angel statues like the graveside one mentioned within the story sprang up everywhere, symbolizing the loss, love and healing of parents who have suffered the inordinate grief of losing a child.

http://www.richardpaulevans.com/ is the author’s official website. Should you wish to be updated on each new powerful book Evans has written, just subscribe to the newsletter mentioned.

What follows is one of his newsletters:

“I wanted to wish you a joyful Thanksgiving. We Americans have so much to be grateful for. As I have just completed the first two weeks of my book tour I am reminded of how grateful I am for my readers. Thank you for reading my books and sharing their messages. I received good news last Wednesday; The Last Promise has debuted on the New York Times bestseller list at number ten, right between Sue Grafton and Anne Rice. This would not have been possible without your support. May you and your loved ones have a blessed Thanksgiving and find much to celebrate.

Sincerely, Richard”

Clearly, writing for “life” AND for “right” is a powerful recipe.

Lesson 2: Write for Your Life.

Bibliography

Chicken Soup for the Writer’s Soul, “How to Write Your Way through College” by Lois Duncan

Suite101.com’s “Nature Sketches” column: http://www.suite101.com/welcome.cfm/natu…

“The Ghost of Lost Creek Hollow:” http://www.suite101.com/article.cfm/natu…

Absolute Write: http://www.absolutewrite.com

Richard Paul Evans Official Website: http://www.richardpaulevans.com/

Lesson 3: Persistence that Pays

“Great works are performed not by strength but perseverance.” – Dr. Samuel Johnson

Luney for Learning

Lois Duncan wrote her way through college, right? With five kids and a booming career writing for top magazines like Good Housekeeping and Reader’s Digest there must have been at least one moment when Duncan questioned the idea she might be batt-luney for becoming an undergrad during her career’s height.

Or was there? She clearly knew something valuable when she saw it — that using every available learning source toward writing is as much an investment in self. Not one of Duncan’s undergraduate courses went wasted. She got the most out of each class, selling to a widespread variety of top-rate publications. And, from the courses that didn’t result in sales her talent as a writer multiplied, eventually landing her in her most successful role as popular novelist!

The trick for you is making activities within your own life into valuable sources the way Duncan did. The solution is so easy it’s embarassing (evidence of my “Is-My-Underwear-Good-Enough Syndrome” showing). Just follow this exercise:

Ask yourself which activities in your life are valuable LEARNING sources. Whichever ones they are, these are the ones capable of resulting in your best writing material.

Examples:

• Taking a Child to Day Care — See all those frayed books covered in drool? Gold mines! One year-old Cynthia is learning to speak words. Each picture book in the room was created by an author familiar with the development of the one year-old. Take your child and a stack then read some.Now go home and write. You could write an article about books for toddlers based on the common element of one sentence per page. In it, you could recall your child’s reactions, showing how the format is effective.
• Helping a Sick Grandparent — Never had an inclination to learn about Grampa’s life until he broke his arm and now you are sitting in a room with him every night praying for a miracle (a subject to talk about)? Pray no more. What do you two have in common? Not much. He is old, you are young. He is wise, you are not. He knows firsthand what it was like growing up during World War Two.Hey! Why not ask Grampa what it was like? Jot down on a notepad anything he says that serves to interest. Wala! You have a piece that could be titled “What Grampa Lived Through.”
• Exercising — Maybe this one’s a long shot. Maybe when you run it is more like the shuffle of a constipated buffalo. Maybe there are more people like you in the world than you might think!Try picking up your pace by buying a copy of Runners World. Does it have an inspiring department? An article titled “A Slow Runner Chronicles her Fast Attempt” could fly, perhaps becoming a column.

If you can’t think of any educational activities in your life, find some. Here are some ideas:

• Attend a college lecture open to the public. Lecturers come in a variety of types: psychologists, animal rights activitsts, artists, writers. I once went to a lecture at Cape Cod Community College given by Jane Goodall, the renowned chimpanzee expert. Her lecture was free — and heartwrenching.Goodall’s slide show included an image of a chimpanzee who had been enclosed in small cage for decades. His drab eyes revealed a broken spirit. While there were also uplifting images of chimpanzees preening and caressing, none so seized my attention the way those sad eyes did. At the time I became inspired to find a way to work with Goodall. For various reasons, writing won in the end. Still, I will never forget the caged chimp. I will never forget the freedom Jane Goodall works toward.If you choose to attend a lecture, bring a notebook. Take notes, being sure to record the lecturer’s credentials. Write down each idea that fascinates, quoting the lecturer. Wala! You have a highly desirable piece for an animal rights publication (or — depending on the lecturer — arts, writing or history publication, etc). 
• Use a daily motivator. Better yet, check-out “The Daily Motivator” website. This site puts environmental images together with powerful words, resulting in motivational sentences such as “What will you do today that will matter tomorrow?” The site’s address is http://www.greatday.com/motivate/images/

