Young Writers Society

Recently I was reading a murder mystery, and one of the middle chapters revealed the murderer to anyone reading the book. However! All of the characters were still completely oblivious to what was going on, and I found it really annoyed me that I knew who-done-it but nobody in the book did.

But, in another book, someone is hopelessly in love with another of the main characters. It's painfully obvious (and actually kind of cute) to the reader, but whenever we get into the love interest's head, she has absolutely no idea. No idea. And, this kind of oblivious character was fun to read.

So, as a writer and a reader, I propose the following question to you all:

Should you let the reader know something important while a main character is left in the dark?

I'd just like to hear people's opinions.

Hey there Evi. You're question perplexed me. It's a real brain-twister!
I write in first-person, almost always. The only time I'll write in third is maybe for a class assignment. It's actually not impossible in first. You just have to make the reader see through the character's eyes what the character herself can't. Something like:

"He looked at me, his eyes studying my face, appraising me. They paused at my lips, then traveled up to look in my own eyes. The look was full of secrets and curiosities, hidden thoughts. He didn't look away, didn't break the connection, making me feel paranoid. Self-consciously, I brought my hand up to touch my cheek, cutting my eyes away and turning my head slightly. If there was something wrong with me, I didn't want him to have to look at it a second longer."

Here, it is clear that the male character has some secret love interest for the narrator, although the narrator herself is oblivious.

These kinds of implications - because really, that's all they are - are perfectly fine. They add interest to the story, and in first person, they allow you a glimpse into the minds of characters other than the narrator.

I realize that this is mostly mindless chatter and rambling. I shall shut up now, as clearly I am not making any sense. PM me with any questions.

Depending on the 'something' it might ruin a twist in the end. Say, there's something strange about the protagonist's friend, and the reader is intrigued. In the end, would you rather know about the friend being the protagonist's long-lost brother before the pro does, or would you rather find out at the same time? It's more entertaining doing the latter.

maybe no. so you have nothing to maintain and you can let your story flow the way you want depends on you mood. admit it. your stories change their tones everytime you change your mood.

A bit drastic...

Well, in any case here's my take. Sometimes it is okay, sometimes it is not okay.

I am going to draw upon the murder mysteries of Detective Conan. Usually you do not know the murderer unless you yourself put together the clues, which are all there, or have Conan put it together for you at the end. Usually twists, counter-twists and all sorts of things happen.

Other times you KNOW who the murderer is and you have to figure out how. Sometimes it could just be a suicide in the end, but the journey is in the discovery and plot of these murders. If the suspect is obvious and blatant, then the story becomes how it was pulled off even though several key alibis clearly conflict.

It all depends upon your skill as a writer. Can you write well enough to keep a plot interesting if the reader already knows the ending? Or do you want to keep twists and turns and keep the reader guessing with the characters?

For things like relationships, yes their is a limit to obliviousness, but usually this has to be solved sooner rather then four books later by someone making the first move. In my case it would have taken three books, just cause I was oblivious to her intentions and she was afraid of rejection, IRL. In books hopefully the MCs will be quicker then I.

Sometimes, it's frusterating, and sometimes, it works.

The key is that the character shouldn't look like the biggest idiot on the planet. Also, it can't kill reader suspense.

I'm one of those sometomes people for one general example...Truman Capote's In Cold Blood. Though the readers know who commits the murder thoughout the entire story, the detectives and citizens don't. However, I really think this technique is only useful in murder stories.