Fiction Genres Explained--Part One: The Romantic Suspense and the Mystery Romance

The classic mystery novel may or may not contain romance.  If it does, the romance is usually a minor sideline and not an integral part of the story.  However, for mystery readers who enjoy a stronger romantic thread blended in with the mystery, there are two types of books that contain both romance and mystery.

Romantic Suspense

In a romantic suspense novel, about half of the story is devoted to romance and the other half to mystery.  The hero or heroine is often a suspect in a mystery or murder case. Gothic romances and other books where the heroine is being stalked or is jeopardy are good examples of the romantic suspense. 

The famous novel Rebecca could be considered a romantic suspense because the mystery centers around whether or not the hero is guilty of murdering his first wife...and is his second wife in danger?  A good part of the novel  revolves around the relationship between the hero and the heroine, and romance plays a strong, major role in the plot.

Mystery Romance

Just as a romantic suspense is heavy on the romance, a mystery romance is more of a mystery with a touch of romance. In this type of book, romance plays a stronger role than in a classic mystery, but is not as strong as a romantic suspense.  Less than half of the book is devoted to romance. The mystery is the strongest element in the story and it is never overshadowed by the romance. 

There really isn’t a lot of difference between the two.  In fact, on online lists the romantic suspense and mystery romance are almost interchangeable.  However, from a publishing perspective, the romantic suspense or books that are heavy on the romance angle are much more likely to be categorized as a romance than a mystery romance, which remains firmly in the mystery genre.

My sister and I enjoy reading and writing romantic suspense and mystery romance.  We started out writing gothics and romantic suspense before we moved on to mystery romance and writing a traditional mystery series.  Many of our first novels were published by Avalon Books.  Below are three of our mystery romance titles.  For a limited time read Path of the Jaguar for 99 cents.

                     Click on link to order Flames  of Deceit 

                        Click on link to order The Vanished Lady 

                  SPECIAL PRICE!  Click on link to order   Path of the Jaguar for only 99c.

How Soon Should a Murder Occur in a Mystery Novel?

How soon a murder should take place in a mystery novel depends on the type of novel being written.  In some mysteries, the murder occurs on the very first page or chapter, in others not until chapter six, and in still others…not at all.

The Traditional Mystery

In a traditional or Agatha Christie type novel, the murder usually occurs very early. Sometimes the book opens with a murder on the first page.  Traditionally the murder should take place in the first chapter unless there is some strong reason why it must be delayed.   If there is going to be a murder in the book, as a rule of thumb, it should at least happen before chapter six.  This is because the crime must be introduced early enough to center the book around it.

 It is important that the murder occur early in this type of book, for this kind of novel centers around “whodunit”.  The victim is already dead and the detective must sort through suspects and clues to find out who killed the victim. 

The Suspense or Thriller

A suspense or thriller may start with a threat rather than a murder.  This may be a missing person, a kidnapping, or other threat of some kind.  The murder may occur much later in the book.

 In this type of book, the intended victim may not be the person who winds up getting killed.  Or in some instances the villain is thwarted before anyone gets killed.  But quite a bit of excitement is generated through chases and narrow misses.

The No-Murder Mystery

Some mysteries center around a crime other than murder.  These books may involve a theft instead, such as the stealing of a bag of diamonds or some other treasure.  The mystery revolves around who took the valuables, and not who committed murder.

Another instance of a mystery where no actual murder may occur is in the case of a kidnapped pet or some such crime that doesn’t involve a human victim.  The pet is usually returned safely, and the mystery is solved without undue violence.

There is no set answer as to when a murder should take place in a mystery.  The genres have blended so that a murder in the first chapter is not always the norm.  No matter what the sub-genre, a mystery must start with some kind of action to draw the reader in.  If not a murder, it is essential that an event such as a theft, missing person, or other exciting event must be introduced in the first chapter. 

For more writing tips, check out our nonfiction books on writing and writing mysteries.

