How to Make Your Victim the Heart of Your Mystery Story
Victims are complex characters that a mystery investigation story thrives on. They are the motivation, the cause, and the climaxâin other words, the backbone of any mystery investigation.
A story can start with one victim and expand to many, or begin with multiple victims but focus on one key case that either starts the mystery or brings it to a close. However, victims can sometimes be overlooked, either by the writer or the reader, making them weak and forgettable within the narrative. They are crucialâwithout a victim, thereâs no case, no investigation, and no story. It's that simple.
So, how do you make your victims feel relevant and integral to your story? Here, I will share what I did to make my victim, Adaora, seem like the main character.
Letâs use Adaora, Adebayo's deceased daughter, as an example. I introduced her into the narrative when Adebayo was reminiscing about going to the market to buy fish and prepare for her return from school.
This is a casual way of introducing her into the story as an individual, rather than immediately as a victim. In my opinion, the victim needs to be seen as a personâeither before, during, or after their death is announced.
Next, you need to understand how a character is introduced as a victim.
Adaora was introduced as a victim when the police visited Adebayo's home and delivered the tragic news:
Unfortunately, a knock on his black iron gate startles him. Frowning, he stares at the gate, hoping whoever it is will just leave. But Somto rushes out.
âOpen the gate for them,â Adebayo instructs, setting down his newspaper and taking a sip from his cup.
Somto quickly unbolts the gate, letting in two young men. Adebayo leans forward, squinting to recognize them, but when he doesnât, he eases back into his chair.
âGood evening, sir. Are you Barrister Owolabi?â the man on the right asks, bowing slightly.
âIâm Mr. Owolabi now,â he replies. âRetired.â He pauses, eyeing them suspiciously. âBut whoâs asking?â
The second man bows. âGood evening, sir. Iâm Officer Aliyu, and this is Officer Chuka. Weâre here to deliver some news.â
Adebayo raises an eyebrow. âNews?â
âWhen was the last time you saw your daughter?â Chuka blurts out, but Aliyu elbows him sharply.
Adebayo, unfazed, answers, âA few months back before she left for school. Iâm expecting her next week.â
Officer Chuka mutters under his breath, âYouâll be seeing her sooner than that.â Aliyu nudges him again, this time harder.
âWhat does he mean by that?â Adebayoâs frown deepens as he looks at Aliyu for an explanation.
Aliyu shifts uncomfortably. âSir⌠Iâm sorry, but your daughter⌠she is no longer with us.â
Adebayoâs brow furrows in confusion. âWhat do you mean? If my daughter is back, shouldnât I be welcoming her myself? Why are you two here?â
Chuka speaks up. âSir, to put it plainly⌠your daughter is dead.â
From this moment on, the investigator reacts according to their relationship with the victim, their impression of the victim, and their own personality.
For example, an abusive parent who saw their child as an investment would react differently from one who worshipped their child, or even a parent with a more neutral relationship. These different perspectives allow the writer to explore the victim furtherâtheir relationships, their reputation, and their place in societyâso they are not just a background character or a plot device, but the heart of the mystery.
Next, you need to give your victim a strong identity. These are the basic traits, characteristics, and personal history that define them. In many cases, the victim has more background detail than the investigator or main character.
For example, Adaora is a 22-year-old university student in eastern Nigeria. She is the only child of her father, and her mother died when she was three, leaving her with only memories passed down by her father. Despite this loss, she never lacked love or care.
Adaora is friendly, extroverted, and energetic, but she keeps her deepest thoughts in her diariesâthree of them, to be precise. She shares traits with her father, including stubbornness, a love for fish (as a meal), and an analytical mind. She is studying History and International Studies at the university.
By breathing life into the victim, readers care about them even after their death. It makes the mystery feel personal and relevant. It also ensures that every clue tied to them matters within the narrative.
These are the traces left behind by the victim or at the crime sceneâthe investigator's tools for unraveling the mystery. They also serve as emotional connections, keeping the victim's presence alive in the story.
Adaora, for example, is primarily expressed through her diary, but what truly pushes Adebayo to investigate is a scar he finds. The diary is a major plot-driving clue, but it only gains importance when its contents hint at deeper secrets.
To write effective diary entries, I transitioned Adaora's tone from lighthearted and joyful to dark and mysterious, planting questions with no immediate answers. Adebayo's initial curiosity turns into paranoia and obsession as he uncovers more about his daughter's fate.
A well-placed series of clues ensures the reader shares the investigatorâs urgency and emotions. Objects like a victimâs clothing, shoes, wallet, phone, or even favorite brand choices can all serve as key pieces of the puzzle.
There is no rule that says a mystery must be solved to have a satisfying ending. Unresolved mysteries can leave readers unsettled, challenge their thinking, or set up sequels. A story can end with a shocking reveal, an emotional conclusion, or even a flat lineâas long as it leaves an impact.
What do you think? Did I miss anything? Let me know your thoughts!