Unraveling the Mystery of Mysteries<\/strong>, by Chantelle Aimee Osman<\/p>\n

“A first class mystery is also a first class novel.” ~P.D.James<\/p>\n

There are three main elements to a mystery:<\/p>\n

\n
1. Plot<\/strong> – This is more important in a mystery. Know at least the key points before starting: who\/what\/where\/why? Always start 20 pages after where you THINK<\/strong> it should begin!\n
   \n
   1. Make sure you have some subplots – romance, etc. Of course, the crime is most important – and it’s not always murder.<\/li>\n
   2. Introduce the crime within the first 3 chapters. Make it believable – do your research. The methods used need to be rational and scientific, and the method of murder should match the killer.<\/li>\n
   3. Clues should be almost invisible. The best ones point in one way but actually say something different if you look at it the right way. You really only need 1-3 really important clues. It’s more the plot and characters.<\/li>\n
   4. You may have heard that “False clues and red herrings are not fair” – baloney! Life’s not fair. Don’t go too far afield with your clues, though – keep them realistic to your\u00a0world.<\/li>\n
   5. Also -remember that everyone has a secret, so everyone might be guilty.<\/li>\n<\/ol>\n<\/li>\n
   6. Characters<\/strong> – introduce the protagonist and antagonist early. The reader should have some sort of emotional attachment – either like them or hate them.\n
      \n
      1. Look up the FBI Profile Worksheet and fill it out for your characters – then leave most of that off the page!<\/li>\n
      2. Make sure you actually like your characters!<\/li>\n
      3. Your sleuth should be as unique as possible.<\/li>\n
      4. Backstory should be like bread crumbs – drop a trail instead of dumping everything in the first book.<\/li>\n
      5. Explaining motivation is bad, too – show us action or dialogue.<\/li>\n<\/ol>\n<\/li>\n
      6. Setting<\/strong> – This is often what draws people to the book. Treat setting as another character – don’t adjust it to just to have a place to set the story. Use things and places readers aren’t likely to see, but be accurate.<\/li>\n<\/ol>\n

         Also remember: anything that is going to make you jump or jar you out of the story is bad – it’s like bad narration in a movie.<\/p>\n

         <\/a><\/p>\n

         5 Traits of a Highly Successful Writer (William Lavender)<\/p>\n

         \n
         1. Confidence in your ability.<\/li>\n
         2. Passion about your work.<\/li>\n
         3. Have a willingness to change.<\/li>\n
         4. Don’t give up when you fail.<\/li>\n
         5. Continue your education.<\/li>\n<\/ol>\n

            Like, Love and Lust\u00a0\u00a0(Alison Sky Richards):<\/p>\n

            Reasons someone might not\u00a0attempt\u00a0a relationship:<\/p>\n

            \n
            • fearful of losing a friend<\/li>\n
            • fearful that their feelings won’t be reciprocated<\/li>\n
            • in another relationship<\/li>\n
            • uncertain of their own sexual orientation<\/li>\n<\/ul>\n

              In a good relationship, the other person completes them in some way:<\/p>\n

              \n
              • Yin and Yang<\/li>\n
              • Opposites attract<\/li>\n
              • Similarities<\/li>\n<\/ul>\n

                The break-up point is when trust has been broken; the other must re-earn that trust to repair the relationship<\/p>\n

                <\/a><\/p>\n

                “Falling in Love”<\/p>\n

                \n
                • Star-crossed lovers<\/li>\n
                • Unrequited love<\/li>\n
                • Love triangles<\/li>\n
                • Marriage of convenience<\/li>\n
                • High school sweethearts who meet years later<\/li>\n
                • Summer flings<\/li>\n
                • Rich Girl\/Poor Boy<\/li>\n
                • Outcasts<\/li>\n
                • Instinctual (werewolves, vamps, etc)<\/li>\n
                • Florence Nightingale<\/li>\n
                • Finding love when no longer looking for it<\/li>\n<\/ul>\n

                  When someone is in love:<\/p>\n

                  \n
                  • they exaggerate\u00a0their partner’s characteristics (rose-colored glasses)<\/li>\n
                  • they see them as holding important values<\/li>\n
                  • they feel happier\/ more hopeful<\/li>\n
                  • they love themselves more<\/li>\n
                  • they feel more attractive and desirable<\/li>\n
                  • they maintain the idealization of “falling in love,” but have a clearer understanding of friends in love<\/li>\n
                  • they make commitments they normally wouldn’t make<\/li>\n
                  • they may not be as jealous of partners (if the relationship is healthy)<\/li>\n
                  • they feel less lonely and isolated<\/li>\n
                  • partners in a healthy relationship learn to tolerate being separated and learn to tolerate intimacy and vulnerability<\/li>\n<\/ul>\n

                    Barriers that keep a relationship from progressing:<\/p>\n

                    \n
                    • a checklist of “must-haves”<\/li>\n
                    • wants sex only<\/li>\n
                    • wants love only<\/li>\n
                    • too high an expectation of partner<\/li>\n
                    • fear of change<\/li>\n
                    • putting something else above the relationship<\/li>\n<\/ul>\n

                      The Joy of Writing Sex<\/strong> (Elizabeth Benedict) – 10 Principles<\/strong>:<\/p>\n

                      \n
                      1. A sex scene is not an instruction manual.<\/li>\n
                      2. A good sex scene doesn’t have to be about good sex.<\/li>\n
                      3. It’s OK to be aroused by your own writing.<\/li>\n
                      4. Your fear is your best friend.<\/li>\n
                      5. Sex is nice, but character is your destiny.<\/li>\n
                      6. Only your characters know for sure what terms they’ll use.<\/li>\n
                      7. Take your cues from your characters.<\/li>\n
                      8. Make sure the emotions leading into sex make sense.<\/li>\n
                      9. A good sex scene is always about sex and something else<\/em>.<\/li>\n
                      10. Who the characters are to one another is key.<\/li>\n<\/ol>\n
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