Fiction: From Writing to Publication

Writing and Selling a Mystery Novel: A Simple Plan

Tips For Writing the Perfect Ending

 Every story deserves a good, satisfying ending.  But what elements make up a memorable ending?

 

The Hero should Solve his Own Problem

The resolution of the novel should logical and should, at least in part, be brought about by the hero (or heroine's) quick wit, thinking or reaction.  It is unfair to the reader to have the problem solved too easily, or by chance or circumstance.  For example, if the hero is in a shootout with the bad guy, it would be disappointing if a brick suddenly fell from an overhead building and instantly killed the bad guy for him.  This would certainly make the hero’s day and solve his problem, but it is unsatisfying because the hero has done nothing toward saving his own life. It would be much better if the hero had made a plan in advance, perhaps rigged the brick so that it would fall, then lured the bad guy over to the spot where it will land. In any event, the hero should use his wits in some way to save his own life.  His actions should make sense and be products of his own logic, not fate.

Resolve any Subplot

By the end of the book, any subplots, such as romantic subplots, should be resolved.  If the hero has a fight with his girlfriend, do they reconcile or are they forever estranged?  Other subplots that should be resolved by the end of the book are conflicts with family members or major life decisions.  Readers are interested in even small details about the hero or heroine.  For example, in your novel the heroine might be looking for a new house to buy.  This may be only a minor aside, yet the reader wants to know and will be disappointed if the heroine has not found and purchased her little cottage by the sea by the end of the book.  Keep the subplots hanging until the end of the book, but not indefinitely.

Tie up all Loose Ends

“And they lived happily ever after.”  It is customary for a novel, especially a genre novel, to have a happy ending, or end on a positive note.  The ending is usually a time to assure the reader that all the wrongs have been righted.

However, a book does not absolutely have to have a happy ending. In fact, some of the greatest novels of literature end on an unhappy note.  If your book does not have a happy conclusion, then it must be in some way satisfying.  The hero must have grown or learned some valuable truth about himself.  By the end of the book, the problem that plagued the hero should be resolved, one way or another.  The hero should either be on his way to a happier life or have in some way come to terms with, and be at peace with, the decisions he has made. 

End with a Strong Sentence

The ending is a good place to provide a kind of closure.  What has the hero learned (or not learned) about himself?  Has this experience made the hero a better person in some way? If possible, end with a deep thought or emotion

In A Tale of Two Cities, when Sydney Carton commits the noble act of dying in another man’s place, the words "it is a far, far better thing I do than I have ever done, it is a far, far better rest I go to than I have ever known,” will stay with the reader long after the pages have closed.  And who can forget the ending line of Gone with the Wind, when Scarlett O’Hara pronounces, “After all, tomorrow is another day!”

Tips for making a good ending:

*make sure the ending is logical

*the hero should solve his own problem

*resolve any subplot

*tie up all loose ends

*leave the reader with a strong sentence, thought or emotion

For more writing tips click: 

FICTION: FROM WRITING TO PUBLICATION

Curing Writer's Block: Unsagging the Middle of the Novel

Have you ever put a book down in the middle and never picked it up again?  Books are often begun with a burst of great enthusiasm, but by the time the middle is reached, the excitement may have worn thin for both writer and reader. 

The middle of the book is the longest section and often the most challenging part of a novel to write.  What was once new and exciting runs the risk of becoming redundant and ho-hum boring.  The writer must think of ways to keep the book entertaining to hold the reader’s interest to the end.
  
Below are some tips for keeping the middle from sagging. 

    

 Keep it Exciting by Upping the Ante

The middle is the place to up the ante.  If the protagonist is at risk, make him more so.   If he or she is in danger, make the main character sweat even more.  For example, if your hero is a professional gambler and has risked his own money in the first chapter, in the middle get him into even more hot water by risking money from the boss’s safe or his wife’s private account.  Now, if he loses again, he’s really got a problem. 

Add a Totally New Event

Spice the middle up with an entirely new event.  If you are writing a mystery, add a new murder. If another murder does not fit the storyline, then add a threat or warning.  A sinister phone call, a death note, or the taking of a hostage can heighten the suspense and keep the reader interested.

