by Elizabeth S. Craig, @elizabethscraig
In every cozy mystery, there comes a time when the sleuth puts together various clues and realizes who the perpetrator is.
But the timing of this revelation can take the story on different paths.
Frequently, there’s a scene near the end of the book when the sleuth confronts or is confronted by the murderer. It’s the ‘moment of danger’ where it looks a little shaky for the sleuth. After all, this is someone who has already killed once (often twice) and is desperate to escape justice.
So when does the sleuth realize the murderer’s identity: before or during this dangerous encounter?
Before the confrontation
When the sleuth puts two and two together before she confronts the killer, it shows the reader that the gifted amateur is genuinely good at detecting. She’s dug up clues, analyzed them, and has come up with a solution to the puzzle that makes sense.
But…now this smart person heads out to challenge the murderer? Considering that the cozy sleuth isn’t a member of the police department, this seems very risky.
Possible ways of preventing the sleuth from doing something stupid:
The killer confronts the sleuth instead of the other way around (the bad guy/girl realizes that the sleuth is onto them).
The sleuth believes herself to be confronting the killer in a safe way (she’s supposed to have backup with her…and her backup had car trouble, forgot, etc.)
During the confrontation
Maybe sometimes the sleuth has duly registered the clues but hasn’t been able to really put it all together in a way that makes sense. Or maybe there’s a final clue during a normal conversation with the suspect…perhaps the sleuth realizes that the suspect has just negated their alibi or knows something about the crime that only the killer would know.
This solves the problem of the sleuth looking stupid or reckless for putting herself in danger. But if it’s not handled well, it can also make the sleuth appear to be slow to figure out the puzzle, especially if the reader has already figured it out (and mystery readers are a savvy bunch).
Possible ways of making sure the sleuth looks good through a last-minute realization:
Have an excellent red herring at the very end. Even better if it’s very subtle and both the sleuth and the reader feel that they’ve learned the killer’s identity. The sleuth could be investigating this lead when she happens into the encounter with the actual murderer.
Have the solution be on the very tip of the sleuth’s tongue. Hercule Poirot frequently mentioned in frustration that he knew something important that would identify the murderer, but he couldn’t place exactly what it was.
Additionally:
The sleuth usually explains how she figured out the murderer’s identity. This explanation could be provided to the police or given to a sidekick, or could even be explained to the killer himself during the confrontation scene.
What I’ve noticed that readers dislike is if the murderer gives a villainous monologue explaining how they carried out the murders. Better to let the sleuth do as much of the talking as possible.
If you’re a mystery reader, what are your thoughts about the sleuth’s discovery of the killer…have you seen the sleuth come off looking silly? If you’re a writer, is it a tricky scene to write?
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Think Scooby Doo!
It would have to be handled just right. Having the murderer confront the sleuth is a safe way. But if I remember right, The Hardy Boys always went right into it and that obviously worked.
Nancy Drew and The Hardy Boys, both! But they came off as intrepid because of their audience. Adults are more cautious and we prefer careful sleuths, ha.
You’ve really laid out these options well, Elizabeth. I’d say that it’s important to consider how and when the sleuth puts it all together in any sort of mystery. If you don’t do it well, then the story doesn’t seem as credible. Your timing works really well for me on this, too, as I’m revising my manuscript to fix up just that sort of point. In my case, it’s how and when my sleuth follows the right trail of clues. So thanks for your ideas!
Credibility is so important to mysteries! Good luck with your revisions…sounds like you’re getting close to publication!
In my last novel, the sleuth has an idea and goes to check on one final clue. That’s when the killer followed her and cornered her. But the sleuth had figured it out right before the confrontation. But you’re right, I hate it when the sleuth confronts the killer alone.
I like the way you made it natural…the sleuth is double-checking something and the killer is suspicious and tails her. That works really well!
I do prefer when the sleuth does the explaining and not the villain!
It’s a delicate balance to keep the sleuth figuring it all out at exactly the right time!
I’ve done both ways, but I think the readers like it best when the sleuth does the explaining!
I find this to be one of the trickiest parts of my cozies to write. Definitely an area I need to improve on as my series continues.
I thought you did a great job with it. :) For my Myrtle series, this scene *can* dissolve into a bit of campiness at the end…usually as Myrtle gets herself out of the scrape she’s in. With your series, a humorous approach might work, too.
For the Southern Quilting and the Library Mysteries, I’m taking a more straightforward approach to it and it’s trickier, for sure.
I always try to figure it out before the sleuth but if I do, I’m disappointed in the writer. Is that even fair?
I’m exactly the same way, ha! I’m frustrated if I figure it out too easily or too early in the story. Figuring it out at the end is one thing, figuring it out in the first half of the book is something else.
You wrote: “What I’ve noticed that readers dislike is if the murderer gives a villainous monologue explaining how they carried out the murders.”
To quote from The Good, The Bad, and The Ugly, “when it’s time to shoot, shoot! Don’t talk!”
Excellent point from an excellent film!