How to write detective stories scheme. How to write a detective story

How to write a detective story

I want to make a reservation right away: I am writing this essay, fully aware that its author never managed to write detective story. Moreover, it was not possible many times, and therefore my authority has a certain practical and scientific significance, like the authority of some great statesman or thinker dealing with unemployment or the housing problem. I do not at all pretend to create a role model for the aspiring author to follow: if anything, I am rather a bad example that should be avoided. Moreover, I do not believe that there can be models in the detective genre, just like in any other necessary case. It is surprising that popular didactic literature, which constantly teaches us how to do everything that we should not do, has not yet developed enough role models. It is also surprising that the title of this essay is not yet staring at us from every book tray. An endless stream of brochures comes out of the press, constantly explaining to people what is completely impossible to comprehend: what personality, popularity, poetry, charm are. We are diligently taught even those literary and journalistic genres that are decidedly not amenable to study. The present essay, on the contrary, is a clear and specific literary guide, which, albeit within very limited limits, can be studied and, by a happy accident, comprehended. I think that sooner or later the shortage of such manuals will be eliminated, because in the world of commerce, demand instantly responds to supply, but people are not able to get what they want. I think that sooner or later there will be not only various manuals for training detective agents, but also manuals for training criminals. IN modern ethics minor changes will take place, and when the dashing and shrewd business mind finally breaks with the tedious dogmas imposed on him by his confessors, newspapers and advertising will show complete disregard for prohibitions today(just as today shows complete indifference to the taboos of the Middle Ages). Theft will be presented as a form of usury, and cutting throats will be no more a crime than buying goods in the markets. Book stands will display brochures with catchy titles: “Forgery in Fifteen Lessons” or “What to Do If Your Marriage Failed,” with the same public guidance on poisoning as if it were about using contraceptives.

However, let's be patient and not look into a happy future for the time being, and until it comes, practical advice on how to commit crimes may not be any better good advice about how to reveal them or how to describe their disclosure. As far as I can imagine, a crime, the detection of a crime, the description of a crime and its detection, and the guidance to such a description, undoubtedly require a certain effort of thought, while succeeding or writing a book on how to succeed does not in any way require this very much. cumbersome process. Anyway, when I think about the theory detective genre, I become something of a theorist. In other words, I explain everything from the very beginning, avoiding as much as possible exciting openings, buzzy phrases, unexpected turns designed to attract the reader's attention. At the same time, I am not at all trying to confuse him or - what good - to awaken thought in him.

The first and fundamental principle is that the goal of a detective story, as indeed of any other story, is not darkness, but light. The story is written for the sake of the moment of insight, and not at all for the sake of those hours of reading that precede this insight. The reader's confusion is the cloud behind which the light of understanding is briefly hidden, and most unsuccessful detective stories are unsuccessful precisely because they are written to confuse the reader, and not to enlighten him. For some reason, detective authors consider it their absolute duty to confuse the reader. At the same time, they forget that it is important not only to hide a secret, but also to have this secret, and one that is worth it. The climax should not simultaneously be a decline; it is not at all necessary to completely confuse the gullible reader, whom the author leads by the nose: the climax is not so much a bursting bubble as a dawning dawn, which is brighter the darker the night. Every work of art, no matter how trivial, appeals to a number of serious truths, and although we are dealing only with a crowd of brainless Watsons, whose eyes widen in surprise, we should not forget that they, too, are eager for the light insights from the darkness of error and that darkness is needed only to shade the light. It always amazes me that, by a funny coincidence, best stories about Sherlock Holmes have titles that were invented as if specifically to emphasize this initial clarity of the detective - “Silver,” for example.

The second very important principle is that the essence of any detective work is simplicity, not complexity. The riddle may seem complicated, but in reality it should be simple. We need the author to reveal the mystery, and not at all to explain it. The denouement itself will explain everything; in a detective story there must be something that a convicted murderer will barely mutter or a terrified heroine will squeal heart-rendingly before fainting from the belated shock caused by an unexpected epiphany. Some literary detectives the solution is more complicated than the riddle, and the crime is even more complicated.

