2002 Left Coast Crime - Portland:
Lyn Hamilton at breakfast on the last day of the conference.
To me, the why in a novel is a vital element of plotting. What if? doesn't help me a whole lot, but why? always activates my little gray cells.
Why is this woman doing that? Why is this man provoking this other woman? Why doesn't she run? Why is he so secretive? Why did Mary kill John?
Because he had an affair with Laura.
Because he tried to kill Mary.
Because he stole Mary's life savings.
Because he molested Mary's child.
Because he molested Mary.
Different answers=different motovations, different characters, different stories.
Why did the chicken cross the road? Think about it. Here's a male chicken walking along, enjoying the sunshine, but suddenly he sees this mean old rooster coming toward him. He's had a run in with mean old rooster before and he didn't fare too well-- (motivation) so he crosses the road to avoid him.
Or, here's a male chicken walking along enjoying the sunshine and he sees a female chicken coming toward him and recognizes her as his ex-wife, to whom he has not paid alimony in some time.
Or he sees this truly gorgeous chicken smiling at him from the other side of the road and he jaywalks over to her--and maybe gets run over by some other chicken, maybe his ex-wife.
Different motivations, different stories.
Why, why, why? Answering the "whys" sets characters and plot in motion. Anything can be made believable if it is shown to be properly motivated; anything that is not motivated is difficult for your readers to believe.