After reading our mystery stories, reviewing plots and analyzing story elements and characters, we will be able to begin planning the writing of our own mysteries. We will follow the writing process of brainstorming, mapping out ideas, and writing beginning and final drafts. Our final "published" mystery stories will later be shared with the larger group.
In the brainstorming stage, I will encourage my students to consider possible settings, kinds of characters, the time period the story will take place in, and the type of crime or problem needing to be solved. Ideas may take the form of lists, sketches or webbing.
To help them plan their characters (and they may well wish to pattern them after sleuths in the stories we have read) I will suggest they create "character cards" on which they sketch the character on one side of each index card and list on the other side such aspects as personality traits, likes and dislikes, weaknesses, and special abilities. Lesson Plan III describes this activity in greater detail. H. R. F. Keating, in his book, Writing Crime Fiction, advises the writer early on to name his characters as a way of "thickening them up." Think of a name, he suggests, that subtly says something about the person and attach one typical trait to each character perhaps exaggerating it so that the reader will make associations with that character in subsequent references to him or her in the story. Go on, Keating says, to determine their ages and some other broad details about them. (p. 68).
Models of good writing will help my young writers to more fully develop their descriptions. Julian Symons, in his book, Great Detectives: Seven Original Investigations, provides excellent descriptions of characters and setting from which I plan to take samples to show my students. Hazel Brown's and Brian Cambourne's previously mentioned book, Read and Retell , offers a selection of readings that demonstrates how the power of description can be used to develop atmosphere, setting and character which I plan to have my students read and imitate.
As they develop setting of their story, I will ask them to sketch a picture of the setting, make a list of adjectives that describe this place, use a graphic organizer on which they list what sounds, sights, smells and tastes would be found there and to think about the role that the setting will play in their story.
Regarding point of view, I will suggest and provide three types of models for my students: 1) the first person point of view in which the detective tells the story in his or her words; 2) talking to a partner point of view where the detective has a 'Watson' in whom he confides and in this way the reader is regularly informed of what the detective is thinking; 3) "the angel over the shoulder point of view" (Keating, p. 8) where the writer tells the story as if he is positioned just behind and above the detective. Not only does the reader know what the detective sees and hears, but he actually can enter his head when the writer wants him to.
As my students map out the plot, I will suggest a model that requires them to start backwards: first, plan how the problem or crime will be solved and by whom and secondly, plan how the story will begin. Then they can begin the process of mapping out the clues in the order they will be given in the story, including, of course, any false clues. As my young students work to revise and develop their stories, they will be encouraged to read their drafts to small groups of classmates who may be able to offer suggestions for improving their mysteries. I will also be holding periodic conferences with them to guide them in their story writing.
As a result of this curriculum unit, my students will learn to polish their reading comprehension and writing skills while enjoying this most attractive and stimulating genre of writing.