The Times They Are A-Changing by Debra H. Goldstein

The Times They Are A-Changing by Debra H. Goldstein

Bob Dylan wrote his anthem styled tribute to the way the world was changing in the 1960’s. It’s lyrics ring true today, but this isn’t a political blog post. Rather, it is an observation of the changes in publishing and how authors are pivoting to stay relevant (and published).

When I began writing seriously a decade ago, my first books were characterized as academic or traditional mysteries. My Sarah Blair series was marketed as being cozy. The first two books I wrote were orphaned by their respective publishers, which necessitated me writing something different or give up writing. That’s when I came up with Sarah Blair, a woman more frightened of the kitchen than murder.

I was thrilled when Kensington made me an offer for my cozy, One Taste Too Many. I felt blessed. I didn’t know how much that was true until I started hearing about another publisher who was phasing out their cozy line of books resulting in authors scrambling for new homes. Most didn’t find one.

Some gave up writing. Others turned to self-publishing. Many began writing stand-alone suspense and light thrillers. Today, authors of these kind of books are pivoting again because they are discovering that the demand is for more over the top action in mysteries and romantasy.

Does it reflect readers’ desire for escapism? Is it a marketing analysis strategy? I don’t know. All I’m certain of is that The Times They Are A-Changing. 

Hopefully, we’ll find a way to keep you as a reader. But tell us, what kind of books do you want to read and why?

“Off the Page” with Cassidy Jamison by The Wren (Sarah E. Burr)

A Note from Sarah Burr: I'm handing over the blogging reins to none other than Winnie Lark, the savvy sleuth and bookish brain behind my Book Blogger Mysteries series. Winnie runs What Spine is Yours—a literary hub often dubbed “Metacritic for Books,” but with a delightfully cozy twist. Under her secret blogging identity as The Wren, Winnie dishes out captivating content while keeping her true self under wraps. Her favorite way to spotlight authors? Interviewing them through the voices of their very own characters. And that’s precisely what’s in store for today’s feature. Settle in and enjoy the bookish fun!

Greetings, bookish friends! It’s your friendly, neighborhood book blogger, The Wren, here to introduce another cozy sleuth you won't want to miss: Cassidy Jamison from the Pearly Girls Mysteries.

Cassidy, thank you so much for coming off the page with me. You’ve just had your debut in Murder Strikes a Chord—how exciting! Or maybe not, depending on how much of a mystery lover you are, LOL. I can’t wait to get to know you better and find out more about the Pearly Girls.

Let’s start with your event-planning business. You recently inherited it from your grandmother, yes? What was it like finding out you were now in charge of her legacy? Was this something you wanted, or were you rather reluctant to carry the torch?

My previous job was in marketing, so I knew sort of what to expect. Plus, I’d lived with my grandmother in my teen years, so I got a firsthand look at her style of event planning. And I am so fortunate to have inherited a great team with the property and the business. My grandmother’s friends, the Pearly Girls, Roxanne, Ruthanne, Kate, and Aileen, have years of experience and aren’t shy about offering all kinds of advice (on any subject).

The property includes a renovated farmhouse, which is my office with an upstairs apartment. There is a serenity garden with a koi pond for weddings and special events, a glammed-up dairy barn for indoor activities, an amphitheater for shows, a cave, and the remnants of the old honky-tonk that stood on the property. I’m not sure what to do with the cave. I’m probably the only gal in the area who has her own cave.

I don’t know anyone who has their own cave! How cool. And I’ve never heard of someone inheriting friends before. Was that a big adjustment for you? And where in bookmarks did the name Pearly Girls come from?

The Pearly Girls are a hoot. They’re all retired now and living their best lives. They grew up in the fifties and sixties and loved the era of Camelot, the Kennedys, and the glamor of stars like Audrey Hepburn. And they wore their pearls all the time. Some classmate named them the Pearly Girls, and the moniker stuck. The gals are my invaluable support system, even though I often have to be their technical support. (And sometimes, I have to bail them out of trouble.) Ruthanne is my bookkeeper. Kate, a retired nurse, keeps the gang in line (usually). Aileen is a former teacher who loves to tint her hair to match her outfits. And Roxanne is known about town as the Ivy Springs cougar. They all have hearts of gold, and I cherish their friendship.

