Contrary to popular belief, the mystery, detective, suspense or spy novel did not begin with Edgar Allen Poe. These genres date back to as far as ancient mythology. If you look closely, the different mythologies--from Greek to Norse--carry such stories. Even sacred books like the Bible carry the tradition. Think of Prometheus stealing fire from the gods; the Trojan Horse concealing an army of Trojan warriors; Heimdall watching and hearing everything for the protection of Asgard; Cain murdering his brother, Abel. Classical literature--from Boccaccio’s Decameron to some of Shakespeare’s plays--belong in these genres. Over the years, these four genres have branched out into subgenres that include courtrooms and procedurals. Sometimes it even blends with other genres like the supernatural mystery. Although the subgenres have increased, the old school techniques that modern writers used to write them are still very effective.

The form is not complicated. Often it begins with a crime, but the plotting devices with twists and turns can get complex. However, like all story genres, the mystery, detective, suspense, and spy novels have standards and guides that must be observed. It is up to the writer’s technique and creativity how he will use them. These guides and standards are not absolute, but they are proven and will help the writer take the effective path.

Should you ever decide to write one of these four genres, consider these guides:

1. All events in the story from the biggest to the trivial should be related to the main plot. Irrelevant information, backgrounds, and subplots that do not push the story forward must be eliminated. Do not throw in anything just for the sake of thrilling your audience.

2. The main protagonist--the one investigating or the one at the center of the crime--must have a connection to the setting. This establishes a convincing and sympathetic character. A doctor should belong to a hospital; a lawyer, to the courtroom. A journalist on the beat must be easily identifiable by showing how he interacts with people as his sources and the questions he asks. The hero or heroine has an internal conflict that blends with the story. He/she could be a cop who lost a brother to a gun-totting thug, and this cop is on a crusade to track a gangster who murdered a young girl.

3. A story should have a big, sensational crime to the point that it rocks an entire city or even a country. Driving under the influence, pilfering inside a 7-Eleven, or soliciting a streetwalker are trivial crimes that don’t have much shock value. The news is filled with reports of such misdemeanors. The writer must come up with a big crime or harrowing event. A serial killer on the loose who has nine victims to his credit is something not to be taken lightly. Hannibal Lecter is a popular fictional serial killer because he has great shock value. The writer is not limited to serial killers. An event that could compromise national security or the world is suitable, most especially if the hero or heroine is working to solve the problem under time pressure.