❀ Intro
In this weekly, you're going to be dabbling in four different, incredible genres–but what are those genres? What makes them so unique, and, more importantly, what makes them different from each other? By the end of this workshop, you'll have those answers ;D

❀ Myth
Myth is a subgenre of folklore (and often theology as well) that consists mostly of narratives about characters like non-humans (gods, demigods, or other supernatural figures), as well as occasionally human heroes–however, stories of everyday humans (often a leader of some type) are usually considered legends instead of myths. Myths are occasionally distinguished from legends because myths deal with gods and supernatural beings, usually have no solid historical basis, and are set in a world of the remote past, which is often very different from that of the present. Many cultures consider myths and legends to be true accounts of their remote past and are usually closely tied to a culture or group's religion. Myths can also explain how a culture's customs, institutions, and beliefs came to be. Some of the most widely-known myths are those from Greek, Roman, Egyptian, and Norse mythologies!

❀ Historical Fiction
Historical Fiction is characterized by a fictional narrative taking place in the past, usually at a specific time or during a specific historical event. Its main characteristics are that it's almost always set in the past and it pays attention to the customs and mannerisms of the time period (which means that you do indeed typically have to do some research to write in this genre well and accurately <33). It's also used to explore notable historical figures, allowing readers to see one way they might've perceived the events that happened and the time they lived in when they were alive.

❀ Fairy Tale
Fairy Tale is another subgenre of folklore and is rich with fantasy elements–from dragons to fairies to monsters to talking animals and other mythical or supernatural beings. They of course usually also include some sort of magic and/or enchantments and/or curses. Fairy Tales usually contain a moral lesson of some sort, which is the characteristic that separates them the most from folklore, myths, and legends. Many popular collections of Fairy Tales have been written and have been adapted into movies and retold over and over again.

❀ Folklore
Folklore is often considered the metaphorical heart of a culture, subculture, or particular group of people. It's a very broad term that includes stories, material culture, folk beliefs, and rituals or celebrations. But of course, I'm only going to cover the story part in this workshop ;D Folklore stories traditionally originate from stories told and retold for generations, and then were eventually written down. This includes myths, legends, proverbs, tales, songs, and much more! Many evolve and change over time, especially when it's retold by a different storyteller who has their own take on it, so the original story/song/poem/etc. could be wildly different from the ‘newest’ version. Folklore is almost always passed along informally between people, regions, and/or generations, and isn't typically something that you'll find being taught in a school curriculum or a study into the fine arts.

❀ Differences
So now that you know a bit more about these genres… what makes them different?
Historical Fiction is the most different of the four, because of its non-fiction/historical elements. But how is a folk tale different from a myth or fairy tale?
As I said above, the main characteristic that separates Fairy Tales is the moral lessons told by them. Myths typically have connections to the distant past of gods and the like, explore the culture of the myth's origin's worldview, and can also help explain how certain customs came to be.
Folklore contains fairy tales and myths under its umbrella, but it also contains lots more, anything from oral stories passed down for generations to written fables of times long gone. Unlike myths, folklore is often widely recognized as fictional tales instead of true accounts from the past.

❀ Conclusion
I hope this workshop gave you a better knowledge of these four incredible genres, and I wish you good luck on your journey to complete the first weekly!

❀ Rescources used
Google for miscellaneous research ;D
Wikipedia for information about Myths, Hi-Fi, Fairy Tales, and Folklore!

⯎ Intro

One of the greatest powers an author can possess is the ability to pull readers in and keep them in a state of anticipation for pages and pages. The reader lays awake at night- either reading their book under the covers with a flashlight or staring at the ceiling, wondering what could possibly happen next.
Mysteries lend themselves really well to this- their whole purpose is to keep the audience on their toes. However, sometimes the genres that are the most fun to read are the hardest to write, and mystery is no exception. It can take a lot of thought-out planning, but once you get into it, it’s only fun, games, and riddles ahead.


⯎ Pt.1 ~ The 'Why’

Many of you may be looking at your screen, thinking something like- “Why should I care about plotting a mystery? I can write plenty well without outlining anything!”

It may be true that you're really great at writing without an outline- and that's amazing! However, mystery can be a tricky genre because it's incredibly complex, with many layers that can be hard to juggle if you don't have a road map to work with ahead of time. An important part of writing mysteries is knowing where to drop hints and clues, all while pacing the story to stay suspenseful without giving away the mystery too quickly. Having an outline- even a basic one- will help you feel more in control of your story and will help you grow more comfortable with the genre as a whole.


⯎ Pt.2 ~ Road Trips and the Initial Wrongdoing

To put a mystery story in perspective, think of going on a road trip- getting from point A to point B.
When you’re on a road trip, along the way, you’ll likely see signs of where you’re headed- whether that’s a changing landscape or a sign that something like “Exit to the Misty Mountains- 7 miles”.