They sound like a really lovable support system! Tell us about the Blue Ridge Mountains, where your adventures take place. What makes it the perfect place for a big event? Have you always lived in the area, or are you a new-to-town amateur sleuth?

When my parents were killed in a car wreck, I moved in with my grandmother. By then, she was widowed and decided to turn the property into a place to host events.

The area is beautiful. We’re on the I-81 corridor, which used to be the main road to Nashville before the highway system. Entertainers on their way to or from the music city would stop in Ivy Springs. My grandfather’s honky-tonk (which burned down in the eighties) was famous for all the celebrities who performed there.

Our serenity garden overlooks the valley and is the perfect spot for weddings and outdoor events.

You’re definitely making me want to visit! In Murder Strikes a Chord, the frontman for a popular band is murdered. How did you get involved with the case? Do the Pearly Girls help (or hinder) your investigative efforts? Who else do you have in your crime-solving corner?

I landed a three-week concert series, Groovin’ Through the Decades, and it’s being headlined by the popular '70s band, the Weathermen. They were heartthrobs during their heyday, and the Pearly Girls are over the moon that they will be staying on the property. (And they have full access to the band.) Life was fabulous until Elvis (my chihuahua) and I found Johnny Storm floating in my koi pond. The serenity garden wasn’t all that serene after that. I had to get involved and figure out who killed the singer before it closed down the show and my business.

Yikes! I hope you and Elvis weren’t too traumatized by that deadly encounter. It also must be hard to run a client-centric business like everything is fine, especially when it’s not. How do you do it? Do you have any tips for planning the perfect event?

You have to be super organized. Details matter, and you have to stay on top of everything. And you have to be creative when it comes to events, decorations, and sometimes backup plans when things don’t quite go as planned.

Being organized sounds like something an amateur sleuth would benefit from, too! Well, Cassidy, thanks for taking the time out of your event planning and coming “off the page” with me. Are there more adventures on the calendar for you and your author, Heather Weidner?

There are. I am so excited to host a huge class reunion on the property in the fall. After that, we’ll host a wine, spirits, and craft beer festival.

My team has a secret project in the works. We’re looking at plans to turn the cave into a spot for indoor events like small concerts, parties, and open mic nights. More to come on that. 

Ooo, how atmospheric! I bet readers have a lot more fun ahead of them in Murder Plays Second Fiddle, which launches January 2026. Meet Cassidy and the Pearly Girls now in Murder Strikes a Chord, available wherever books are sold!

Murder Strikes a Chord on Amazon

Murder Strikes a Chord on Barnes & Noble

Murder Plays Second Fiddle on Amazon Preorder

Murder Plays Second Fiddle on Barnes & Noble Preorder

To stay connected with Cassidy’s author, Heather Weidner, head to her website: https://www.HeatherWeidner.com.

Learn more about The Wren, Winnie, and the Book Blogger Mysteries at www.saraheburr.com. 

The Devil's in the Details by Judy L. Murray

Recently I gave a talk to a large group of fans for the launch of my latest book Villain in the Vineyard. The vast majority of the attendees had not read this book yet. And I certainly didn’t want to reveal any spoilers. It was a quandary. What do I talk about? It led me to explain to my audience how details in different stories help differentiate one novel from another. Details can be handled with description, dialogue, or even action. They help weave together a storyline and endear characters to the reader. They can enable writers to show not tell.

We would have a much harder understanding of Nora Charles’ personality and social background in The Thin Man series if Dashiell Hammett didn’t point out her flamboyant style dress – her silk dressing gown, her feathered slippers, her coupe glasses. Nora’s walk across a room is a swish not a stomp. Hammett portrays Nora’s personality, her intelligence, and her world without just ‘telling’.


For a sleuth like Jane Marple, Agatha Christie illustrates her intelligence, and underlying talent by demonstrating how the spinster notices details which lead her to solving a case. Little gets past her.

From The Body in the Library: “Don’t judge a book by it’s cover,” the inspector admonished. “I assure you, I never do,” retorted Miss Marple.

Obvious information can send the reader, and the investigator, in an entirely wrong direction. Agatha Christie was a master at diverting her readers by mentioning more than one detail within one sentence. One is unimportant. Another is critical. It’s what makes a reader sit back, close the book, and chastise themself for guessing wrong. The clue was there all along!

