Conflict, Stakes and Character in Writing Mystery Fiction by Warren Bull

 

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Conflict, Stakes and Character Growth in Writing Mystery Fiction by Warren Bull

Many writing teachers say you need all three to write good mystery fiction. In a critique group, one of my current efforts garnered the comment, “What is at stake?” Are they necessary? As Sportin’ Life sings in Porgy and Bess, “it ain’t necessarily so.” That is, there are occasions when one or more of these elements may not be evident at first glance. One of my personality flaws is my dislike of ironclad rules. When told in college that I would probably get a C at best in a class about a subject I had no background in, I got the highest grade and the professor said I explained something in the field he had never before understood.

 How did Sherlock Holmes, Charlie Chan, or Nero Wolfe manifest change or growth in their stories? Attempts by their authors to introduce new elements did not always completely succeed. Rex Stout’s Death of a Dude, in my opinion, while quite readable, is not one of his better efforts. I admit this is sort of like describing someone as an average Olympic Gold Medalist. I truly respect Rex Stout as a writer. My point is, it is quite possible to have a fascinating main character who does not change.

Conflict and stakes can be more implied than stated. I remember a memorable short story that was a shopping list. That’s all. No characters, dialog, or action. Words on paper. Because I am highly allergic to spoilers, I will not add any more. 

I am willing to describe spoilers in some of my stories to make my case. One well-received and published story was described by a reviewer as “Just two men standing on a porch and talking.” That is absolutely accurate, albeit incomplete. One man was a redneck lifelong criminal who on occasion would accept jobs that involved killing people. The other was a deputy sheriff born and bred in the area. The deputy waited on the porch for the other man to appear, which was respectful behavior. The criminal had boobytrapped the door with a shotgun, which would have gone off if someone had tried to open the door. They discuss a recent murder which both men know the criminal committed. The Deputy told the criminal that he will be arrested and convicted using the criminal’s black and white moral code. 

The story is, to the best of my knowledge and experience, congruent with that very specific time, place and social environment. Think of the television series Justified. Elmore Leonard could have written it. 

In another short story, which the publisher told me he was happy to get, I wrote about an undescribed man listening to an answering machine. The plot advances message to message. There is only one character. He listens. In the end he speaks aloud to someone unseen.  Only then does the reader learn who he is and why he is listening. The tension builds message by message. A kidnapping is presented bit by bit. Then problems appear for the kidnapper one at a time. The resolution is, I believe, unexpected but believable.  This one I set in New Zealand, using New Zealand slang to add color and interest. 

Both stories use unusual settings and utilized information I gathered over months or years of personal experience. I have not yet managed to write a story with no characters or where a character is doing less than listening. Dreaming maybe? If you have a suggestion, please let me know.