My Agenda for Writing Mystery Novels by Joan Donaldson-Yarmey

 

https://www.bookswelove.com/shop/p/illegally-dead

https://www.amazon.ca/Illegally-Dead-Joan-Yarmey/dp/1773626655

https://www.bookswelove.com/shop/p/the-only-shadow-in-the-house

https://www.amazon.ca/Only-Shadow-House-Travelling-Detective-ebook/dp/B075TFC2B1

https://www.bookswelove.com/shop/p/whistlers-murder

https://www.amazon.ca/Whistlers-Murder-Joan-Yarmey/dp/1773627554

Authors have different ways of writing their novels. Some outline each chapter. Others wing it just going where their characters take them. Some start with a plot and add characters and some have characters around whom they build a story. A few take an event or an idea and build on it putting in characters and settings that go with it.

     I have never worked with a solid outline, or arc as it is sometimes called, for my novels, whether they are mystery, historical, or young adult. And this is mainly because I find that my characters seldom end up the way I first pictured them and the plot never takes the route I thought it would. I do start the story with a character in his/her everyday life so the reader can get to know them then I put in the trigger or problem that is out of the control of my main character or that starts the mystery. This puts the main character on his/her quest for a solution.

     I do have scenes pictured where characters are going to have a certain conversation or be at a certain place but unexpected conversations or character twists surface as I am writing the story. Some of these are surprises or mishaps or glitches that get in the way of my character’s quest. I strive not to make these predictable, nor so far out that they don’t make sense to the story. They should leave the reader with the thought that they should have figured that would have happen. Personally, I find that it is no fun to read a book in which you can foresee where the story line is headed and what is going to happen.

     If I get writer’s block or get to the end of an event and not really know what to write next, then I pick up one of the encounters that I know a character is going to have and I write that. Sometimes I will have two or three of them waiting to be put into the manuscript where they are needed.

     For the climax my character goes through the action of resolving the problem or solving the mystery. This has to be fast paced and sometimes at risk to my character. By this time the reader should be rooting for the main character and wanting him/her to succeed without injury. Hopefully, too, this is where the surprise comes in, where the reader goes. “Wow, I didn’t see that coming." or "I never thought it would be that person.”

     I have even been surprised or saddened or happy by the ending of my books. When I was nearing the end of writing one of 'The Only Shadow in the House', I still hadn’t figured out which of two characters had done the killing. Suddenly, a different character put up their hand and said, “I did it and this is why.” I was surprised but realized that it made total sense.

     I believe that if my emotions are rocked by the ending so, too, should those of the readers. When the book was published I had readers tell me that they had also fluctuated between the same two characters as I had and they, too, had been surprised by who was actually guilty. Something a mystery writer is always happy to hear.

My Poetry Moment by Joan Donaldson-Yarmey

 

https://books2read.com/The-Travelling-Detective-Boxed-Set

https://bwlpublishing.ca/donaldson-yarmey-joan/

 

My Poetry Moment

     Over my writing career I have had articles, short stories, travel books, and mystery, young adult, and science fiction novels published. And one poem. When that one poem was accepted for publication, I felt I had taken my writing to another level. I decided, though, that my contribution was going to be different, that I was going to take the poetry community by storm. I wanted to make my mark, to stand out in the poetry world. And to do that I came up with a new poetry sub-genre that I called Script Poetry. Just like a movie script I set up the scene and the tone for the poem and give some background of the story in the poem by using a script layout. It made the whole poem more visual and that way I could get right to the meat of what I wanted to say.

     I enthusiastically sent out my script poems and waited for the accolades to come in.

     Surprisingly, the publishers were not as galvanized about this new style of poetry as I was. No one accepted them for publication.

     But never underestimate the power of a script poet scorned. At the same time as I was planning my burst onto the poetry stage, I was writing my mystery novel "The Only Shadow In The House," the second book of The Travelling Detective Series. I gave one of my characters the career of a poet and her specialty was Script Poetry. Needless to say the publishers and critics in my fictional world were highly impressed with the poems. The poetry was very popular with the reading public and the poetress won many awards.

     To quote from my book: One critic wrote that her poems have an innovative, revolutionary style that is shaking the foundations of the conventionally staid poetry community, while another critic called them insightful and powerful.

     I have taken one of the script poems from that novel for you to judge for yourself.

 

Fade In

Act One

Exterior-Farm House-Night.

There is snow on the ground. Stars twinkle in the clear, night sky. A vehicle pulls into the yard and a woman climbs out. She stares at the house then takes a deep breath. She releases it in a vapour. With slow tread she climbs up the steps and enters the darkened house. Inside, she stops and listens.

 

There is no noise in my house, it is dark and silent.

Today, I buried you. Is this what it is like in your grave,

total quiet, total darkness?

I flip on the light and wander the house

looking at the possessions that

represented a life that never existed,

except in my own mind.

This has been our home for nineteen years

but it now feels alien to me.

Because from now on I know that mine

will be the only shadow in the house.

I must leave here soon.

 

End Act One

Fade Out

 

Fade In

Act Two

Interior-Farm House- Night.

All the lights are on in the house. The woman is in the kitchen. She pushes over the shelving holding plant seedlings and pots. She heads to the dining room and goes to a china cabinet with no doors. All the shelves hold figurines and dishes and knick knacks. They crash to the floor with a sweep of her hand. The ones that don’t break, disintegrate under her foot.

 

“Damn you, Ben. Damned you to hell!” I yell.

I want you to hear. I want you to know

the sorrow and the pain you have brought me.

I go from room to room, expunging.

I spray your shaving cream on the walls.

I dump your aftershave in the tub.

I grab a knife and shred your clothes.

Finally, there is nothing of yours left.

I feel some satisfaction.

You destroyed my life and now I have

destroyed everything that represented yours.

“There you bastard,” I say. “Rot in hell.”

 

Fade Out

End Act Two

 

Fade In

Act Three

Interior-Farm House- Night

The woman is standing in front of a picture on the living room wall. The furniture and floor are littered with debris. She takes the picture off the hook and stares at it a long time.

 

I find our wedding photograph on the wall.

I’d had it enlarged for our tenth anniversary

as my loving gift to you.

Were you as pleased as you said you were

or was that just a sham?

I smash the glass against the corner of the table.

I cut my finger removing the shards.

I look at you smiling back at me.

Were you an impostor in our marriage?

For now I wonder how many other

women did you see over our nineteen years.

I slash the picture with the knife. How symbolic.

 

End Act Three

Fade Out