But details can often serve a different purpose. My protagonist Helen Morrisey’s avoidance of cooking and a dependence on Twizzlers hidden in her desk drawer reflects her priorities. Her quick tongue reveals her personality and how she thinks. She has a propensity for blunt responses.

From Murder in the Master: “Who’s David Rickel?” Joe asked. “He’s the kind of client who makes me want to work in a donut shop,” Helen responds.

Dialogue also demonstrates her discomfort with a man hinting at romance.

From Murder in the Master: Helen wiggled a finger at Joe. “Be careful. If you leave the room, when you come back you might find out I’ve rearranged the furniture.” “That’s not good. I hate women who rearrange the furniture.” “Well, then, I guess we don’t have a problem, do we?” She smiled sweetly.

How have you used details to bring your story to life without ‘telling’? I’d love to hear your examples under replies.

Happy writing!

Judy L Murray Author of the award-winning Chesapeake Bay Mystery Series

Characterization: Showing, Not Telling by Nancy L. Eady

Writers are told repeatedly to “show, not tell.” I struggle with that. Sometimes the temptation to just spit it out and tell the readers what I want them to know overrides the will to work in the rich details that lets them discover what I want them to know instead. When it comes to characters, I want to tell the readers things like “she’s kind,” “he’s impatient,” and “this person is a really bad dude,” but that a) makes for short reading and b) won’t draw the reader into the story the way I want. 

It’s hard to know what details might work to help a reader understand a character. I have suggested various ways, such as by the jewelry the character is wearing or the personalized license plate they choose. In the book To Serve Them All My Days by R. F. Delderfield, I remember a place where the author deftly, in two or three sentences, uses the way three women applied touch-up makeup to give us insight not only into their characters, but also into the point-of-view character’s reflections about them. 

Driving might be one way to distinguish a particular character. I thought about this when I was driving to work the other day. My husband and my daughter both make (what I believe are totally undeserved) comments about my driving. There was the time I sat at a stop sign waiting for it to change to green, but since neither of them were there, they shouldn’t be able to use it against me. 

The comments are especially galling when I get them from my daughter, who never met a hard brake she didn’t like, who has been known to drive with one foot on the brake and the other on the speed pedal, and who generally thinks a speed limit is more of a general guideline than a hard and fast rule. (To be fair, I view speed limits much the same way, although I restrict my law-breaking efforts to 5 miles an hour over the speed limit except in the most pressing need.) If you put a safe driving app on each of our cars, I could tell you who was driving without being told the make of the car simply by viewing the records of distracted driving, speed, and hard brakes. I also think it tells you something about the three of us to learn I was the designated sacrificial lamb when one of us had to sign up for such an app to reduce our insurance rates. 

What unusual traits have you used to show a reader something about your characters? Have you ever used a character’s driving habits in that way? 

Colleen Cambridge's A Fashionably French Murder Review by E. B. Davis

 

A Fashionably French Murder is the third book in An American in Paris mystery series by Colleen Cambridge. The series splices real life events in Julia Child’s life with the fiction of the author’s mystery solving main character, Tabitha Knight. I’ve interviewed Collen before, and because I love this series, I had to review her book. I learn so much from Colleen.

 

This book focuses on the fashion industry in Paris. I had no idea it was actually regulated by the French government’s Chambre Syndicale, who, much like in the country’s wine industry, sets regulations and standards for defining haute couture. Which means that an atelier, designer’s workshop, must have sufficient financial backing to meet the standards set by the Chambre Syndicale. 

 

The book takes place a few years after WWII has ended. Julia Child and her husband lived in Paris during this time. Julia has just started her culinary career by taking cooking classes, which she practices on her younger American friend, Tabitha, who is new to Paris and new to cooking. Tabitha lives in a mansion across the street from Julia’s apartment building with her grandfather and her “uncle,” who is not relative, but a close friend of her grandfather’s. She cooks for the elderly gentlemen, but she’s a novice cook. Tabitha is Julia’s first student.

 

We learn more about Tabitha’s grandfather’s and “uncle’s” curious relationship in this book, and find out why her grandmother emigrated to Michigan during Tabitha’s youth. She grew up in a bilingual home. After working in a Michigan war factory, Tabitha is laid off and decides to visit her grandfather and find her way in life. She earns her living in Paris teaching French to other Americans and Brits who want to speak the language, which brings her to an atelier.

