Twists in the Tale

[Misa Buckley]

I'm writing an erotic thriller short at the moment, when I suddenly thought: "What if the MMC is the killer?"

My story is that he's a cop placed in charge of protecting a witness to murder. Right now, I'm not painting him as the murderer, but it's a way I could go.

But is it a twist too much? Would you believe this story? (Latter question might be hard to answer out of context, I know).

I just want to get a feel on possible responses before I commit myself to that storyline.

[alleycat]

Well, it's been done a few times (the cop turns out to be the serial killer, etc.).

If you can do it and still be fair to the reader, and make it fresh, then I think you're "good to go". I don't see anything wrong with the plot twist itself.

For an example where I don't think the writer was fair to the reader, read Shutter Island by Dennis Lehane.

[Jamesaritchie]

Being fair to the rader is the tough part. It's easy to do in a movie because you aren't inside main character's head. In writing, it's tougher. It can be done, but you have to choose the POV carefully.

[Shakesbear]

SPOLIER FOR READERS OF GEORGETTE HEYER!




Georgette Heyer did it in one of her crime novels - Blunt Instrument. I think it was written in the 1930's. I can't give you an opinion as it is so long since I last read it. It must have made an impression as I don't usually remember whodunnit. I rather like the idea of cop as killer, when good goes rotten and such. The psychology behind the change fascinates me! I'd go for it.

[Misa Buckley]

Thanks for the feedback guys :)

I'm still not sure it's the end I want for my story, so I'll guess I'll keep writing and see what happens.

Being erotic, it would be easier to sell with a happy ending, but I might bear the cop/killer idea for a different, darker story.

[Stijn Hommes]

If your POV character is the killer, you have the problem that you're in his head at the moment he could be thinking about things related to the crime you don't want the reader to know, even though hiding it would be unfair to the reader. Make sure you got your POV sorted.

[jaksen]

Maybe he doesn't know he's the killer.

There's your twist.

[Misa Buckley]

If your POV character is the killer, you have the problem that you're in his head at the moment he could be thinking about things related to the crime you don't want the reader to know, even though hiding it would be unfair to the reader. Make sure you got your POV sorted.

He wouldn't have been, but he's presented as a protagonist rather than the antagonist.

Maybe he doesn't know he's the killer.

There's your twist.

My brain just exploded.

[jaksen]

My brain just exploded.


And if the reader's brain explodes, too, you've got a hit on your hands.

Think about it. :D

[Misa Buckley]

I am. Believe me, I am.

Just need to figure how how he doesn't know. Then I should have a plot on my hands.

Cos I needed another WIP *rolls eyes*

[astonwest]

Just need to figure how how he doesn't know. Then I should have a plot on my hands.
Sounds like the main plot twist to the re-run of Criminal Minds my wife was watching last night...except the killer was an artist that was unknowingly drawing comic sketches of the crime scenes in exact detail.

Psychotic break was the 'how' in that episode, if I followed correctly.

[Maryn]

I read and watch a lot of thrillers, suspense, mystery, cop shows, etc. (Ha-ha, I wrote 'cop shoes.') The cop charged with protecting someone turning out to be the killer is not fresh and new, but that doesn't stop new materials from having this plot. I see it fairly often.

The cop not knowing he's the killer is also not new, and often handled very poorly indeed. Some authors cheat the reader by glossing over or skipping sections in which the killer has stuff to do about planning, covering up, and such. Others haven't done their homework about mental disorders which might compartmentalize identities. Others haven't addressed the practical considerations of the guy disappearing from work or missing must-attend events while he's being the other 'him.' If your cop is the POV character, you have to anticipate and avoid all the cliches and booby traps.

Which doesn't mean it can't be done, just that it presents certain challenges to execute well.

Maryn, who's seen this plot on pretty much every cop show

[amyashley]

I reeeeeeally like this. And I think the non-happy ending in an erotic/romance is far more exciting than a happy one.

I'd do it.

But I like a challenge.

[jaksen]

Yeah, sort of like the twist in Fight Club. But if you've got a fresh take on it, and a different story, it can be done. Or the classic 'split' personality. I've seen it done a few times on film and read it in novels, but it has never failed to surprise me - if it's done well.

Now take Shutter Island. I figured it out from the first scene and NO, I AM NOT KIDDING. I said to my husband, the guy he's with is...

I didn't know all the ins and outs, but I was right in the big sense.

Anyhow, good luck with whatever you do.

[Misa Buckley]

Hmm, yeah to a lot of points.

I probably couldn't pull it off. Best sticking to what I know.

[Buffysquirrel]

There'd be no harm in writing a second version of the story with the twist (or double twist) to see if you can do it. If you don't stretch yourself in writing, you won't grow.

*bashes mixed metaphor*

There are few new ideas. There are lots of new takes on old ideas. No reason not to go with either of those ideas just to see what happens.