How To Start A Mystery Novel

I've always been fascinated by mystery novels, and I think the best way to start writing one is to focus on the puzzle itself. Start with a compelling crime or unsolved event—something that hooks the reader immediately. The key is to build layers of intrigue, dropping clues subtly while keeping the real solution just out of reach. I like to sketch out the crime scene first, deciding who was involved and what their motives might be. Then, I develop the detective or protagonist, giving them a unique perspective or flaw that makes solving the case personal. Red herrings are essential, but they should feel natural, not forced. The setting also plays a huge role; a small town with dark secrets or a sprawling city with hidden alleys can add so much atmosphere. Finally, I make sure the resolution is satisfying but not obvious, leaving readers feeling like they could have pieced it together if they’d noticed the right details.

I've always been drawn to mystery romance series that keep me on the edge of my seat while also delivering heartfelt moments. One of my all-time favorites is 'The Lady Julia Grey' series by Deanna Raybourn. It's a Victorian-era mystery with a slow-burning romance between a sharp-witted widow and a enigmatic investigator. The chemistry between the leads is electric, and the mysteries are cleverly woven into their growing relationship. Another great pick is 'The Veronica Speedwell' series by the same author, which has a similar vibe but with a more adventurous heroine. If you prefer something with a paranormal twist, 'The Others' series by Anne Bishop blends mystery, romance, and supernatural elements in a unique way. The world-building is incredible, and the romance develops organically amidst the darker themes.

Starting a fantasy novel can be daunting, but I always begin by immersing myself in the world I want to create. I sketch out the basic rules of magic or technology, the political landscape, and the cultures that inhabit it. For example, if I’m writing about a medieval-inspired world with dragons, I’ll decide how dragons interact with humans—are they feared, revered, or hunted? Then, I focus on the protagonist. They don’t have to be special from the start, but they should have a clear desire or conflict that drives the story. A tip I swear by is to drop readers into a scene that shows the world’s uniqueness, like a marketplace where spells are bartered like goods, or a quiet village hiding a dark secret. This hooks readers instantly without needing an info dump. My favorite example is 'The Name of the Wind' by Patrick Rothfuss, where the protagonist’s storytelling draws you into his world naturally.

Starting a romance novel is like lighting a fuse—you need that initial spark to set everything in motion. I always begin by figuring out the core dynamic between the leads. Are they enemies forced to work together? Childhood friends reuniting after years? Strangers thrown into an absurd situation? That first encounter is crucial—it should crackle with tension, whether it’s witty banter or a collision of conflicting goals. The key is making readers feel something immediately, even if it’s just curiosity or secondhand embarrassment. Setting matters too, but not in the way you’d think. A coffee shop or office romance can work if you inject freshness into it. Maybe the barista spills a latte on the CEO’s thousand-dollar suit, or the rivals are stuck in an elevator during a blackout. Stakes don’t have to be life-or-death, but they should matter deeply to the characters. I obsess over small details—a character biting their lip when nervous, or the way sunlight hits the other’s hair—because those moments make the emotional payoff land harder later. The worst mistake is info-dumping backstory upfront. Let the characters reveal themselves through actions. If the heroine avoids hospitals, show her fainting at a blood drive, don’t just state she’s traumatized. Romance lives in the gaps between what’s said and unsaid, so I weave in subtext like hidden threads. A gift given grudgingly, a hand almost touched then withdrawn—these tiny gestures build anticipation. The best openings make you lean in, wondering how these two idiots will ever admit they’re perfect for each other.

I've always been fascinated by dystopian worlds, and starting a novel in this genre requires a strong hook. The key is to drop readers into a world that feels unsettlingly familiar yet alarmingly different. Take 'The Hunger Games' for example—it starts with Katniss waking up on Reaping Day, immediately establishing the oppressive society she lives in. I prefer to introduce the rules of the dystopian world through small, everyday details rather than lengthy exposition. Maybe the protagonist notices rationed food, or a curfew siren blares in the distance. The best dystopian openings make readers feel the weight of the system from page one, through the protagonist's eyes. I also like to hint at rebellion early—perhaps the main character secretly breaks a minor rule, showing their dissatisfaction with the status quo. This sets up immediate tension and makes readers curious about how far they'll go to resist.

As someone who devours books like candy, mystery novels are my absolute guilty pleasure. These stories pull you into a labyrinth of clues, red herrings, and suspense, making you play detective alongside the characters. Take 'Gone Girl' by Gillian Flynn—it’s a masterclass in psychological twists, where nothing is as it seems. Then there’s 'The Girl with the Dragon Tattoo' by Stieg Larsson, blending crime with gritty realism. What makes mysteries addictive is that 'aha' moment when the puzzle clicks. Classic whodunits like Agatha Christie’s 'Murder on the Orient Express' rely on clever deduction, while modern ones like 'The Silent Patient' by Alex Michaelides dive into unreliable narrators. Whether it’s cozy mysteries with amateur sleuths or hard-boiled noir, the genre’s magic lies in keeping readers guessing till the last page.

Starting a romance novel is all about setting the tone and making the reader feel something right from the first page. I love when a book opens with a strong, vivid scene that immediately pulls you into the world. For example, 'The Hating Game' by Sally Thorne starts with the protagonist and her rival in a tense office dynamic, sparking instant curiosity. Another approach is to introduce the main character’s inner conflict or desire, like in 'The Love Hypothesis' by Ali Hazelwood, where the heroine’s struggle with academia and love is laid bare from the start. A great opening can also be a moment of vulnerability or humor, something that makes the reader connect emotionally. The key is to avoid info-dumping and instead let the characters and their chemistry drive the narrative forward. A memorable first line or scene can make all the difference in hooking your audience.

Writing a romance novel is like crafting a love letter to the world, and I’ve always found the process both exhilarating and deeply personal. The first step is to decide what kind of romance you want to write—whether it’s a slow-burn enemies-to-lovers arc like 'Pride and Prejudice' or a steamy contemporary like 'The Hating Game.' Once you’ve settled on the tone, focus on your characters. Give them flaws, dreams, and chemistry that leaps off the page. Next, think about the stakes. Romance isn’t just about two people falling in love; it’s about what’s keeping them apart. Maybe it’s societal expectations, a past betrayal, or even a magical curse. The tension between desire and obstacle is what keeps readers hooked. I also recommend reading widely in the genre. Books like 'Red, White & Royal Blue' or 'The Kiss Quotient' can teach you a lot about pacing and emotional depth. Finally, just start writing. Don’t worry about perfection in the first draft—let the story flow and refine it later.