one is more enticing. While your developed detective leads the reader on discovery search, the puzzle is the draw of a mystery.
All the work you do in developing your characters, creating suspects, and planting clues has one aim to create a mystery. Giving away too much at the beginning spoils the tension. Readers will tolerate backstory, a love interest subplot, and even descriptive setting passages, but without the puzzle, there’s no mystery.
The Set Up
The murder victim is the key to the mystery. As the detective learns more about the victim and the victim’s world the reader follows along anxious to see how things develop. They are eager for clues and suspects to confound them and your sleuth.
The last part of the setup is when your sleuth takes on solving the mystery to uncover the villainous murderer.
Then, your sleuth enters the victim’s world. He uncovers the victim’s friends, loved ones, and enemies. Each of these characters sheds new light on the victim’s life. The reader learns from each of the suspects a bit more about the victim. The victim’s likes and dislikes, their shortcomings, and their secrets are revealed as suspects contribute to painting a picture for the sleuth and your reader.
The sleuth and your reader begin to form an opinion of the victim and possible reasons the victim brought on their own death.
Toward the middle of your mystery your sleuth and your reader discover that they didn’t have a full picture. A midpoint event illustrates how wrong those first assessments were.
On The Hunt
Once your sleuth reconsiders all the facts, evidence, and statements, she must find a new direction to unveil the killer. Without reversals and twists your reader will feel your story is episodic and is not creating the puzzle they crave.
This is the point where a beginning writer often lose the puzzle thread. They know the villain and the suspects and want to lead the sleuth and the reader to the revelation. But it’s much too soon in the story sequence. And it’s the reason both writers and readers complain about a sagging middle. But mystery writers have no reason to sag.
Whether you call it the last part of Act II or Act III, in a mystery the hunt section is the place where tension builds, your sleuth is overrun
with false starts and obstacles, and the villain confounds your sleuth’s search.
Tie up any loose ends or subplots, then the final reveal. All mystery leads to this moment.