I was just running through the main plot of my new crime novel, A Patient Man, with my wife a few days ago and she pointed out some similarities to the motives of the killer in my last one. After arguing for a few moments and trying the ‘there are only so many stories and it’s how you tell them’ defence I acknowledged she was right.
Unfortunately, by this time, I’d outlined almost 60 scenes and three sub-plots. I couldn’t abandon it all and I couldn’t go on – not with this ‘you’ve written this before you dummy’ gremlin sitting on my shoulder. So I tried tinkering. Could I use a different murder method? Could I use a different victim? Different killer? But I was so wedded to all the work I’d done and the intriguing (in my eyes) characters I’d developed that I couldn’t see past it.
In the end I drew a deep breath, pulled out my mind-mapping tool (mine’s Freemind but any will do) and started a new page. I asked three questions:
- What are the methods of killing someone?
- Why are people murdered?
- Who might the killer be?
I didn’t bother with all the subsidiary variations, just enough to give me some choices and ideas, though I would have broken them down further if I was getting nowhere.
What I ended up with were half a dozen or more options in each category and within a few minutes I’d freed the head to completely rethink the story I was going to tell. I’m now writing a few alternative story-lines to see what works and what doesn’t.
The figure below shows my initial results. Try it for yourself. Let me know what you think.