 

Juia knows an American woman who needs a Mother-of-the-Bride dress, but has not learned enough French to buy from an atelier. Tabitha volunteers to translate with the promise of a future student. As it turns out, Tabitha’s skills with the language are very much needed. After the woman chooses a dress modeled by a “mannequin,” or live model, it is denied to her when the designer finds out that the wedding will be held in Paris. Because she was an American, they assumed that the wedding would be held in the USA. “When haute couture pieces are sold, they’re exclusive to the buyer. So no one else can buy the same piece and potentially be seen in it. Each designer has their own rules, but here is a definite exclusivity to all of them.” (Kindle Loc. 297) The chosen dress had already been sold to a Parisian woman.

 

Later in the day, Tabitha returns to the establishment to find her lost glove only to discover the designer murdered.

 

One weird fact: Property taxes in Paris were then calculated not by size or location but by how well or expensively furnished the building was appointed. Because of that, only the “company” rooms were well furnished while the private rooms were austere to cut down on taxes.  

 

Another weird fact: After WWII, the police were held with suspicion because some had cooperated with the Nazis while they occupied the city, which is one reason people go to Tabitha requesting she solve crimes committed against them. Her crime-solving reputation has spread, and she is trusted.

 

If you haven’t tried this series and you are a cozy culinary mystery/Julia Child fan, it’s a must. I love hearing about what Julia is cooking and following Tabitha, with American eyes, seeing Paris in its return to glory. Here’s the jacket copy.

 

American expat Tabitha Knight has found a new life in postwar Paris, along with a delightful friend in aspiring chef Julia Child. Yet there are perils in peacetime too, as a killer infiltrates one of the city’s most famous fashion houses.

If there’s one art the French have mastered as well as fine cuisine, it’s haute couture. Tabitha and Julia are already accustomed to sampling the delights of the former. Now fashion is returning to the forefront in Paris, as the somber hues of wartime are replaced by vibrant colors and ultra-feminine silhouettes, influenced by Christian Dior’s “New Look.”

Tabitha and Julia join a friend for a private showing at an exclusive fashion atelier, Maison Lannet. The event goes well, but when Tabitha returns later that evening to search for a lost glove, she finds the lights still on—and the couturier dead, strangled by a length of lace. The shop manager suspects that a jealous rival—perhaps Dior himself—committed the crime. Tabitha dismisses that idea, but when another body is found, it’s apparent that someone is targeting employees of Maison Lannet.

Meanwhile, Tabitha’s Grand-père and Oncle Rafe are in the midst of their own design-related fracas, as they squabble over how to decorate their new restaurant. And there are strange break-ins at a nearby shoe store—but are the crimes related? It’s up to Tabitha to don her investigative hat and find answers before someone commits another fatal fashion faux pas.

Amazon.com

 

Responding to Anthology Admission Calls by KM Rockwood

I like short stories, both reading and writing them. Submission calls to anthologies provide a structure and a challenge.

Many calls come from dedicated groups or individual editors. They offer writers a unique opportunity to showcase their work alongside other talented authors. Usually centered around a particular genre and concept, anthologies aim to bring together a diverse range of voices and stories.

The income from sales of theses anthologies will seldom be much in excess of the production costs, so they aren’t for the authors who want to be paid for their work. A few pay token amounts. Others announce beforehand that any money in excess of the expenses will be donated. They are a labor of love.

Anthologies typically release submission calls detailing their themes, word count requirements, and deadlines. While some may focus on broad genres—such as horror or romance—most have highly specific prompts, like geographic location or subject. Calls for stories based on the work of particular musical performers or other popular culture have been a trend lately. Editors often outline content

preferences, specifying tone, narrative style, and originality.

The submission call for the anthology for the 2026 Bouchercon, to be held in Calgary, Canada, is currently open and asks for stories with the theme of “Cross-Border.” The theme for the next Malice Domestic Anthology is rumored to be “Seniors,” although the official call has not been posted yet.

Several recent anthologies have been centered on the work of performing artist. Others ask for stories set in a specific geographical location.

When a story is accepted, the author must be prepared to work with an editor to polish it to as close to perfection as possible.

In some cases, the selection of stories to be included is made by an outside panel with a deliberate attempt to conceal the authors’ identity until the final selection is made. Other times, the editor is the person who both makes the selections and oversees the process of preparing the work for publication. In the later case, since the editor has chosen works he or she feels fit the intent, edits are usually minor. Sometimes, in the former case, the editor, who obviously has to work with the material selected by the panel of judges, can result in a mismatch between editor’s concept and writer’s concept. They work together to bring the piece to acceptable condition.

