As I was reading* Towards Zero recently, I became interested in the way Dame Agatha Christie so elegantly and effortlessly casts suspicion on (almost) every single character.

What I noticed was that she not only takes turns with characters, but she also varies the “modality” through which the reader is informed, creating a rich and relentless narrative unfolding.

For example, sometimes the suspicion may be created by the way one character feels about another, then their impression of a glance, then a memory, or a fuzzy mental association.

These are often further layered through conversations in which characters react to each other and arouse the reader’s suspicion of both parties.

I don’t think a single page goes by without some deft detail being added to compound the suspicion regarding one character or another.

* Actually, I was listening to Hugh Fraser’s brilliant reading.

Casting Suspicion

I thought it would be helpful to list all the “attributes of suspicion” and narrative “modalities” that I noted down while reading.

Assuming you already have a mystery and the requisite clues and red herrings, you can combine these two lists to cast doubt on even the most blameless character.

ATTRIBUTE:

1. Something kept hidden / under control
2. Suggestion / admission of ability, means, or motive
3. Suggestion or admission of dislike
4. A look of [FEELING] (e.g. hate, strain, guilt, etc.)
5. Other body language “clues” (e.g. blushing, trembling, dropping something, hesitating, starting, etc.)
6. The ability to act / dissemble / charm
7. Appearance / aura (e.g. clever, simple, cunning, quiet, unassuming, etc.)
8. The ability to plan / premeditate / experiment / work things out
9. A conducive personality (e.g. likely to hold grudges, suspicious, meek, dislikes losing, perfectionist, etc.)
10. Physical idiosyncrasy (that might make a person easier to remember or be recognised)
11. Interpretation of another’s words or actions
12. Access to the victim, the weapon, the crime scene, etc.
13. Drawing attention away
14. Knowledge of the murder methods
15. Suggestion / admission of lying, unreliability or mental instability

MODALITY:

1. 1. Conversation
   2. Feeling / intuition
   3. Showing / demonstrating
   4. (Over)heard
   5. Seen / observed
   6. Smelled
   7. Touched
   8. Tasted
   9. Memory / story
   10. Writing
   11. Mental association
   12. Thoughts

☞ I recommend downloading the handout in the Coterie for a tidier representation of these lists.

Examples

Here are some examples, from Towards Zero, of Dame Agatha Christie’s methods for casting suspicion on characters. Of course, there’s a lot more subtlety at work than this template suggests, but hopefully it’s a helpful start for relating your own mystery.

Conversation + Feeling + Something hidden + Ability to work things out:

… ‘In a way, Audrey gives me the creeps. I don’t know what it is about her. You never know what she’s thinking… She’s – she’s a little frightening.’
‘Oh, nonsense, Kay.’
‘Well, she frightens me. Perhaps it’s because she’s got brains.’
(p. 41)

Thought + Observation + Feeling + Interpretation:

‘It was as though she were holding herself tightly in leash, watchful over every movement – and yet all the time intensely aware of everything going on round her. She was like a person, he thought, who had a secret to hide. But what secret?’
(p. 84)

Conversation + Observation + Memory + Idiosyncrasy + Appearance:

‘Rather an interesting shaped head – a curious angle from the crown to the neck – rendered less noticeable by the way he has his hair cut, but distinctly unusual.’
After another pause, he went on still more dreamily:
‘The last man I saw with a head like that got ten years’ penal servitude for a brutal assault on an elderly jeweller.’
‘Surely, exclaimed Mary, ‘you don’t mean -?’
‘Not at all, not at all,’ said Mr Treves. ‘You mistake me entirely. I am suggesting no disparagement of a guest of yours. I was merely pointing out that a hardened and brutal criminal can be in appearance a most charming and personable young man. Odd, but so it is.’
He smiled gently at her. Mary said: ‘You know, Mr Treves, I think I am a little frightened of you.’
‘Nonsense, dear lady.’
‘But I am. You are – such a very shrewd observer.’
(pp. 106-7)

Conversation + Ability to plan + Interpretation:

‘Oh, I plan things,’ said Mary vaguely. ‘In my mind, you know. And I like experimenting sometimes – upon people. Just seeing, you know, if I can make them react to what I say in the way I mean.’
‘You sound almost sadistic, Mary. How little I really know you!’
(p. 135)

Conversation + Observation + Appearance + Interpretation:

… ‘I’m not really heartless, but now that Nevile’s all right I can’t help being pleased he had a bit of a shaking up. He’s always so damned complacent.’
‘He isn’t really, Thomas.’
‘Perhaps not. It’s just his manner. Anyway he was looking scared as Hell this morning!’
‘What a cruel streak you have!’
(p. 237)

Conversation + Body Language:

‘It’s about Mr Treves.’
Thomas dropped his pipe on the stones. His voice changed as he bent to pick it up.
‘What about Mr Treves?’
(p. 238)

Further Resources

1. Solving a Mystery Worksheet – work backwards from clues that interest you to develop a mystery.
2. Tension Brewing Worksheet – scene ideas to increase suspense.
3. 30 Scene Ideas for Mystery Subplots – scene ideas for mystery.