Add an Unexpected Twist

A twist or surprise in the middle can also be a pleasant diversion.  Perhaps the hero has figured out that the source of all of his problems is the next-door neighbor.  He goes to confront him, only to find the neighbor lying in a pool of blood.  Everything he has thought up to now has been wrong.  The hero must now re-think his angle and start from square one.  (plus, he must also now find out who murdered the neighbor.)    

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Further the Subplot

The middle is also the place to develop and deepen the subplot.  Create interest in the romantic subplot by making the hero and heroine temporarily separated for some reason.  Maybe the hero gets into an argument with his girlfriend or has a misunderstanding that is difficult to clear up.  Keeping them estranged for a few chapters can liven up the middle of the book and generate reader interest.

Writing the middle can be a challenge.  But don't give up now! Creating new problems and events for the protagonist to face and overcome can help make the middle as entertaining as the rest of the book.

Quick Tips to Unsag the Middle

*up the ante

*add a totally new event

*add an uexpected twist

*further the subplot

For more writing tips click: 

Fiction: From Writing to Publication

Check back for more tips on writing the ending!

Writing the First Chapter: How to Plan a Strong First Chapter

Developing a strong first chapter is often a matter of trial and error.  The first chapter is usually the one that is rewritten the most.  Here are some tips to help you get it right the first time

The first chapter is the most important chapter in the book because it is the first example of your writing the readers will see. It must have the power to draw them in and interest them in the rest of the book. The first chapter also determines the voice, tone, and atmosphere of the story.

Start with Conflict or a Point of Interest

While the first chapter doesn’t have to start with soap-opera drama, it must have enough action to interest the reader.  Many writers choose to begin their story at a point of conflict such as at a place where the hero is in immediate danger.  For example, the logical place to begin a mystery would be with the discovery of the body, not the detective commuting to work or reading the morning newspaper.

Providing Background Information

Many instructors habitually advise their students to throw away the first chapter.  Should you?  That depends.  Many writers make the mistake of including far too much background information in the first chapter.  This is because they are anxious to set the groundwork for the rest of novel. They want readers to know everything about their character from the start.

The first chapter should start where the action begins.  This action can be either physical, such as a fight or a boating accident--or emotional such as losing a love one or other trauma that might cause strong feelings. 

The first chapter should not start with a lot of who, what and where explanation about your character and how he got into this mess. The first chapter should provide only the bare essentials in background information.  For example, it might be necessary for the reader to know where your hero lives, but not, at this point, where he went to school, how many kids he has, whether or not he gets along with his mother.  These points can be introduced if and when they become pertinent to the story. Though additional information is necessary, it does not all have to be crowded into the first chapter.  If there is too much explanation, most of it can be discarded, and what is essential should be threaded into to a later part of the book.

What goes in the Middle of the First Chapter

Now that you have gotten their interest, you must develop the chapter by deepening the conflict.  If you have started with a point of action, now is the time to bring into focus the details of the event, and the character’s reactions to the event.    

If the chapter begins with a car accident, now the protagonist can react to the situation and a bit can be told about his or her reaction the the situation.

End with a Question or Cliffhanger

Just as the first chapter begins with a bang, it should not end with a whimper.  The final lines should pose a question that draws readers into the next chapter.

If your book is a mystery, have the detective discover an unusual lead or clue he plans to follow up on.  If your story is a romance, cut the first chapter off at the point where the boy asks the girl for a date, not after the reader already knows her answer.  If you are writing a thriller, stop the first chapter with the hero hanging onto the ledge of the building, not after he has jumped to safety.

By the end of the first chapter the reader should

*be introduced to the main characters

*know where the story takes place

*Have a feeling for the atmosphere of the book

*be introduced to the main problem or conflict and some kind of mental or physical excitement

  More Writing Tips:  Fiction: From Writing to Publication

Check back for more tips on writing the middle part of the novel and the ending!