Think of it like this- the plot of your story (the characters/the reader slowly coming to make sense of the mystery) is the road that they're travelling along. Along this road, they’ll encounter those “road signs” that show hints of where they’re headed- clues, flashbacks, etc. The further the story goes, the closer they’ll get to their destination- or in other words, having a full understanding of what happened. The mystery itself and the central story of discovering it may come together later (the main character is threatened by the criminal, the culprit commits another crime, etc.), but the majority of your story will likely be focused on trying to make sense of something that's already happened. In short, it’s a story that slowly reveals another story beneath it.

You'll probably want to start by figuring out what that mystery is- the big revelation that the character will discover towards “the end”. Think like a detective. What was it? Who did it? What was their motive? How would they try to hide what they did? Where will signs of their wrongdoing peek through?

Got an idea? Even a little one? Congrats! You've just created the first parts of your mystery. Keep building on this as long as you can, understanding everything about the heinous act until you know it like the back of your hand.

Next up, it’s got to be solved.


⯎ Pt.3 ~ Solving the Mystery

First, you want to think about how long you want your story to be. If you’re just working on this mystery for a daily or weekly, you likely don’t have the room to throw around endless clues and red herrings.
You can divide it into little chapters, episodes, or (especially if it’s a shorter story), you can divide it into the well-loved plotline- exposition / inciting incident, rising action, climax, falling action, resolution. This type of planning works especially well with writing mysteries because it gives you a sense of where to build more tension by adding more clues.
For the sake of your average-sized SWC daily/weekly, we’ll be looking at that type of outline!

⇾ Exposition / Inciting Incident ~ Like any other story, this is where you’d introduce the main characters, the setting, and the general tone of your story. Additionally, this is also where you’ll want to introduce the mystery itself- the big question that looms over the whole story. Maybe the main character finds something new that points them to an old mystery (such as someone in modern-day solving something that happened years and years ago), or something entirely new happens that throws the main character into the thick of the story.

⇾ Rising Action ~ This is where the speed of the story picks up and the riddles and puzzles start piling up, ready to be picked apart by the main character (and the readers!). Here, the main character learns more about the mystery via clues. This can be evidence from the crime scene, a tip-off from another character, or really anything that has to do with the mystery. The rising action should take up the majority of the story, as the main character discovers clues that lead them closer to the truth. However, all good rising action has to involve some setbacks. Typically in mysteries, these manifest themselves as red herrings, loss of important clues, or another issue arriving. All that matters is that it’s building up to…

⇾ The Climax ~ It’s the moment you’ve all been waiting for! Here is where it really all comes together. In this part, something happens that leads the main character/detective to answer the classic question- whodunit? Or, more generally, what happened? What’s the big answer? A lot of things can lead to this big moment, whether it’s an important clue that comes to light, a plot twist, or the main character having a stroke of genius. All in all, just think of those big “lightbulb moments”. Your goal here is to leave your reader open-mouthed in shock.

⇾ Falling Action ~ Even once everything is solved, the work isn’t quite over. Oftentimes, a few things have to happen before everything is considered to be fully wrapped up. Maybe the culprit puts up a fight, or an accomplice to the crime appears, or the culprit pulls out one last trick. It’s all up to you how this goes. The only thing that matters is letting the reader worry about the safety of the characters for a little longer before putting their mind at ease.

⇾ Resolution ~ Happily ever after! Or… almost. Or not at all? There are countless ways to end any story- all it takes is knowing which way is right for you. You could do a picture-perfect happy ending, where all the questions and clues are nicely tied together and the whole adventure is at rest. You could leave a question hanging over the characters’ heads, that could lead to another mystery (though you’ll likely want to avoid this unless you plan on writing more mysteries). You could also torture your characters further by leaving them in agony. Maybe the villain won! Maybe an important character d!ed! Anything can happen- the only thing that matters is that the main mystery has been solved and there aren’t any loose plot holes anywhere.


⯎ Pt.4 ~ Last Notes

Congrats! You’ve now got an idea of how to set up a mystery, whether it be only 300 words or a full novel. Plotting mysteries can be hard - really really hard- but it’s one of the aspects of mysteries that make them so compelling. Their layered plots keep the reader (and often, the author) trying to think three, ten, or twelve hundred steps ahead.

Note that your plot outline might not be perfect at first. You might start writing and you realize that you have too many clues planned for one part, or that you’ve accidentally created a plot hole. It’s no big deal- you can always go back and edit until you’ve got something you’re proud of. Writing takes time. Solving mysteries takes time. All that matters is getting the words down and letting your creativity run wild.