Related Posts:

• In My Other Life I’m a Writer
• Honour Yourself as a Writer
• Guest Post: Creative Karma
• Are you in the Business of Writing?
• How to Comment on Writing

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By Lisa-Anne Sanderson

Introduction

If you’ve always had an ambition to write, freelance writing for magazines is an excellent place to start. Writing non-fiction articles can be a fun and lucrative hobby, or an interesting way to earn a living. The rise of technology provides writers with the freedom to work at home, another big advantage. The Internet is a wonderful way of doing research, and emails and faxes provide the convenience of being able to send articles straight from home, although some magazine editors still require them to be posted.

There is a magazine to cover everyone’s area of interest, whether it is travel, history, parenthood or women’s issues. There are also trade and industry magazines which are even more specialized, but often pay well. Another big advantage is that freelance writers are not restricted to the magazines of their own country. The Internet can be used to find markets in other countries and email saves the cost of international postage.

There are also many e-zines and websites that pay writers, although writing for magazines is usually more lucrative. Countless websites are designed to benefit writers. They often include helpful articles, links for writers and useful lists of markets.

Many people want to write freelance but are unsure where to begin. This course will give you all the information you need to enable you to begin writing for magazines.

It will show you how to use your background and interests as a starting point and show you the right procedure to begin freelance writing. By the end of the course you will know how to research and write articles for magazines.

If you are interested in freelance writing as a career, however, it is best to ease your way into it. Unless you have a lot of experience and good connections, making a reasonable living as a writer can be difficult. It is usually best to write as a hobby, and see where this leads, unless you have independent means. However, if your articles are interesting and designed for the right market, and you have determination and perseverance anything is possible! As Peter de Vries succinctly remarked: “I write when I’m inspired, and I see to it that I’m inspired at nine o’clock every morning”. (The Observer, 1980)

The course will answer your questions on doing research, finding and analyzing potential markets, writing query letters, outlining articles, and the process of writing an article.

My lessons will concentrate on the following areas:

• How to find ideas
• Finding markets
• Matching ideas to markets
• How to research your article
• Writing and submitting query letters
• Writing outlines
• Writing and submitting articles

Many freelancers, especially beginners, can feel extremely dejected and perhaps even depressed by rejection letters. Sometimes an editor can be unduly critical. Sometimes they don’t answer query letters or submissions at all. This can be quite difficult to handle, and I will give you some tips on some ways to cope with this kind of rejection.

During the course I will use the process of researching and writing an actual article as an example. I will also provide links to writer’s markets, newsletters, and helpful web sites for writers.

Lesson 1: What Should I Write About?

Lesson 1: What should you write about? In this lesson you will discover how to find ideas and markets, and how to match ideas to markets.

Lesson Objectives and Glossary

OBJECTIVES AND GLOSSARY

The objectives of this lesson are to give you a clear picture of how to find ideas; how to judge whether an idea is marketable; how to research markets and most crucially, how to match your ideas to markets. The resources I will use are: Michael Perry’s Handbook for Freelance Writing and The Complete Idiot’s Guide to Freelance Publishing. Another helpful book which I will quote from is Writing for Magazines by Jill Dick.

Glossary

Angle: the theme or argument of your article. This should be fresh and original.

Clips: these are samples of your writing.

Queries: these are letters summing up the themes of your articles to see whether they are suitable for your intended markets.

Markets: these are the magazines in which you would like to be published.

Sample copies: these are issues of the magazine. Sometimes you can find free issues, but often you have to buy a sample copy.

Writer’s guidelines: Many magazines publish writer’s guidelines. Some are very detailed but others are unfortunately very vague. Usually, however, they will say what kind of articles they want, whether they are accessible to freelancers, the style of the articles that they want, and the word length they require.