From which follows the third principle: the event or character in which the key to the secret lies must be the central event and a noticeable character. The criminal should be in the foreground and at the same time not conspicuous at all. Let me give you an example from Conan Doyle's story "Silver". Conan Doyle is no less famous than Shakespeare, and therefore there is no longer any need to keep the secret of one of his first famous stories. Holmes learns that a prize horse has been stolen and that the thief has killed the trainer who was with this horse. Of course, the most different people, and not without reason, are suspected of theft and murder, but no one comes to mind the simplest and most natural solution to the riddle: the trainer was killed by the horse itself. For me, this is an example of a detective story, because the solution lies on the surface and at the same time remains unnoticed. Indeed, the story is named after the horse, the story is dedicated to the horse, the horse is always in the foreground. But at the same time, she seems to be on a different plane, and therefore appears above suspicion. As a valuable thing, she remains a favorite for the reader, but as a criminal, she is a dark horse. “Silver” is another theft story in which a horse plays the role of a jewel, but such a jewel that can become a murder weapon. I would call this the first rule of detective fiction, if there are any rules for this. literary genre. In principle, the criminal must be a familiar figure performing an unusual function. It is impossible to understand what we do not know, and therefore in a detective story the criminal must always remain a prominent figure. Otherwise, there will be absolutely nothing unexpected in revealing the secret - what is the point in the sudden appearance of a person whom no one is expecting? So, the criminal must be visible, but above suspicion. The art and dexterity of a detective writer will be fully demonstrated if he succeeds in inventing a convincing and at the same time misleading reason why the killer is connected not only with the murder, but with the action of the entire novel. Many detective stories fail precisely because the criminal owes nothing to the plot other than the need to commit a crime. Usually the criminal is a well-to-do person, otherwise our fair, democratic law would require that he be detained as a vagabond long before he is arrested as a murderer. We begin to suspect such a hero by the method of elimination: for the most part we suspect him simply because he is above suspicion. The skill of the narrator should give the reader the illusion that the criminal does not even think about a criminal crime, and the author who portrayed the criminal does not think about literary forgery. For a detective story is just a game, and in this game the reader fights not so much with the criminal, but with the author himself.

The writer must remember that in such a game the reader will not say, as he would have said if he had become acquainted with a more serious and truthful essay: “Why did the inspector in green glasses climb a tree and look after the doctor’s garden?” He will inevitably have a completely different, and very unexpected question: “Why did the author force the inspector to climb a tree and why did he introduce this inspector in general?” The reader is ready to admit that the city, but not the story, cannot do without an inspector. Therefore, it is necessary to explain his presence in the story (and on the tree) not only by the arbitrariness of the city authorities, but also by the arbitrariness of the author of the detective story. In addition to petty crimes, the detection of which the inspector pleases himself within the narrow confines of the plot, it must be connected with the story and other justifying circumstances, and how literary character, and not like a mere mortal in real life. Following his natural instinct, the reader, constantly playing hide and seek with the writer, his main opponent, will say incredulously: “Yes, I understand, the inspector can climb a tree. I know very well that there are trees in the world and there are inspectors. But tell me, you treacherous person, why was it necessary to force this particular inspector to climb this particular tree in this particular story?”

This is the fourth principle to remember. Like all the previous ones, it may not be perceived as practical guide, since it was based on too many theoretical considerations. This principle is based on the fact that in the hierarchy of arts, mysterious murders belong to the noisy and fun company called jokes. A detective story is a fantasy, a deliberately pretentious fiction. If you like, you can say about it that it is the most artificial form of art. I would even say that this is an outright toy, something that children play with. It follows that the reader, who is a child looking at the world with wide open eyes, is aware not only of the presence of a toy, but also of the presence of an invisible companion, who is also the creator of the toy, a cunning deceiver. The innocent child is very smart and completely trusting. Therefore, I repeat, one of the first rules that must guide the author of a story conceived as a deception is that the disguised murderer must have the artistic right to enter the stage, and not just the vital right to exist on earth. If he comes to the house on business, then this business should be directly related to the tasks of the narrator: he should be guided not by the motives of the visitor, but by the motives of the author, to whom he owes his literary existence. An ideal detective story is a detective story in which the killer acts according to the author's plan, in accordance with the development of plot twists and turns, into which he finds himself not out of natural, reasonable necessity, but for a secret and unpredictable reason. I note that this is precisely why, despite all the costs of the “love affair,” the tradition of sentimental, sluggishly flowing, Victorian storytelling deserves kind words. Some may find this type of storytelling boring, but it can be indispensable for hiding a secret.

