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Source: https://writers.stackexchange.com/a/34519
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

Source: https://writers.stackexchange.com/a/34519
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

I admit I haven't thought much about this, as a discovery writer. However, I am following a character (or some) and I don't really **have**"odd things" happening.

There are clear things happening the character does not understand that pretty much force them to take some action. Somebody tried to kill them, or did kill somebody else. In "The Pelican Brief", Julia Roberts is navigating a simple life of having an affair with her law professor, when he is killed by a car bomb she witnesses, she would have been killed with him if not for a convenient minor argument they just had. That is not an "odd thing", it is an obvious plot point, i.e. **what the story is about** , so the audience expects it to be answered later, maybe not until the end of the story. Right now, she is confused and frightened and driven to action.

As for actual clues to something that will come together later, I do that, but I always make sure my POV character has some alternative explanation for anything out of the ordinary, or rolls with it as part of the normal random variations of life; not everybody likes lemon desserts as much as she does, this guy does. (the fact that he is her biological father doesn't occur to her.) Chances are, I wouldn't catch this clue until I reread the book, although if it is one of the litany of things she cites in figuring out this guy is a blood relative, I would say, "oh yeah, she's right!"

I don't like obvious "odd things" in books, they feel false to me, especially if the character _must realize_ it is an odd thing and doesn't (she's an idiot), or she _knows_ it is odd and shrugs it off, oh well, crazy things happen. Neither of those is good writing.

### Apply Occam's razor: The simplest explanation is the most likely explanation.

For my character, the simplest explanation is that **some** people love lemon desserts, and that is the most likely reason this guy does too. The idea this guy likes lemon desserts, and therefore is her biological father, is silly, **that** is the conclusion that would lose the reader completely.

By Occam's razor, there is no plausible explanation for the owls; thus the reader knows this is a plot point that will be explained (better be explained) later. It is not a random odd thing, important characters don't blow it off.

You don't build suspense with such odd things; the reader identifies with the POV character(s). If they don't notice and pursue the odd thing (thus promising a mystery that will eventually be revealed), and the odd thing doesn't seem to affect anything else or cause any actions to be taken, then the reader is not **intrigued** but **confused** by the odd thing, and confusion leads to irritation with the author.

There may be exceptions; Douglas Adams' Dirk Gently's Holistic Detective Agency is the closest thing I can think of to "odd things" happening or appearing that make zero sense. But even though other characters may blow off the odd things, Dirk himself is intensely interested in every one of them, despite not understanding them, and they do all knit together in the final reveal when he solves the mystery.

**Edit for added examples:** I will agree with Mark, mostly. I think it is fine to race up to the house, fumbling with the key and have it not work. Then you lost me, as you lost your beta readers. **It's the right key** is the end of that story. It is irrational to try your car key in the door, or your sister's house key. You tried the right key. If she's irrational, how does she know **_it's the right key_**?

The right reaction is _"The lock is jammed somehow"_ and running to try the back door, or break the best window to get in, or take some other proactive action. Without adding these scene elements, the shifter could appear at that moment: when Natasha realizes _"The lock is jammed somehow"_ the shifter appears with his line and explains why.

Of course it doesn't explain why he didn't just shift the door into a brick wall, or her key into a bottle opener, or shift her into a bunny rabbit, but I'll presume you have a plausible explanation for that.

It is a valid instinct to note that Natasha's mindset must switch from "desperate hope" to "all hope is lost" at some point, and that should be shown, drawing it out like this doesn't help. She should conclude the lock is jammed and turn to plan B immediately (_The bathroom window, the latch is loose!_), or lose hope. Perhaps, she _thinks_ of Plan B, and the shifter appears at that moment.

As a writing point, an action scene is not a great place for pondering, wondering, or putting together clues. She is in a fight or flight situation, that means her frontal cortex is shut down (except for highly trained fighters), analytic logic abilities are minimized and memory is enhanced (it helps with alternatives, paths, enemy weaknesses, etc).

If your gun jams, pull your knife, or flee or escape. You don't stand there with a jammed gun and ponder what is wrong with it, you can't think through such logic. Your enemy is still firing!

Her memory will fill her mind with images that might help her get into the house: that bathroom window, even quicker the barbecue she can throw through the plate glass rear door, the shovel she left in the garden could be a makeshift weapon.

Original score: 7