By the end of the course you should be able to fulfil your dream of successfully writing articles for magazines.

Lesson 1: What Should I Write About?

Introduction

The famous writer Sinclair Lewis once held a writing seminar at which he asked his students what they were doing there. He asked them if they wanted to be writers why weren’t they at home writing? The students were probably astonished to be greeted in this way, but there is much truth in what the irascible author said. Writers love to write.

Whether you want to take up writing as a hobby, or make it your career, it is a good idea to write every day. Even if you are not working on an article or story, keeping a journal or writing a letter is still good practice.

Writers usually like to read widely. Classical authors, such as Jane Austen and Charles Dickens, and, of course, Shakespeare, with their eloquent and lyrical language are the writers that I would recommend the most. However, read and study the magazines that you intend to write for. Note their style – do the writers use short, snappy sentences or are they long and convoluted? Are the articles easy to understand and simple, or more academic? Do they use unusual words? Reader’s Digest articles, for example, are written so that a thirteen year old of average intelligence can understand them.

Arguably the most important traits for a writer are determination and persistence. There are many stories of authors who received countless rejection slips but finally achieved success. As the old adage goes: Never give up. Most, if not all writers do not have their first articles accepted, but don’t take rejection personally. According to Gordon Wells: “…anyone can do it. You don’t need to be a literary genius – that could indeed be a disadvantage. You don’t even need to have done well at English at School. Editors are more interested in good ideas than beautiful phrases.”1

Writing for magazines comprises finding marketable ideas, suitable markets, submitting query letters and researching, writing and submitting articles. It is an enjoyable and interesting hobby or career, but extremely competitive and not as easy as it may sound. If you want to make writing your career it is best to ease your way into it, and work out your chances of success very carefully, unless you have independent means. One excellent journalist I read about stated that his earnings for one year were only $14,000.00 Australian dollars – hardly enough to live on. As a supplement to an average yearly income, however, it would be a useful sum.

1 Wells, Gordon. The Craft of Writing Articles: A Practical Guide. Allison & Busby, London, 1983., p. 7

Lesson 1: What Should I Write About?

Finding Good Ideas

Writers find ideas everywhere – from newspapers, magazines, books, television and conversations, for example. It is good practice to read an article and think of a fresh angle on the topic. Imagine that you have recently read an article about a castle, for example. Could you expand on the castle’s history? Do the owners have an unusual way of making money? Were any of the former owners especially interesting? You can often ‘brainstorm’ and obtain many different angles based on the one subject.

SOME SUGGESTIONS

1. Using your professional background can give you a headstart in the competitive world of freelance writing. Michael Perry, author of the Handbook for Freelance Writing, has a bachelor’s degree in nursing. He writes patient profiles for an in-house hospital publication and chapters for a medical/legal textbook company. I have a Law degree and often write legal articles. One big advantage of using your professional background is that you can write for fellow professionals or you can simplify complicated subjects so that lay people can understand them more easily.

2. Write about what you care about. If you are passionate about a particular subject it is likely to show in your writing. You may, for example, be concerned about the effect of violence on TV and film on children or the easy availability of drugs. The proviso is, however, that health can be a difficult field to break into.

3. Write about your personal experiences – they could be life-changing, humorous or romantic. You may know someone with an interesting story who would make a good interview subject.

4. Hobbies and activities that you like doing will provide you with many ideas. If you like films and books, for example, you could write reviews. Some other examples include travel, technology and sports.

5. How-to articles are always in demand. Use the skills that you are good at to write these. You may be a wine buff, for example, and able to teach others about wine.

6. Humorous articles are popular, but many people, including me, find them difficult to write. The antics of children or articles which are slightly self-deprecating are usually enjoyed by many people.

7. Seasonal articles are always in demand, for example, articles about Easter, Christmas or Thanksgiving. So many articles have been written about the history and customs of these celebrations, however, that it is more difficult to find a fresh angle than with many other subjects.

Most writers keep clips of articles about the subjects which they want to write about – to help their research and to provide fresh ideas. An ‘ideas file’ with clips from newspapers and magazines is very helpful. Remember also the wise advice to always keep a notebook handy! A writer is like the Australian bower-bird: obtaining ideas in many different ways.

Lesson 1: What Should I Write About?

