I personally use containers to help with making the plots simpler to follow. Towards the top of an item of report, centered, I make a package that marked "Crime ".Inside, I write a very brief description of the offense; often only the victim's name, wherever and how they died and who killed them. Then I make a package for each and every key function in the story below it. Kind of a schedule for my tale. When your body was found, and by whom? When the initial real hint found, the second, the 3rd, and so forth? This is actually the schedule of my story. I take to to help keep the main plan range the only real information in the middle boxes. Freemasonry You'll see why in a moment.

Today, for every single subplot, I personally use still another line of containers along both parties the main plan boxes. If I have one subplot, then I have one line of boxes. Two various subplots, two lines of containers, and therefore on. I tie the red herrings, suspects, and hints for those subplots to the main plots. When does the initial suspect appear, and is he/she the true one? What are the red herrings and when are they introduced? For every single various object, I place it in a package near the schedule package so it coincides with and connect them with a line.

This approach not just assists me hold monitor of all various facets of my mystery story , it can help me make sure my subplot's schedule flow along with my major plot's timeline. I don't wish to have an idea being introduced that has already been mentioned earlier. Also, I don't want to introduce an idea that's never discussed again.

When finished, it should look a lot like a corporate company chart. Each subplot perfectly laid out beside the main plot. It will noise daunting, but it gives me a better picture of my subplots, and how each object pertains to the main plot. Doing something similar to this would also support me determine if I have way too many subplots going on. The site must be active without having to be impossible to follow.

This brings me to another level in this article. May a secret become too involved and tangled? Just how can we, as writers, make sure to have enough "secret" without creating too much?

When I write a mystery story , I take to to produce enough subplots to help keep the reader interested, without overwhelming the reader. Privately, if I have trouble recalling what each one is, and what it's correlation to the main plan is, then how would I assume my reader to keep an eye on them too? Also, if the story only has the main plan, or simply one subplot, it is not likely to have enough strain and suspense to help keep my reader studying to the end.

Therefore, for me, if my mystery story has two to four subplots I am happy. I could keep an eye on the functions, remember the hints, and keep the suspects straight.