Although this is a workbook for a course I didn't take, I still found it useful. I'm not writing a cozy mystery, but I'm interested in borrowing from them for other genres. Some time ago I realized that what makes a bestseller is not the story that is TOLD but rather the story that is WITHHELD. So I thought this book would help me see how others are withholding elements in order to draw the reader forward. It did help me with just that, and I'd recommend it for anyone interested in story theory and plot structure.
There are a variety of good tidbits in this book. An interesting part was the description of how mysteries are typically different than thrillers. (Mysteries vs Thrillers... Mind game vs Thrill ride, Killer unknown vs Antagonist often known, Closed setting vs Wide setting, Puzzle vs Action.) As the title promises, there's also a simple breakdown of the classic cozy mystery plot structure, and it seems to me this could easily be leveraged for other suspenseful books.
But the best bit for me was the brief part where Rosett wrote about visible vs invisible storylines. By her definition, examples of visible storyline elements are: discovery of the body, finding suspects, pursuing clues, etc. Examples of invisible storyline elements include the actual murder itself, the way the murderer hides their tracks, etc. These 'invisible storyline' elements are the things that are WITHHELD and that slowly get revealed in the course of the book. Rosett advises that once you have your invisible storyline, you "can build the visible storyline on top of it." This is genius.
It seems to me the reason why the end of the TV show 'Lost' was so unsatisfying for so many people was that the writers hadn't figured out their invisible storyline before they started writing. They'd written themselves into knots in the visible storyline because they had no foundation of the invisible storyline.
So, the first thing we should do when we write a suspenseful story is to figure out what we're NOT going to tell. Once we figure that out, we can start figuring out what we ARE going to tell, and how we are going to release the invisible storyline slowly. Start with the invisible storyline.
Maybe I'll actually take the course...