Some anthologies solicit some stories, usually from well-known authors, in addition to issuing submission calls.

And, of course, if a story is rejected (which happens more often than not) the author has a finished piece ready to be submitted when an appropriate opportunity surfaces.

Anthology submission calls are excellent avenues for writers to gain recognition and expand their audience. With careful attention

to guidelines and a strong story, writers can find their place in compelling collections that leave a lasting impact.

I’m currently toying with a submission to a second volume of “Santa Rage,” although I’m not sure I have the heart for it. I did have an entry in the first one, and it did contain my personal requirements for Christmas stories, that they end on a hopeful note. I have to see where this story takes me.

If you’re up for a fun challenge, responding to these submission calls may be just what you’re looking for.

Going Out on a Limb

By Kaye George, who has offered to give a copy of her new book to one lucky commenter!

First of all, thanks so much WWK, for having me here today! I once blogged here, until I got overwhelmed by a number of things and had to drop out, so I feel like I’m coming home for a visit.

 Going out on a limb. I think I’ve really done that with my latest release. SOMEONE IS OUT THERE was released April 15th and could be classified as a psychological thriller, but my publisher tags it with “suspense thriller.” That’s much easier to type. Whatever it is, it’s an entirely new genre for me.

How did I get here from mysteries? The same way I got to mysteries, actually. I wrote literary short stories for many years without one ounce of success. When I realized I loved to read mysteries, I decided to write those. And, after learning that genre and querying a few hundred editors and publishers, I was a published mystery writer.

In spite of the fact that I have many folders of mystery ideas, I looked up one day and noticed I was reading a lot of suspense. So I had to try it. Right? I had to do that. It was like ABBA was in the room singing “Take a Chance on Me.”

I was grateful that it took me a lot less time to learn this new craft than it had for me to learn the ins and outs of mysteries. There is a lot of carryover, so that helps. You still need setting, characters, a plot, and lots of tension. In fact, it seems easier to build tension in a suspense thriller. It seems like it’s an inside-out mystery.

In mystery, something has happened and the sleuth must uncover who and why, at least. In suspense, something is happening to the main character right now and she doesn’t know who or why, so that’s what must be uncovered. It seems like the MC is in a lot more danger since it’s ongoing and escalating. At least, that’s the way I wrote it. 

In the course of meeting so many terrific mystery writers, those connections paid off. Marilyn Levinson, who has written mystery, suspense, and even children’s books, suggested I approach Rowan Prose Publishing with this project after I’d been turned away a few times. Much easier than hundreds of times.

Anyway, even if I’m on the same tree, this is a new limb and I’m sitting firmly on it. 

How about you? Have you taken a chance on something that paid off? 

I’d love to give a copy of SOMEONE IS OUT THERE to a reader here. I’ll pick a name Friday.

Thanks again!

WRITING AND MOTHERHOOD by Korina Moss

 

Happy Mother’s Day to all the moms out there! I’m a writer who’s also a mother. Or maybe it’s the other way around. I’ve had some dream-come-true success as a mystery writer, but when all is said and done, being a mom has been the job I take the most pride in. My son is a kind, accepting, empathetic, open-minded, and hard-working young adult. What else could a mom want? Because of his neurodiversity, I spent most of his school years advocating for him so he would be treated just like any other student and have the opportunity to live up to his potential. Now, he is about to finish his junior year in college on a four-year full academic scholarship, awarded in part for the leadership qualities he exhibited in high school. (Yes, I’m unapologetically bragging about my son.) 

One of the reasons I never dove headfirst into my writing when he was younger was because I didn’t have the emotional energy to focus on my creative pursuits while trying to remedy a flawed educational system (albeit with some amazing teachers and staff). But another reason was simply that I enjoyed getting to do all the fun mom stuff—planning birthday parties, making Halloween costumes, going on class field trips—unencumbered by outside responsibilities. So, I continued to be creative on my own terms – writing biweekly humorous essays for a local newspaper, entering (and winning) a statewide short story contest, and tinkering with a cozy mystery novel for nearly a decade. 

