Welcome back to the Charlie Chan Library.
This is our continuation of S.S. Van Dines 20 rules on writing included in his Winter Murder Case, interesting not only in its own right but to point out how the Chan movie writers occasionally cheated in their plotting!
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TWENTY RULES FOR WRITING
BY S.S. VAN DINE
7. There simply must be a corpse in a detective novel, and the deader the corpse the better. No lesser crime than murder will suffice. Three hundred pages is far too much pother [sic] for a crime other than murder. After all, the reader's trouble and expenditure of energy must be rewarded. Americans are essentially humane, and therefore a tip-top murder arouses their sense of vengeance and horror. They wish to bring the perpetrator to justice; and when "murder most foul, as in the best it is," has been committed, the chase is on with all the righteous enthusiasm of which the thrice gentle reader is capable.
8. The problem of the crime must be solved by strictly naturalistic means. Such methods for learning the truth as slate-writing, ouija-boards, mind-reading, spiritualistic seances, crystal-gazing, and the like, are taboo. A reader has chance when matching his wits with a rationalistic detective, but if he must compete with the world of spirits and go chasing about the fourth dimension of metaphysics, he is defeated ab initio.
9. There must be but one detective--that is but one protagonist of deduction--one deus ex machina. To bring the minds of three or four, or sometimes a gang of detectives to bear on a problem is not only to disperse the interest and break the direct thread of logic, but to take an unfair advantage of the reader, who, at the outset, pits his mind against that of the detective and proceeds to do mental battle. If there is more than one detective the reader doesn't know ho his co-deductor is. It's like making the reader run a race with a relay team.
10. The culprit must turn out to be a person who has played a more or less prominent part in the story--that is, a person with whom the reader is familiar and in whom the takes an interest. For a writer to fasten the crime, in the final chapter, on a stranger or person who has played a wholly unimportant part in the tale, is to confess to his inability to match with with the author.
11. Servants--such as butlers, footmen, valets, game-keepers, cooks and the like--must not be chosen by the author as the culprit. This is begging a noble question. It is a too easy solution. It is unsatisfactory, and makes the reader feel that his time has been wasted. The culprit must be a decidedly worth-while person--one that wouldn't ordinarily come under suspicion; for if the crime was the sordid work of a menial, the author would have no business to embalm it in book-form.
12. There must be but one culprit, no matter how many murders are committed. The culprit may of course, have a minor helper or co-plotter; but the entire onus must reast on one pair of shoulders: the entire indignation of the reader must be permitted to concentrate on a single black nature.
13. Secret societies, camorras, mafias, et al., have no place in a detective story. Here the author gets into adventure fiction and secret-service romance. A fascinating and truly beautiful murder is irremedially spoiled by any such wholesale culpability. To be sure, the murderer in a detective novel should be given a sporting chance, but it is going too far to grant him a secret society (with its ubiquitous havens, mass protection, etc.) to fall back on. No high-class, self-respecting murderer would want such odds in his jousting-bout with the police.
14. The method of murder, and the means of detecting it, must be rational and scientific. That is to say, pseudo-science and purely imaginative and speculative devices are not to be tolerated in the roman policier. For instance, the murder of a victim by a newly found element--a super-radium, let us say--is not a legitimate problem. Nor may a rare and unknown drug, which has its existence only in the aurhor's imagination, be administered. A detective-story writer must limit himself,, toxicologically speaking, to the pharmacopoeia. Once an author soars into the realm of fantasy, in the detective fiction, cavorting in the uncharted reaches of adventure.
15. The truth of the problem must at all times be apparent--provided the reader is shrewd enough to see it. By this I mean that if the reader, after learning the explanation for the crime, should reread the book, he would see that the solution had, in a sense, been staring him in the face--that all the clues really pointed to the culprit--and that , if he had been as clever as the detective, he could have solved the mystery himself without going on to the final chapter. That the clever reader does often thus solve the problem goes without saying. And one of my basic theories of detective fiction is that, if a detective story is fairly and legitimately constructed, it is impossible to keep the solution from all readers. There will inevitably be a certain number of them just as shrewd as the author; and if the author has shown the proper sportsmanship and honesty in his statement and projection of the crime and its clues, these pesipacious readers will be able, by analysis, elimination and logic, to put their finger on the culprit as soon as the detective does. And therein lies the zest of the game. Herein we have an explanation for the fact that readers who would spurn the ordinary "popular" novel will read detective stories unblushingly.
[TO BE CONTINUED]
William Powell, the first and best Philo Vance.
(Courtesy of www.silentsaregolden.com)