Hallie Ephron at SiWC

Hallie Ephron spoke at the Surrey International Writers' Conference on how to write a great mystery. Hallie has cowritten 5 mystery novels and the psychological suspense, Never Tell a Lie. She is also author of Writing and Selling your Mystery Novel: How to Knock 'em Dead with Style.

Workshop Description:

Tips for Mystery Writers: Things I wish I'd Known. Hallie Ephron shares her epiphanies along the way to producing seven mystery / suspense novels - the mistakes, the trade-offs, the gotchas, and the expectations of the genre's readers.

During her presentation, Hallie gave a hand-out to everyone. These are my notes from the margins, not a re-typing of her handout (PIRATE VOICE: Aaaarrr. Because that be stealing, matey). Anywho:

• The sleuth should not be solving a crime because it is their job. Often, the sleuth is an amateur, not a professional. It has to be personal. Otherwise, they would leave it to the professionals.

• Story ideas - Suppose ___ happened ... and what if ... and what if ...

• People are interested in characters who are not perfect. They need to be put in a position to prove themselves. Ex. If they have a problem with drinking ... send them right into a bar.

• Mysteries are filled with secrets. Some characters have a secret that makes them guilty / innocent. Everyone lies. It is not always deliberate. Sometimes they don't know.

• Real people and events. Be careful about libeling someone. Do not defame or illustrate someone with malice. Disguise can be defamable. Truth is the defense for libel.

• The villain doesn't think they are evil. They could think they are righting a wrong, protecting a loved one / their reputation. They think they are doing the right thing.

• Sidekicks act as a foil. They ask the dumb questions, make wrong observations.

• Adversaries are good-guys who present obstacles to the sleuth.

• Stories set in the present may make a story seem dated.

• Pain makes the main character look heroic. Drama is directly proportional to the pain of the sleuth. Throw problems at them from the beginning. They come, get solved. More intense problems, get solved. If you plan to break their leg, wait until the end.

• A scene has to have a payoff. Something that moves the story forward. A secret is revealed or there is a change in emotion, situation, etc ... If the scene doesn't have a payoff, get rid of it.

• When using multiple view points, there should only be one narrator / scene. If there are two people in the scene, have the person who is least comfortable narrate.

• Withholding information from the reader doesn't create suspense. It makes the author's presence obvious.

• Be certain of what happens during a specific action. Ex. If you accelerate a car, you move back in the seat.

• Let the reader learn the back story through the character's actions.

• At the beginning (aka page 1), something should happen to throw the character off-balance.

• The end - mop up unresolved bits, rehash, etc... In a series, something is left unresolved (maybe the love interest).

You may find out more about Hallie and her books on her website.