Mysteries From the Viewpoint of a Witness

Most murder mysteries focus on the victim, the killer and the sleuth (detective, PI, prosecutor, etc.). But there is a third group of essential characters: the witnesses. Authors present witnesses and their narratives to the readers for evaluation based on the same elements used by legal teams. First, expertise and experience are key to witness credibility, ranging from specialized education to ordinary familiarity. Witnesses are also evaluated in terms of consistency, meaning both consistent telling of his or her story by the witness and consistency with input from other witnesses. A certain level of detail makes a witness more believable, too--as long as details don't vary with each telling. Readers (and jurors) also judge reliability by witness "demeanor," or a gut "feel" evoked by dress, body language, speaking style, and assumptions (perhaps wrong) about social, racial or ethnic background. Finally, perceived "neutrality" counts in how much weight readers are going to give to a witness; readers are more likely to suspect self-serving bias if the witness has a clear stake in the outcome, such as financial gain or a personal relationship. Witnesses don't have to be supporting cast members in mystery fiction. Authors can choose to unfold a story from the viewpoint of a witness for a number of good reasons: to mislead with partial or unreliable narration, to hide or highlight the reasoning of the detective, or to create empathy and emotional tension. A recent example of this is The Girl on the Train by Paula Hawkins, in which the main character Rachel witnesses a shocking scene involving a couple she has observed during her daily train commute past their neighborhood, but her emotional problems, drinking and personal bias cause the police (and the reader) to question her reliability as a narrator. Another example where witnesses take center stage is Agatha Christie's Murder in Retrospect, in which Hercule Poirot solves the 16-year-old murder of a philandering painter, for which his wife was convicted, based solely on narratives of five witnesses. If you want a witness protagonist plus romance, check out The Witness by Nora Roberts, about a young woman who flees after witnessing a Russian mob killing and emerges years later in a small Ozarks town as a quirky freelance programmer protected by high-tech security systems, guard dog and firearms--and so she naturally attracts the sexy local police chief! Unfortunately, fictional justice does not necessarily mimic reality in terms of credible witnesses. Check out these 10 famous lying witnesses, and the miscarriages of justice that resulted from their false testimony: http://listverse.com/2015/08/04/10-people-who-brazenly-lied-on-the-witness-stand/

'Impossible Murders' Challenge Mystery Buffs

The "impossible murder" or the "locked room murder" is a fun mystery plot device that includes early examples such as Wilkie Collins' The Moonstone and Arthur Conan Doyle outings with Sherlock Holmes. These mystery puzzlers generally include a victim who is apparently alone, or a murderer who inexplicably disappears, and suspects who have solid alibis and/or could not have logically committed the crime. "Impossible murder" purists turn up their noses at any explanations that rely on supernatural agents, hokey secret passages, or gimmicks like Edgar Allan Poe's killer orangutan in The Murders in the Rue Morgue. John Dickson Carr is a master of the "locked room" tale. Consider his 1935 puzzler The Hollow Man about a professor found murdered in a room locked from the inside, with people apparently present in the hall outside during the murder, and the ground below the room's window covered in unbroken snow. Similarly, award-winning French author Paul Halter specializes in "impossible murders" and began his career with The Fourth Door: The Houdini Murders, in which seemingly impossible murders are believed to be the work of a reincarnated Houdini--until Dr. Alan Twist unveils the rational solution. Ellery Queen penned a doozy with The King Is Dead, in which a wealthy munitions magnate, whose brother threatens to shoot him at midnight, locks himself in a hermetically sealed office. When the brother, under constant observation, pulls the trigger of an empty gun at midnight, the magnate is hit by a bullet, proved to be from the same gun, in his sealed room, where no gun is found. Two Japanese authors of impossible murder stories include Soji Shimada and Keigo Higashino. Shimada's The Tokyo Zodiac Murders challenges the reader to explain a cycle of gruesome "impossible" murders that begin with the locked-room death of an artist and continue to take the lives of his relatives over four decades. In Higashino’s Salvation of a Saint, the murderer's identity is known, but she has a seemingly unbreakable alibi: She was on the other side of Japan at the time of the murder. For a list of more "locked room" mysteries, check out https://en.wikipedia.org/wiki/Locked-room_mystery

Avoiding Cliches in Mystery Plot Twists

There's nothing worse than a mystery "plot twist" that you can see coming for many chapters ahead. There is an art to the plot twist that requires writers to avoid the obvious (the cruel stepfather) and gimmicks ("it was just a dream") and then to plant clues that obscure, redirect or contradict suspicions so that the final twist surprises and impresses readers by fitting the right puzzle pieces into a believable solution. Although there are very few plot devices that are completely original, some plot twists slip more easily into cliche if attempted by less skilled mystery writers. Here are some of my pet peeves. The first is a mystery tale that, in a desperate effort to create a twist, injects some last-minute new suspect, deus ex machina event, or unrealistic "coincidence." This abuses the basic mystery-solving pact with the reader. But I'm equally irritated by authors who create so many suspicious characters, red herring clues and dead-end turns that following the plot line becomes mentally exhausting. Then the eventual solution of the mystery goes from an "aha" moment to an "at long last" moment. Plot twists often focus on one of four characters: the victim, the suspect, the detective or the narrator. For victims, there's the old "I'm not really dead" resurrection (usually because the victim was trying to fool the law, an enemy, a loved one or an insurance company). Other victim surprises include mistaken identity or a twin/doppelganger killing. In the wrong hands, the not-a-real-victim twist undermines the mystery and reader interest. When it comes to suspects, plot surprises often involve a guilty "but who would ever think" character (the granny, the kid, the pretty girl) or a not-guilty "but sure looks like a villain" character, a la Harry Potter's Professor Snape. Writers can unwittingly flag a suspect by overly disguising a character as either too nice or too nasty. When it's the detective who delivers the plot twist, a dusty ploy is the surprise appearance of a character or motive from the detective's "tortured past." That so many fictional detectives are tortured (alcoholics, loners, etc. ) is another cliche worth discussing elsewhere! Finally, there's the "unreliable" narrator. This plot device has created some classics, like Agatha Christie's The Murder of Roger Ackroyd or Gillian Flynn's Gone Girl, but it's not easy to pull off (please don't have the killer's creepy italicized commentary throughout a story). And finally, it is not really a plot twist when a death ruled to be accidental or a suicide turns out to be (shock) a homicide. We know we're reading a "murder mystery" after all. For some examples of mysteries with critically acclaimed plot twists, see the https://the-line-up.com/plot-twists-books