1. Characteristics of a Detective Story
A good detective story generally follows six “unwritten rules:
1. The crime must be significant, worthy of the attention it receives. Most stories involve murder, though Conan Doyle tied the majority of his crimes to greed and theft.
2. The detective must be in some way a memorable character. He or she must be very intelligent, of course, unusually clever and observant, but also quirky, possessing perhaps some off idiosyncrasies that distinguish him or her.
3. Along with an exceptional detective, there must be an outstanding opponent, a criminal clever enough to be a match for the hero. Solving the crime can’t be too easy.
4. Because a large part of the attraction of a detective story is the opportunity for the reader to try to figure out the solution along with the detective, all suspects of the crime must be introduced early in the story…
5. And all clues the detective discovers must be made available to the reader also.
6. At the end of the story, the solution must seem obvious, logical, possible. The crime must not have resulted from accident or supernatural intervention, and the detective must be able to explain all aspects of the case in a reasonable way.

2. Formula of the Classic Detective Story
Based on the works of Poe

3. Situation Criminal unknown: find identity and motive
Criminal known: determine means or locate enough evidence to establish guilt
Crime: Poe established TWO main types
Grotesque murder (often with sexual overtones)
Political intrigue
Victim: very little character development!
Keeps humanity out of the mix. This would cloud the detective’s view and hinder his ability

4. Pattern of Action Introduction to the detective Crime and clues
Investigation
Announcement of the solution (*this is NOT the apprehension)
Explanation of the solution
Denouement (apprehension)

5. Intro to the Detective An example of his/her skill
(i.e.: “Murders at the Rue Morgue”)
This helps the reader’s confidence in the detective’s ability to solve the crime
Break in the calm of detective’s retreat
(i.e.: library, sitting room, etc.)
Symbolically portrays the crime as an intrusion to the norm
Helps emphasize the personal and moral detachment of the detective from the crime

6. The Crime This MUST have clues that point to someone or something
Do not need to be linear
MUST appear insolvable

7. Investigation
While formulating a conclusion, the witnesses, suspects should further confuse the reader – this is where the detective emerges
(i.e.: the red herrings)
The investigation usually threatens 1 or more characters the reader has been made to sympathize with
Therefore, the solution will solve the crime AND rescue the characters the reader wants freed

8. Announcement of Solution
This is the FIRST climax of the story
The reader can finally see through the detective’s eyes
This DOES NOT necessarily include the apprehension of the criminal!
This allows for TWO possible climaxes

9. The Explanation New angle of vision
The answer has always been there, but the reader must look at the clues in a different way
The detective reveals his true intellect
Clues are initially set out of order, the explanation realigns them
Criminal is usually the least likely person who has NO character relationship with the audience
This allows the criminal to represent the personification of guilt without involving the reader’s feelings

10. The Apprehension Sometimes this occurs following the solution
Sometimes a trap is set up to answer the mystery AND capture the criminal
This is brief so as not to upstage the detective
The classic detective story is more concerned with identifying the guilty, not the punishment

11. Characters and Relationships
Four main roles:
The detective: Extreme intelligence, far beyond a regular citizen
The criminal: Complex motives/interesting actions. Always defined as BAD to remove question of guilt
The victim: Must hold little sympathy, but much attention
Obscure and ordinary but meet an extraordinary demise.
Those threatened by the crime, but cannot solve it. (ie: the police, the narrator/sidekick, the red herrings)
This represents the middle class disrupted by the crime

12. The Setting Usually split between and isolated place and a big city
Symbolic relationship between chaos and order
By separating crime from society the writer can remove additional complexities
The classic detective story requires a clear distinction between guilty and innocent – the controlled setting helps to support this