My winning story in the Hartford Courant

When my son was sixteen, I received my first publishing contract. Even then, I had a hard time making the switch to a full-time working (now single) mom. Luckily, my first book didn’t release for two more years, so I only had to focus on the research and writing while he was in school (and online schooling during Covid). All the extras that go into being a published author – the marketing, signings, and conferences on top of deadlines -- didn’t come into play until he was in college. 

One of the favorite book dedications I’ve ever read was one that said (I’m paraphrasing): “To my children without whom this book would have been completed two years earlier.”  I applaud any parent, especially a mother (because we seem to have the extra guilt gene), who is able to tap into their creative energy while raising children. I just didn’t have the emotional bandwidth to sustain both. Some moms I know write in the car pick-up line at school. Some get up extra early or write when their kids are in bed. (Or when their kids are lying next to them, during those times their children are sick or unable to sleep.) Some moms even have full-time jobs on top of it all. I have a friend whose manuscript is on submission who has four children. I only have one, so I don’t know how she does it! Mothers are truly amazing. (Yes, fathers are too, but we can talk about them next month on their holiday!)

Son reading before bed while mom writes

When I was in my twenties, I used to be an assistant event planner at a university alumni center, which required juggling many balls at once. I believe I was able to do it so easily because my investment in anything I was juggling was limited, unlike writing and motherhood. Books are like our babies, right? We birth them too. When I’m working on a book, I’m always thinking about the story. It’s like being in a perpetual daydream, which never blended well with motherhood for me. Luckily, there are plenty of moms out there who manage it just fine… or manage it with a lack of sleep, lots of compromise, and perhaps a helpful spouse. But they manage it, nonetheless, with happy, healthy children and a writing career to show for it. 

My Cheese Shop Mystery series

Maybe you thought this post would offer some advice on writing and motherhood. As you can see, I’m not the one to give it. Plenty of moms have balanced the two much better than I ever have. What I have managed to do is let go of regret that I decided to wait to prioritize my writing until I felt I could handle doing both. It’s okay to decide to hold off a writing career or, conversely, to go full speed ahead. It’s also okay to change your mind daily as you experiment with different ways to juggle the two. We each have to decide for ourselves how much we can handle and what we’re willing to compromise or sacrifice. There is no wrong decision. At the end of the day, no matter what has or hasn’t been accomplished, we’re still moms and we’re still writers. 

Readers: What’s your advice for balancing motherhood with writing or other priorities?   

KORINA MOSS is the author of the Cheese Shop Mystery series set in the Sonoma Valley, which includes the winner of the Agatha Award for Best First Novel, Cheddar Off Dead, and finalist for Best Contemporary Novel for Case of the Bleus and Fondue or Die. Listed as one of USA Today’s “Best Cozy Mystery Series,” her books have also been featured in PARADE Magazine, Woman’s World, and Writer’s Digest. Korina is also a freelance developmental editor specializing in cozy and traditional mysteries. To learn more or subscribe to her free monthly #teamcheese newsletter, visit her website korinamossauthor.com.

GASP! What’s Going to Happen Next? (“The Art of the Cliffhanger”)

 By Lisa Malice, Ph.D.

 

As crime fiction aficionados, we all have come across those few sentences that send your heart racing, your skin tingling, your lungs gasping for that next breath—you know, those words that leave you dangling from a fictional cliff, forcing you to turn the page to learn what happens next in a story.  As a psychological thriller author whose words flow from my fingertips to the keyboard to the screen with little thoughtful plotting (a “pantser”), cliffhangers seem to present themselves with little thought to their form or function as my characters and I journey from one scene to another, finding our way through the story together.

So, when I was asked to serve on a recent book festival panel to discuss “The Art of the Cliffhanger,” I felt compelled to study the nature of cliffhangers to better understand this indispensable literary device for myself and my audience. Here’s what I learned.

First, what is a cliffhanger and its purpose?

As a literary device, cliffhangers are used at the end of scenes, chapters, and books that establish high stakes, imminent danger, gripping suspense, or pressing questions, and then they abruptly—and purposefully—pause the narrative.

 

This suspension of narrative creates anticipation at a moment of high tension, thereby engaging readers, keeping them turning the pages to find out what happens next. 

 

The term itself originated with a Thomas Hardy serial (“A Pair of Blue Eyes”) when one of his protagonists, Henry Knight, was left hanging off a cliff. 

