Choosing a mystery novel victim

 

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My three mystery novels all introduce a victim in Chapter One. Winter's Rage, released this month, revolves around a hit-and-run collision that kills a pedestrian. My series sleuth, adjuster Paula Savard, investigates the resulting insurance claims and comes to suspect the hit and run was a murder. 

After I settled on this premise, I started to mull ideas for a victim. Aside from novels about random crimes, mystery plots focus on why someone killed a particular person. For me this is often more important than whodunit.

I can trace my ideas that emerged back to the 1990s, when friends started to tell me about their experiences with repressed memories. One confided that while listening to a radio program on the topic, she suddenly remembered that her father had sexually abused her when she was a child. She'd had no memory of this before, but from then on didn't doubt this had happened. 

Another friend said her sister had accused their older brother of similar abuse. Their parents believed her sister; my friend believed her brother. Not surprisingly, he became estranged from the rest of the family. My friend blamed her sister for making this up, but still got along with her parents despite some tension.   

During the recovered memory episode of the 1980s and early 1990s, I was at home looking after my children and watched daytime television talk shows on the subject. Thousands of people recalled forgotten memories of childhood abuse, spontaneously, like my friend hearing the radio show, or in therapy, sometimes aided by hypnosis. 

My interest led to me read books and magazine articles on both sides of the issue. While cases varied, a large number were young women who sought therapy for general problems and, in the course of treatment, recovered memories of their fathers abusing them when they were children. Therapists encouraged them to confront their families for healing. Typically, the fathers denied they'd done anything wrong, as people do whether they're innocent or guilty. Wives had to choose between believing their husbands or believing their daughters. Other family members took sides. Some daughters sued their fathers for the past abuse; a few fathers sued their daughters’ psychologists for malpractice. Courts of law accepted recovered memories as evidence. In 1990 a man was convicted of a twenty-year-old murder based on his daughter’s recovered memory of witnessing the event.

Today, psychologists heatedly debate the validity of recovered memories. Every time I Google the subject I come up with a different impression on where the profession stands on the issue. One article I read called it the most vicious controversy in modern psychology.

This all struck me as fertile ground for a mystery novel.     

I decided my victim would be a psychologist who'd treated a thirty-year-old woman for recovered memories in 1990. The woman's mother believed her; her twin sister sided with their father. He owns the hit-and-run vehicle that kills the psychologist in 2020, when my main storyline takes place. Paula, my insurance adjuster-sleuth, learns that the man blames the psychologist for tearing his family apart. But he denies he was driving that night. Is he lying? Or did someone else take his car and run the victim down for another reason? Paula’s job is to figure this out. More than that, Paula wants to help this fractured family. She hopes that solving the crime and uncovering the truth about what happened in their past will mend the family rift.    

Where do you get your ideas?

 

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"Where do you get your ideas?" This might be the number one question readers ask authors.

My quick answer is that ideas pop into my head all the time and they come from everywhere. My personal experience, conversations with other people, places I've lived in and visited, the news, books I've read, TV, movies, perhaps a painting or line of music. 

This winter, I'm editing a novel-in-progress, book # 3 of my Paula Savard mystery series, while mulling ideas for book # 4. With a series, many of the basic ideas are already there. I start with my sleuth, Paula, a fifty-five year old insurance adjuster, and her cast of supporting characters, who impact her personal life and, in some cases, her sleuthing. Paula and most of her family, colleagues and friends live in my home city, Calgary Alberta. I could send Paula to another location for all or part of the next book, but I see her as grounded in Calgary. Unlike me, Paula isn't drawn to travel, although book # 3 presents her with a future travel opportunity. For now, I think her adventures in book # 4 will continue in Calgary. 

 

    An often deserted pathway behind Calgary's Saddledome arena inspired my idea for the murder in the first Paula Savard novel, A Deadly Fall. 

My current novel-in-progress, Winter's Rage, ends in January 2020, with Paula at a crossroads in her life. Book # 4 will begin with her dealing with that situation. I've decided it will take place in spring, since Paula's first three mysteries happened in fall, summer and winter. But which spring will this be? January 2020 was right before COVID-19 changed the world. Will we next meet Paula in spring 2020, as she grapples with the start of the pandemic both personally and at work? Or will it be spring 2021, when the the pandemic is (we hope) nearing its end? I could jump over the virus and set the novel in spring 2022. This would make the time frame more contemporary to my publication date, although I find it hard to envision the post COVID-19 world. What things will return to the old normal and what will be the long term changes? The year I choose for this fourth novel will affect my ideas for it. Thoughts to mull during the winter.

 

Calgary's annual Stampede parade prompted ideas for a major character and an inciting incident in my second novel, Ten Days in Summer. 

  

While Paula got into solving mysteries as an amateur sleuth, I decided her subsequent ventures would come from her insurance adjusting work. Ten Days in Summer starts with a suspicious death resulting from a building fire. Paula naturally becomes involved in the course of investigating the property fire insurance claim. In Winter's Rage, she adjusts a hit and run collision and gradually suspects the fatality was no accident. 

This quiet, suburban Calgary street plays a large role in Winter's Rage.

For book # 4, I'm thinking that burglary could make a good cover up for murder. Last spring, my husband and I bought e-bikes at a local bicycle shop. I was intrigued by the store's booming business. With most of their usual activities shut down for the pandemic, Calgarians sought outdoor activities and many of us updated our old bicycles. That store and the two guys operating it are giving me ideas for the crime that will launch Paula's next mystery.            

I also want to include a ghost in book # 4, because ghosts both interest and frighten me. At the end of Ten Days in Summer, Paula's office moved to Inglewood, Calgary's oldest neighbourhood. Many ghosts lurk in Inglewood, a location for Calgary's haunted walking tours. The ghost rumoured to haunt her historic office building will challenge rational Paula, who doesn't believe in other worldly happenings. 

A ghost walking tour of Inglewood inspired my choice of  this "haunted" building for Paula's office.

All of these bits and pieces, swirling in my mind, will converge into the start of a story, when I eventually sit down and write the novel. As the story moves along, it will pluck more ideas from my usual sources. That's the plan, anyway, and it's how I get my ideas.    

  

E-biking last spring triggered ideas for my next novel