I've recently finished two crime novels by different authors. Reading one after the other highlighted a big difference in how the subplots were handled.
In the first, the story dealt with one main crisis and all subplots seemed to arise out of that. The readers got a flavour of the other aspects of the MC's life but these subplots remained integrated with the main story.
In the second there were five distinct story-layers:
the main story crisis
the MC's love live
the MC's family life
the MC's work situation
the MC's dealings with other agencies / government departments.
In this one the flow of the main-story seemed to be interrupted by large chunks from these other four layers being 'bolted on'. Not a good experience for the readers.
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Good observation. I'm trying my hand at writing a mystery novel (want to do a series), and at times lose courage. I want depth and introspection for my amateur sleuth, but I don't want the case to slip away from her (or me)!!
ReplyDeleteflwrsisk, sorry for taking so long to respond to your comment. I need to check in here more often. (Rolls eyes.)
ReplyDeleteHave you already looked at any of the 'how-to mystery' books or do you prefer not to?
What is your sleuth's job going to be and how will she get involved in more than one case?
I'm mainly interested in writing a 'people' story but I keep toying with mystery/police procedural too.
I would like to find a lighthearted approach to crime, -sort of 'feel-good crime'?
Janet Evanovich's seems to have managed it. She says the people and their situations matter more to her readers than the technical details.