based on the following protagonist (edith cattermole a widowed pensioner who travels around England writing a book about rural churches, with her trusty feline sidekick, Noble (who known only to her understands spoken English language and helps her find clues and solve cases) can you give a detailed chapter by chapter outline for an original cozy cat mystery novel (please clearly explain core suspects, key clues, red herrings and who the actual murderer is and why) using the following chapter structure: -Chapter 1-

A. Disclose the crime and mystery to be solved. The crime must capture the imagination. It should be committed in an extraordinary way and either the victim, the perpetrator, or both, must be unusual. Provide the reader enough information about the victim to make them truly care that the perpetrator is found and justice served.

B. Early in the story, reveal clues suggesting both physical and psychological aspects of the initial crime. These clues should point to suspects and motive which will carry the sleuth (protagonist) to the end of Act 1. Some clues should point the sleuth in the right direction, others not so obvious, or recognized as factual clues until later in the story.

C. Introduce the sleuth who will solve the crime early, and have him or her do or say something clever or unexpected to establish them as unique. Create this sleuth character with care, and with an engaging personality to sustain the reader’s interest to the last page (or throughout an entire series of books). It is not necessary to disclose all aspects of the sleuth’s personality at the onset. Allow the description to unfold gradually while sustaining reader interest. Reveal enough background so the reader understands the world in which the sleuth functions (Small town sheriff, Scotland Yard detective, Pinkerton agent in the old West, country squire, investigative reporter in New York City, etc . . .).

D. Ground the reader in the time and place where the crime occurs. It is often useful to include some sort of symbol, an object or a person, in the opening scene which serves as a metaphor for what occurs in the story. The reappearance of this symbol throughout and especially at the conclusion of the story creates a certain organic unity; pepper it in, but not so much as to make it flagrant. Subtly works best.

E. Begin with a dramatic event. Some writers offer a prologue describing the execution of the crime in detail, as it occurs, possible from the point of view of the victim or perpetrator. The same information could also be revealed by a character through dialogue. Furnish sufficient details to allow the reader to experience the event as though he or she were actually there as witness. Another good opening is to place the sleuth in a dire situation and allow choice details of the crime to unfold in due course.


-Chapter 2-

A. Set the sleuth on the path toward solving the murder mystery. Offer plausible suspects, all of whom appear to possess logical motives, means and opportunity to commit the unique crime. Select the most likely suspects and have the sleuth question them. One of these suspects will turn out to be the actual perpetrator.

B. At the approximate mid-point of Act 1, something occurs which clarifies to the reader the crime is more complicated than originally thought. Provide hints so the reader can envision possibilities not yet known to the sleuth.


-Chapter 3-

A. Introduce the sub-plot. The main plot continues the progress of the story while the sub-plot carries the theme, which is a universal concept to which the reader identifies. Sub-plots tend to originate either in a crisis in the sleuth’s private life, or in the necessity of the sleuth to face a dilemma involving a matter of character, such as courage or honesty.

B. The ultimate resolution of the sub-plot demonstrates change or growth on the part of the sleuth, and will climax on a personal or professional level. That climax may coincide with, or occur as prelude to the climax of the main plot. The sub-plot may provide a vehicle for a romantic interest or a confrontation with personal demons of the sleuth. The author can manipulate the pace of the novel by moving back and forth between the main plot and sub-plot.


ACT 2: DIRECT THE INVESTIGATION TOWARD A CONCLUSION WHICH LATER PROVES ERRONEOUS.

-Chapter 4-

A. Reveal facts about suspects through interrogations and the discovery of clues.

B. Flight, or disappearance of one or more suspects.

C. Develop a sense of urgency. Raise the stakes or make it evident that if the mystery is not solved soon then terrible consequences are unavoidable.


-Chapter 5-

A. Broaden the investigation to place suspicion on other characters.

B. Information gathered through interviews or the discovery of physical evidence should point toward the solution, although the relevance may not yet be apparent.


-Chapter 6-

A. Reveal the sleuth’s background while the sub-plot develops. Show the reader what drives them, what haunts or is missing in their life.

B. Establish the sleuth possesses a personal stake in the outcome, either because of threat to their life, or the possibility of revelation of matters deeply disturbing to them on an emotional level.


ACT 3: CHANGE OF FOCUS AND SCOPE OF INVESTIGATION.
*This is the pivotal point in the story where it becomes evident that the sleuth hunted down the wrong track. Something unexpected occurs, such as the appearance of a second body, the death of a major suspect, or discovery of evidence which clears the most likely suspect. The story must take a new direction.

-Chapter 7-

A. Reveal hidden motives. Formerly secret relationships come to light, such as business arrangements, romantic involvements, unsettled scores or previously veiled kinships.

B. Develop and expose meanings of matters hinted at in Act 1 to slowly clarify the significance of earlier clues.


-Chapter 8-

A. The sleuth reveals the results of the investigation. The reader, as well the sleuth and other characters, are afforded an opportunity to review what is known and assess the possibilities.

B. The solution of the crime appears to be impossible. Attempts to solve the crime have stymied the sleuth. Misinterpretation of clues or mistaken conclusions have lead them in the wrong direction, and logic is applied to force a new way of grasping an understanding of the uncertainties.


-Chapter 9-

A. The sleuth reviews the case to determine where they went wrong.

B. Reveal the chain of events which provoked the crime.

C. The crucial evidence is something overlooked in Act 1, which appeared as of little consequence at the time of initial disclosure. This crucial evidence takes on new meaning with information disclosed in Act 3.

D. The sleuth (and perhaps the reader, if a keen observer) becomes aware of the error which remains undisclosed to the other characters.


ACT 4: SOLUTION.

-Chapter 10-

A. The sleuth weighs the evidence and information gleaned from the other characters.

B. Based on what only they now know, the sleuth seeks positive proof to reinforce the yet undisclosed conclusion.


-Chapter 11-

A. Resolution of the sub-plot.

B. The sleuth, tested by their private ordeal, is strengthened for the final action leading to the actual solution of the murder mystery.


-Chapter 12-

A. The climax; a dramatic confrontation between the sleuth and the perpetrator in which the sleuth prevails. The more impossible the odds, the more rewarding the climax.

B. Resolution; revelation of clues and the deductive process leading to the stunning solution. Establish that the case has been solved and justice served to the satisfaction of all involved (except, of course, the perpetrator).