⯎ Useful Resources
https://www.masterclass.com/articles/how-to-write-a-gripping-mystery-novel
https://self-publishingschool.com/how-to-plot-a-mystery-story/

hello there, fellow writers! ready to master the art of red herrings and clues? in this workshop, we'll be learning how to craft a thrilling journey for your readers, filled with suspense and the puzzle of unfolding the truth! this will equip you with the tools to weave a gripping story that keeps your readers guessing until the very end. so, buckle up and get ready to unleash your inner detective!

understanding the terms

clues - these refer to the breadcrumbs you scatter throughout the story, leading your readers towards solving a certain mystery. clues provide essential information, guiding the audience towards piecing together the puzzle.

red herrings - on the flip side, red herrings are intentional distractions. they divert attention away from the truth, injecting suspense and unpredictability into the story. a well-crafted red herring keeps readers guessing until the big reveal.

inserting red herrings and clues

setting - don't underestimate the power of your setting! it can be more than just a backdrop – it can actively participate in leading readers astray. seemingly insignificant details can be subtle clues, while deliberately placed elements can act as red herrings. for example, in gone girl by gillian flynn, the missouri landscape serves as a clue, revealing the complexities of the characters' relationships.

evidence - planting evidence isn't just about placing a smoking gun at the scene. It's about strategically introducing elements that shape the investigation, be it:

• subtle clues | footprints, trace materials (hair, fibers, soil), library records, deleted browser history and more!
• altering evidence | tampering with the crime scene, forging documents, or destroying evidence raises questions about who to trust
• misinterpretation | a piece of evidence might be misinterpreted at first, leading the investigation astray until the truth is revealed

characters - characters in a mystery are more than just people in a story; they are players in shaping clues and red herrings. here's how they can reveal information:

• dialogues | everything a character says can serve as a lead towards solving a mystery; and the casual conversation might hold hidden details
• actions | nervous ticks, changes in behavior, or seemingly irrelevant stories can offer subtle clues.
• secret relationships | a character might conceal a past connection to the victim or suspect, adding intrigue about their role in the story
• double identities | a seemingly innocent character might be living a double life, harbouring a dark secret that connects them to the crime

how to use them effectively

plant clues early - give your readers a chance to play detective! scatter subtle hints throughout your story, allowing them to piece together the puzzle as they go.

plausible red herrings - ensure your red herrings are believable and don't contradict established facts or break the story's logic!

don't overdo it - too many red herrings can be frustrating for your readers. use them sparingly, but strategically, to maximize their impact.

serving a purpose - every red herring should have a reason for being there. it should either develop character motivations, showcasing how someone might be trying to shift blame or manipulate events - or illustrate the protagonist's difficulties and false starts they encountered during their investigation.

the concluding payoff - this is where the magic happens! reveal the true purpose of both clues and red herrings. show how the clues led to the truth and how the red herrings were cleverly used to mislead. this ensures a satisfying conclusion for your readers.

perceiving characters - introduce characters with suspicious motives, means, and opportunity, only to reveal their innocence later. conversely, try incorporating innocent characters that eventually unfold their evil motives towards the end. this keeps the reader guessing and adds a layer of suspicion.

unreliable narrator - experiment with a narrator who is biased, unreliable, or even delusional. this forces the reader to question everything they read, creating a challenging and immersing experience.

conclusion
so there you have it! i hope that this workshop improved your understanding upon red herrings and clues, and how you can effectively utilise them while writing. always keep your readers on the edge, captivated by the mysteries that lie ahead!

— finley

resources i used
• what is a red herring - twinkl
• how to mislead and surprise readers - storygrid
• difference between red herrings, evidence and clues - zara altair
• ultimate guide to red herrings and clues - the write practise
• should your mystery include red herrings? - dabble
• non fishy ways to plant red herrings - autocrit

feel free to refer to these to further develop your understanding!

• Harry Potter receives a letter of acceptance from a magical school

• His aunt and uncle try to stop the letter from reaching him, and the letters build up until the uncle eventually takes them to a shack in the middle of the ocean, away from the mail

• The story is set in an alternate version of our world, primarily in Europe, where magical humans live secret lives as wizards, away from prying “Muggle” eyes

• Within this alternate Europe, there are magical schools, the most famous of which is Hogwarts School of Witchcraft and Wizardry
  

• The story explores themes of good versus evil and the triumph of love, family and friendship through a magical lens

• The characters learn how to cope with loss, fear and despair through their battle against the dark side
  

• Exposition: We learn about Harry’s upbringing and we are slowly introduced to the magical world.

• Rising Action: Harry arrives at Hogwarts and begins to get used to his new life, all while witnessing strange events around the school that might point to the return of Voldemort
  

• And so on.
  