Original Angles

Ideas that are based on what people want to know are always going to be popular. These include:

• How to save time
• How to save money
• How to be loved
• How to make money.1Some examples include: ‘Ten Ways to Minimize your Taxes’, ‘Secrets of a Light Packer’, ‘Unusual Ways to find your Soulmate’ and ‘Secrets of Successful Homeworkers’. You can use these simple themes to find ideas on any topic. Take travel, for example. Here are some article ideas based on these themes:
• ‘Best available airfare deals’
• ‘How to work all over the World’
• ‘Ten Ways to save money in Paris’You can also target many different markets by using variations on the one theme. Take my previous example of writing about a castle. There are countless ideas suitable for different markets that you could think of. An article about the castle’s history may well be suitable for a heritage magazine, for example, while an article about the castle’s unusual architecture might be published in an architecture magazine.The old advice to writers is to write about what you know. This can make your research easier and faster. It also provides lay people with an ‘insider’s’ view. Your professional credentials can also help you to get your pieces published. You can also provide factual anecdotes more easily. Michael Perry, for example, wrote about the neurological rehabilitation unit he had worked in as a nurse. It was the first article that he ever had published, and his professional background helped. His work also gave him access to the latest neurological advances which helped inform the article.However, this doesn’t mean that you should never write about what you don’t know. People who write about something as a beginner can often explain things more clearly because their work isn’t riddled with jargon. Professionals who are familiar with terms that they write about can often assume that their readers are as well. The research is much more difficult, and it is harder to make sure that you ‘have your facts right’ but it can be a rewarding experience, leading you into new areas of writing and new markets.The famous author Janet Dailey once stated that: “The worst advice I ever got in my life was to write what you know…you can research and learn anything”. Michael Perry set out to write an article about monster trucks, a subject he knew nothing about. He did so much research that “When it came time to write the piece, I was armed with all those critical bits of minutiae that can make the difference between a cursory overview-type article and a piece that truly takes the reader to the heart of the experience – whether it be monster truck racing or brain surgery”.32. Bykofsky, Sheree, Sander, Jennifer and Rominger, Lynne. The Complete Idiot’s Guide to Publishing Magazine Articles. Alpha Books. Indeanapolis, USA. 2000, p.783. Perry, Michael. Handbook for Freelance Writing. NTC Business Books, Chicago, Illinois, p.56
  

  Lesson 1: What Should I Write About?

  Researching Markets

  The magazines that you buy and like to read will probably be the magazines in which you would like to see your articles published. Keep in mind the proviso, however, that it is often best to start submitting to magazines which are more accessible to new writers. These are likely to be those with a smaller circulation that pay less than the larger, well-established ones. Magazines such as Reader’s Digest and Woman’s Day, for example, are hard markets to break into. Generally if a magazine pays a lot, then it will be more difficult to ‘crack’. Even writing for free at the beginning can provide you with experience and published clips to send to editors. It must be admitted, however, that writers are often exploited or scammed, and really shouldn’t be expected to work for nothing. Charities are an exception, because you are using your skills to benefit a cause.

  You should study your intended market thoroughly. Look at quite a few copies, or, if that isn’t possible, at least a sample copy, and look at:

   

  • How many articles are published by freelancers? If the magazine is entirely written by the staff freelance articles are probably used very rarely, if at all.
  • The demographics of the magazine. This means circulation and advertising. Who are the magazine’s readers? Is it aimed at up-market, wealthy people? Are the readers professionals? Are they mainly women or men?
  • Departments and fillers. See if these are staff-written, if possible. These are often areas that are easier to break into.
  • The kind of articles published. Are there many interviews? Do they include many anecdotes? Do they publish stories about personal experiences?
  • The style of the writing. Is it snappy and chatty, or more academic and serious?Sometimes you can obtain a media kit which tells you about the readers of the magazine – their ages, interests and income, for example.Sometimes it is easier to break into new magazines which often have a greater need for new writers.Most magazines have sample copies and writer’s guidelines. Study these very carefully. Many editors complain that many writers who submit articles have never read any issues of their magazines.There are many books of writer’s markets containing general guidelines for magazines. There are also many Internet sites such as Writer’s Digest.com which contain several guidelines. Study these and circle all those which interest you as possible markets.

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• Query Letters
• Article Directories for Your Own Writing?
• Freely Contributed Content
• Setting Goals
• How to Write an Author Resource Box