English Mysteries Club discussion

Hi Everyone...requesting help from an aspiring English mysteries author!

I am an avid Agatha Christie and overall English mysteries fan. I started writing my own series and found my natural style to be a combination of Agatha Christie and Robert Barnard. As much as I try to fit in one or the other I still keep coming up with more of a combination. Anyway, that is background.

The first in my series I am approximately 9 chapters into writing, and some of the tips of how to introduce characters coming together/travelling from multiple places I am using Christie's Appointment With Death as an example. (I have my characters coming together in Greece by the way).

I ran across a stumbling block in that the natural flow of what I am writing requires a chapter filled with multiple scenes. The type showing different scenes/characters/places happening simultaneously and typically separated by ******* between each scene.

I know I have read extremely good examples where Christie has done this...so:

I was wondering if anyone has any tips in which books these were found of hers (or others)?

Thank you so much for any leads!

Ann

Off the top of my head there's --

Towards Zero
The Secret Adversary
Death on the Nile
The Man in the Brown Suit

Most though, if not all, aren't really what you describe as a chapter filled with simultaneous happenings; generally it's a complete chapter of one happening in one POV, then the next chapter shows from a second POV the action taking place somewhere else, the following chapter another bit of action in a third POV , etc. Realize, the only difference between what you are looking to write and what I've described is the number of pages. It's all the same idea. Only if you need/want to condense the book's action does it have to all be in the same chapter.

The following is advice from one writer to another. Take it as it's meant :) --

Another thing you need to realize is that both these writing tools are just that -- tools. Christie used them, Barnard probably does/did (I haven't read any of his work) and most other authors. But not because it's how they write, but that it's a tool that worked in that certain story. This tool is found in a romance, a thriller, in chick-lit, contemporary and historical fiction, because it is a tool. Murder mysteries by their very nature tend to lend themselves to its use.

If you think I'm emphasizing the word 'tool' overmuch (and I am), it's because I want to impress on you that it's the tools your favorite author uses that you should practice using, but that you shouldn't try to write like they do, with their style/voice. For one thing, it won't work (never does); for another, even if you do succeed in copying someone else, you won't be as good a writer as you could be. For that, you need to find your own style. Yes, granted, imitating others is usually a good way to 'try on' a particular mode, but always keep in mind that it's your own voice you're looking to discover, for it's when you do that others find you.

And that, of course, is what every author dreams of.

Getting off the soap box now :)

Elizabeth,
Thank you for taking the time to give some indepth insights and 'tools':)

I will look at those examples of Christies to see if they are what I remember/looking for in examples.

A combination of more omniscient POV similar to Barnard and Christie action/dialogue/switching POVs is what I was referring to...hopefully my own voice but I have the first chapters out to beta readers and content editors so it will be interesting to see what their thoughts are on voice/POV.

Thank you again Elizabeth and first thing tomorrow here (Portland, OR) I will look through those 4 Christies...

Ann wrote: "A combination of more omniscient POV"

Yes, I see what you mean.

Just sayin', that can cross the line into being campy -- "Meanwhile, back at the ranch ...."

Just sayin' :)

Elizabeth wrote: "Off the top of my head there's --

Hi Elizabeth, I just wanted to circle back with you. Mainly due to your recommendation of Death on the Nile (and Then There Were None)...it provided a great prop for me on how to deal with these scenes.

...a week later I am 1/3 of the way through this chapter with approximately 6 mini-scenes...having Agatha Christie example has helped. It is a tough chapter to write actually. It is a great help when we can harness all the minds out there.

Also, I received back 3 beta-reader/content editor feedbacks and one said I had a "unique and vibrant voice". Whew. I was concerned about that one but now feel better. Also, fortunately they liked the mix of Omniscient POV and multiple 3rd person limited. There are so many out there that detest any omniscient that I was getting a small complex about it...but now feel free to move forward with my natural style.

Thank you thank you again for your tips...

Ann

Ann wrote: "It is a tough chapter to write actually."

Yes, it would be.

"There are so many out there that detest any omniscient that I was getting a small complex about it"

I understand that one lol

"one said I had a 'unique and vibrant voice' ... now feel free to move forward with my natural style."

Excellent!

"thank you again"

Glad to help :)

Danny wrote: "Sorry for the late post, but I'm now intrigued and want to read this chapter! :)
Hope you figured it all out and managed to make it work."

Hi Danny ... any interest from people out there makes it a bright day for writers! Yes, Christie's two books, An Then There Were None and Death on the Nile....both had chapters in this style. They were very helpful in aiding me to get over a hurdle. I wrote my similar style chapter; though in Draft 2 & 3 I will need to try and shorten some of the little scenes within it. I noticed in reading Christie that it was very effective to have a couple shorter/abrupt--almost jarring mini-scenes within. All of mine ended up getting 2-4 pages for each mini-scene -- whereas Christie had a couple of those with only 3/4s of a page. It really is helpful to have interest and inputs from all! I've now written about six more chapters after that one :)

The coming together/ simultaneous happenings...Agatha does this best in They Came to Baghdad. I liked it precisely for that reason. I am also going to play around with this style in book 9 of my series Watson and the Countess. It will be set in Cairo. I am currently writing book 6 set in Paris 1899.
anna