The Ingredients

New Character Introduction (Jim Flabsdz)
“Greetings swc-er, I'm Jim Flabsdz, guardian of the skies and keeper of the galaxswc. Many people pass through beneath my watchful gaze along their travels, and they're all the same. The monotony bores me; I need some variety in my existence before I devour another planet.”

Choosing this ingredient will add a new character introduction to your stew.

Flashback (Smarlls)
“Hey!! Smarlls here- remember me? I just came by to say hi and remind myself of the good ol' days… I've really missed hanging out with all you swc-ers, so it's great to see everyone again and to be part of another weekly. I'd forgotten how chaotic you all were, and it's awesome to get to relive another session with you.”

Choosing this ingredient will add a flashback to your stew.

Plot Twist (Gurtle)
“Hi everyone! I’m Gurtle - as I’m sure most of you probably know. At this point, you all have probably tried to use the Heimlich maneuver on me in order to get all of your very scrumptious links back. But… what if I were to tell you that I wasn’t the one eating your links, and that it was actually just Smarlls disguised as me? That’d be quite a plot twist if I do say so myself!”

Choosing this ingredient will add a plot twist to your stew.

New Conflict Arises (Mangoes)
“Have you ever seen fire mangoes being used as arson during Cabin Wars? If you haven’t, I assure you it’s definitely a sight worth watching..at least in some cases! As allies betray each other and enemies form truces, it’s interesting to see where new conflict is just waiting to arise.”

Choosing this ingredient will add a sudden new conflict to your stew.

New POV (Fire)
“Ah, fire… I yearn for more chaos to engulf the world, to fuel my hunger switch it up a bit, and change the POV of your story to something different. Feel free to go as crazy as you want with this one, how about a pebble on the road is suddenly able to narrate the events happening around it? Or how about the family dog who has their own opinions on the situation?”

Choosing this ingredient will add a scene with a different POV to your stew.

Foreshadowing (Writing Utensils)
“Hey, do you see something in the reflection of the pen? Wait, are those the results of the session? Just like how some people can guess the results as the session passes by drop some hints that foreshadow an event in your story. Whether through dialogue or actions find some ways for readers to guess the end of your story.”

Choosing this ingredient will add some foreshadowing to the main conflict in your stew.

Introducing a Symbol (Frying Pans)
“Ah, yes- the glorious Frying Pan. Supreme ruler of the kitchen, ultimate form of weaponry, and master of all things frying and panned. truly, whenever I gaze upon its form, I feel emboldened by it. It exudes a sense of pride, of passion, of glory! ‘tis a symbol of SWC’s true brilliance.”

Choosing this ingredient will add a recurring and meaningful symbol to your stew.

Breaking the Fourth Wall (Computer Screen)
“Do you ever feel as if your characters are trapped within the confines of their surroundings? Perhaps the people you see on your screen are just itching to burst out into real life- or perhaps, even, Smarlls and Gurtle and Jim Flabsdz from this project have already snuck through your screen and entered the real world… who knows?”

Choosing this ingredient will add some fourth wall breaking to your stew.

Epistolary – Diary Section (Among Us / SUSWC)
“Well, well, well—by now, you've surely hit some snags, but they've all been outside threats. Unfortunately, not everyone on the inside is trustworthy—once again, there's an impostor in suswc. Thankfully, whoever it was has left behind some diary entries—confessions, you could say.”

Choosing this ingredient will add a section in letter/diary format to your stew.

Genre Swap (Peeles)
“Hey there, astronaut! It's me, Peeles, your friendly planet-alien-being from the far outreaches of the galaxswc. You've come quite a way in your journey, and I'm sure you've seen planets and galaxies unlike any you've ever known! How odd, the way different planets change radically with a mere light-year of distance between them.”

Choosing this ingredient will sandwich a genre swap into your stew.

Cliffhanger (Parodies)
“Imagine that you’re reading through a mystery story (maybe perhaps from last week’s weekly) - as the events progress, more tension is start to build up. It seems as if the protagonist is on the brink of solving the mystery - but before the author reveals the truth, the chapter is done! Talk about getting someone’s hopes up-”

Choosing this ingredient will add a cliffhanger somewhere in your stew.

Open Ending (Goats and Apples)
“Goats vs Apples is quite an interesting thing to think about. It truly depends on what terms and conditions we’re considering, am I right? If we were to write a story on which one was better overall, wouldn’t it be best to let the reader decide? Give them the chance to determine who’s the winner - I mean, that’s the beauty of open endings after all!”

Choosing this ingredient will make your stew conclude with an open ending.

All Done?
Now that you've chosen your elements, hold on! Don't do anything with them quite yet - move on to the next part to discover how to use your elements in the outline.