How to keep dead bodies sweet
By Gunnar
There’s a dichotomy in the very idea of a cozy mystery. See,
most cozies (or any other mystery) involves solving a murder or other violent
crime, and murder is a messy, ugly, grotesque affair. There’s all that blood,
bodily fluids, violence, and after a while the stench—okay, okay, you get the
idea. And that’s the problem: readers who like “sweet” stories don’t want all
that nasty stuff, even though it’s inherent in murder. So what’s a writer to
do?
Focus on the
characters and the puzzle, not the crime. Readers of cozies aren’t here for
the gore. They want to meet interesting characters who do interesting things,
and track the clues, watch the plot unfold, as the mystery is solved. They want
to match wits with the writer, hoping they’ll lose. If you have an overwhelming
urge to write every detail of the murder in progress, consider trying your hand
at a thriller or police procedural, where such in-depth violence is accepted
and even sought.
In the same way, keep
ugly descriptions discreet. Don’t spend too much time telling readers about
the spray of blood, the savage injuries, or the victim’s terror. Heavy
descriptions weigh down cozies, which are supposed to be lighter reading.
Instead, try using suggestion when a description of violence is necessary.
Here’s an example from my historical mystery, Deal with the Devil:
“Not as bad as the
other.” Arnussen indicated the mush that had once been a young girl’s chest.
“Not as much bruising on the face, either.”
“Still a lot of
rage, though. How many times do you think he stabbed her? Twenty, thirty?”
“Something like
that.”
Hackney forced
himself to examine her nude body, the blood splatters on the headboard, the
bruising and overkill, and implant all of it into his memory. The only thing he
touched was her dark hair spilling over the pillow.
Through the imprecise nature of the detectives’ dialogue, the
reader gets the impression of a brutal crime scene, without having to endure
the details. Even though Deal isn’t
specifically a cozy, the technique is the same.
Explore the emotions
rather than the actions. In the example above, did you get the impression
Sergeant Arnussen isn’t as affected by the crime scene as Detective Inspector
Hackney? Well, that was my goal, at least. Arnussen’s not hard-hearted or
unfeeling, by any means. But every time Hackney examines a murder victim, a
little piece of his soul dies. By demonstrating his sadness, by inviting the
reader to experience that emotion with him, I keep the focus on the characters
rather than the crime scene.
With romances, writing “sweet” generally means keeping any
sex scenes offstage. With mysteries, it’s the violence that requires
discretion. Handled properly, even the grisliest murder can be turned into a
cozy, by keeping the reader’s attention on the characters, the puzzle, and the
emotions, rather than the ugly stuff. Such subtlety can keep the worst dead
body sweet.
Loved this example thanks for shading
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