 

One of the most famous examples of cliffhanger use is found in One Thousand and One Nights, wherein Scheherazade tells a series of stories to the king—1,0001 nights in a row—ending each tale on a cliffhanger so as to save herself from execution.

 How Do Cliffhangers Work?

Cognitively for the reader, cliffhangers create unresolved tension, a perceptive imbalance that the brain seeks to resolve to attain closure.  

This cognitive engagement often leads to enhanced recall, making the story more memorable and impactful for the reader.

Cliffhangers capitalize on emotional investment. Early cliffhangers, such as the discovery of a body in a mystery, begin the process of connecting readers empathically to a story’s characters, their journey, their welfare—about what happens next—so that the reader feels compelled to continue turning pages to learn their fate.

Together, this complex mix of cognitive, emotional, and physical reactions allows cliffhangers to build intense anticipation for the next scene.

Not all cliffhangers need to be dramatic or explosive. A subtle cliffhanger can be highly effective, particularly if it plays on a reader’s emotions or curiosity. A quiet moment of realization, a lingering doubt, or a simple, unresolved question can create a powerful sense of anticipation.

What Types of Cliffhangers Exist?

I found varying views on the number and kinds of cliffhangers, but five types were consistently identified: 

1)     The Perilous Situation

In this scenario, the protagonist finds him/herself and/or a loved one in dire straits, facing imminent danger or a seemingly undefeatable obstacle. This could present itself as direct battle with the villain. Readers are left anxious, dangling with suspense. Will the hero and heroine survive? How will they overcome the obstacles standing in their way?

 2)        An Unanswered Question, An Enigma

This cliffhanger leaves readers with a lingering question, a puzzling mystery that demands to be solved. It may involve a mysterious character whose true identity or motives remain hidden. Alternatively, it could revolve around an unexplained event or a puzzling piece of information. Readers are compelled to turn the page to find answers.

3)     Presentation of a Moral Dilemma or Difficult Choice

As a story progresses, characters may find themselves at a fork in the road, a situation requiring them to make a difficult decision among choices that challenge their needs, goals, even morals. The consequences of such decisions will either help or hinder the characters’ efforts and their narrative journey, so readers must keep reading to learn the impact of the character’s decision.

4)          The Revelation

This type of cliffhanger involves the unveiling of significant information that alters the course of the story and the characters’ understanding of the situation they are facing. Examples include a shocking twist, a long-held secret, even the revelation of a character’s true nature. Often, there is more to the twist than meets the eye, so readers must continue on to get the full picture.

5)     Romantic Tension

Crime fiction may or may not include an element of romance, but tension arising from the attraction of two people is a type of cliffhanger that keeps readers emotionally invested in a story and its characters. Typically, this cliffhanger presents itself when two characters are on the precipice of a relationship change, whether that involves confessing their love for one another, sharing a passionate kiss, or taking an even more significant step forward in their relationship. Just as the scene reaches its crescendo, the narrative is suspended, leaving readers hanging and yearning for the resolution of their romantic entanglement. 

What Impacts Do Cliffhangers Offer a Story?

 ·         Plot Structure:

The placement and timing of cliffhangers is crucial for maximizing their impact:

o    Set at key turning points in the story arc.

 

o    Use to set a pace and rhythm with peaks of tension and page-turning anticipation. 

 

·         Character Development:

o   High-stakes situations can lead to cliffhangers that can reveal a character’s true nature, forcing them to stare down their fears, overcome their weaknesses, and find hidden strengths.

 

o   As noted earlier, the unresolved tension created by cliffhangers can drive character motivation and influence their subsequent decisions.

As an author of psychological thrillers, stories that revolve around a character’s inner life, her fears, uncertainties, and search for the truth, the enigma is a key cliffhanger for me—some presented boldly, many more subtly. But a compelling thriller relies on a variety of cliffhangers to keep readers turning pages. While writing and editing my debut novel, LEST SHE FORGET, I found opportunities to suspend scenes with my heroine, Kay, in danger, shocked by a sudden revelation, facing the need to make a difficult, often life-changing decision, and pining for a kiss from the mysterious stranger who keeps hanging around.

I hope this little primer on cliffhangers helps both writers and readers better understand this literary device and how they are used in remarkable stories.

As an author, what are some ways you like to incorporate cliffhangers into your work? 

As a reader, is there a book or movie whose cliffhangers really made the story memorable?