Cozy Mystery – Cozies are the softest version of mysteries. They don’t have explicit sex or violence, and are often set in small towns rather than big cities. The protagonist is a female layperson (think Murder She Wrote) with a knack for getting into trouble and solving puzzles. She’s not a member of the police or other law enforcement. In fact, the police in the story probably view her as a pest.
The fraternal twin of the cozy mystery is the hobby mystery. Basically this is a cozy where the main character is involved in a niche hobby and the crime is intimately involved with that hobby. For example, your protagonist collects rare books and a rare book is stolen from the used bookstore in town.
Police Procedural – The focus of a police procedural isn’t so much on the reader figuring out who the criminal is but rather on how to catch him and prove he was the one who committed the crime. In fact, the bad guy is often known in the beginning of the book. Readers of police procedurals expect detailed descriptions of the investigative techniques used by the police. For a TV example, look no farther than CSI.
General Mystery – The protagonist in a general mystery is normally a private detective rather than a police officer (police prodecural) or a layperson (cozy mystery). Oftentimes, however, the PI will have a non-PI friend/employee/client who plays a key role in the plot as well. The emphasis in these stories is the puzzle, figuring out whodunit. Examples include The No. 1 Ladies’ Detective Agency by Alexander McCall Smith and A is for Alibi by Sue Grafton.
Historical Mystery – These stories revolve around a historically significant crime (real or fictionalized). Anne Perry and Steven Saylor are well-known writers in this sub-genre.
Noir/Hardboiled Mystery – On the opposite end of the mystery spectrum from the cozy is the noir or hard-boiled sub-genre. With its realistic, gritty portrays of sex and violence and dark tone, this sub-genre got its name from its tough voice and unsentimental take on life. Protagonists are so deeply flawed, self-destructive, or damaged as to almost be anti-heroes. These mysteries aren’t for the faint of heart.
Don’t forget to check out Lisa’s post on genres and sub-genres that began our series.
Do you prefer to know the criminal in a mystery or do you like to try to figure it out as the book goes along?