Making Your Fiction Matter

 By Elaine L. Orr

Mysteries that draw in readers do so not because the crime is intriguing and the sleuth skillful. They grab attention because what happens matters. 

In You Can Write a Mystery, Gillian Roberts presents the dictum that the fundamental element of drama is conflict. Mysteries embody a crime that means, "Live vs. death, law vs. order are now in conflict with the another, and the magnitude of of the offense forces action, either in the pursuit of justice for deeds already done or the pursuit of evildoers because of deeds they intend to do." The detective (amateur or professional) has to be passionately involved in the case.

As I continued to work on the first Senior Shenanigans novel (Fired Up and Feisty), I realized that while I loved the series concept and enjoyed the characters arising from it, I couldn't care enough about figuring out how someone died in the hotel fire in the opening segment. If I couldn't, why would anyone else? (See my October 31st post for portions of the early scenes.)

I realized I started the book in the wrong place. I mean, really the wrong place. I hadn't shown enough about the characters before the fire. What could pull on heartstrings? Where were the old grudges? 

Because Madge is the primary sleuth, the murder (or at least its resolution) had to matter most to her. I remembered (in Book 10 of the Jolie series, The Unexpected Resolution) reference to a friend of Aunt Madge's, whose scrapbooks from years teaching 2nd grade had a photo of Scoobie as a young child. That teacher (named as Mrs. Anderson) could not appear in the current book, because she had donated the scrapbooks to the library after she died. 

But what if she had a sister who was coming to the high school reunion fort he first time since Mrs. Anderson died? Helping her would give Madge a better stake in the story. And was Mrs. Anderson's death a purely accidental car crash? If not, who had something to hide?

Now I have the story that can leap forward. With that in mind, here are the first few paragraphs of Fired Up and Feisty.  

New Opening for Fired Up and Feisty

MADGE RICHARDS AND HARRY STEELE made their way through Arnie Newhart’s Diner toward the woman who sat alone at a booth in the back. The raucous atmosphere would befit Halloween or spring break at the Shore, but patrons were all senior citizens or, as their nephew Scoobie would say, Super Seniors. The annual Ocean Alley High School Reunion Weekend had begun.

Arnie stood behind the counter and raised his arms at them. “Mayor Madge, you never come to this bash, what’s up?”

Madge nodded toward the back of the diner. “We’re keeping Catherine Anderson company.”

Arnie’s nod was a knowing one. Catherine and her sister had been regulars at reunion events since graduation decades ago, but after Lenna’s death in a bad car accident during reunion weekend a few years ago, Catharine had stopped coming.

Madge often though of Lenna, a retired second-grade teacher who had been a close friend. When Catherine asked Madge and Harry to keep her company when she came to her first event without her older sister, they couldn’t say no, even though they usually avoided the so-called Golden Grad reunion events. Madge wasn’t one for partying in the past.

*     *     *     *

I think the new scenes will draw people in better than roaring firetrucks, and the diner scene can show key players through their actions and comments better than simple introductions later, at the B&B.

I'm on a roll.

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