by Janis Patterson
If there’s one thing in the writing world you learn very quickly it’s that no matter what you do you cannot please everyone. Sometimes it seems almost impossible to please anyone! Another thing you learn is that the ‘rules’ change almost as quickly as the weather.
Well, I don’t believe in ‘rules’ – other than the hard and fast ones like good grammar and spelling and a cohesive, interesting book, of course. What I dislike are the God-like pronouncements of how a story should be structured. Such as in romance, for example, say you have to have a ‘cute meet’ between the hero and heroine in the first three pages or (in certain kinds of romance) a hot sexual encounter no later than the second chapter. A corollary in mystery is that the body has to appear early in the book – ideally in the first three pages.
Well, being by nature a dedicated contrarian, I find such ‘rules’ to be inimical to the integrity of a story. They smack of ‘writing by pattern’ and while each genre has certain expectations like as a happy ending and justice done such arbitrary ‘rules’ are the antithesis of creativity… and all too often good storytelling.
That said, I have written – sometimes at the ‘behest’ (i.e., orders) of a publisher or out of pure mischief – some stories that follow these ‘rules’ and some which most delightfully turned them on their heads. One example is a Regency Romance (written as Janis Susan May) where the hero and heroine, though lovers a decade or so before, do not meet in the here-and-now present of the novel until the last chapter. This particular book has won a couple of awards… and been used as an example of how not to write a romance.
On a different note, I once wrote a mystery where the body appeared as demanded in the second or third paragraph, and that was a very hard book to write. Murder is by definition a violent crime, no matter how delicately it is committed, and one should feel outraged that someone – anyone – should have their life taken from them. However, there is almost a prerequisite that to feel sympathy for a character you have to know them, and that’s almost impossible when said character first appears as a lifeless lump on someone’s rug.
How do you create empathy for a character about whom no one knows anything and feels less? This victim, this human, this person, is perforce little more than a stage prop who elicits very little feeling or sympathy. I gave him a name, simply because it was more convenient than calling him ‘the body’ or ‘the decedent’ or ‘the dead guy,’ but although he had the requisite number of arms and legs he never really became a real person – merely a humanoid construct.
I have been dinged and called down because in my mysteries (save that one) the murder doesn’t happen until one-third or one-half through the book. I feel by giving the reader such a delay it creates two mysteries instead of one. The first is, who is going to be murdered? while the second is, who is going to be the murder?
When I write a murder I want the reader to be outraged at the deliberate taking of a human life, no matter how much that person deserved to be offed – and believe me, in my mysteries there are several characters who deserve it. Don’t know why bad people are so interesting, but they are, so I always have several of them… just like in real life.
A murder victim – whether in a book or in real life – deserves to be more than a stage prop.