And finally, the last principle, which is that a detective story, like any other literary work, begins with an idea, and not only strives to find it, but also concerns the purely technical side of the matter. When we're talking about about a story related to solving a crime, its author needs to start from the inside, while the detective begins the investigation from the outside. Every successfully invented detective problem is built on an extremely clear, and therefore simple, conclusion, on some everyday episode that is remembered by the writer and easily forgotten by the reader. But, be that as it may, the story must be based on truth, and although it contains a fair amount of opium, it should not be perceived only as a fantastic vision of a drug addict.

Why do we read detective stories? On the one hand, this is a form of escaping reality, further proof that we live in a just world. This is sports excitement - we are rooting for our detective. This is a pleasant illusion - we identify ourselves with the main character and as a result we seem stronger, braver, etc.

On the other hand, this is an exercise for the mind - many people like to guess charades.

The main elements of a detective story

The four pillars of detective fiction are:

Mystery. The reader, together with the main character, looks for answers to the questions: What was that?, Who did it? and sometimes - Will they catch or not?

Voltage. For the reader to become seriously interested in a mystery, there must be something important at stake. Therefore, detective stories appeal to such fundamental values ​​as life, freedom and money. The fast-paced plot and high stakes create tension, leaving the reader wanting to know what happens next.

Conflict. The detective story is rooted in ancient legends about the epic journey of a warrior who fights Evil. Solving a crime, especially a murder, is a symbolic victory over death. Therefore, in the detective story, white is separated from black and Good and Evil are in a state of irreconcilable war.

Surprise. Theoretically, the reader has the opportunity to solve the crime himself: as the story progresses, he is given all the necessary clues. But he is disappointed if he still guesses who exactly killed Miss Jane or stole the diamonds from the nightstand.

The world of a genre detective only vaguely resembles the real world. There is no place for accidents, coincidences and unclear circumstances. Everything should be clearly thought out and logical. Each of the heroes performs a strictly defined function: the detective investigates, witnesses present him with necessary facts, the criminal is hiding. But at the same time, plausibility remains important feature detective.

Types of detectives

Closed detective. The crime is committed in a confined space (on a ship, in a mountain boarding house, etc.), and suspicion may fall on a limited circle of people. The closed detective story was especially popular in the 1920-1930s.

Psychological detective. The main emphasis is on the psychology of both the criminal and the detective.

Cool detective and standing close to him detective noir(i.e. black). Violence, corpses and sex are depicted in great detail.

Historical detective. The action takes place in the past. One of the varieties of historical detective fiction is the investigation of a crime committed a long time ago.

Political detective. The action takes place around elections, political actions or the private lives of politicians.

Spy detective. The adventures of the scouts are described.

Art detective. The theft of a work of art is being investigated.

Love detective. A love affair (often between two antagonists) greatly influences the development of the plot.

Ironic detective. The narration is told in an ironic tone. Investigations are usually carried out by amateur ladies. The gory details are omitted.

Police detective. Investigative procedures and the work of professionals are described in detail. Variation - forensic detective. The authors of these works are usually lawyers or former employees law enforcement.

Fantastic detective. The investigation is carried out in a fictional world.

Private detective. The investigation is being conducted by a private detective.

Amateur detective. A non-professional - a witness, suspect, relative or friend of the hero involved in the case - is taken on to solve the crime. If we are talking about a series of novels about an amateur detective, a paradox arises when a seemingly ordinary person stumbles upon a corpse every six months.

Detective characters

Detective- the person who conducts the investigation. As mentioned above, detectives are divided into the following types:

Law enforcement officer;

Advocate;

Private detective;

Amateur detective.

The characteristic features of the protagonist of detective stories are courage, a sense of justice, isolation and the ability to break the law for a just cause. For example, a detective may intimidate a rogue witness to discover the truth. He is able to stand up for himself and is ready to help others. He is a professional in his field, although we are not necessarily talking specifically about investigative work.

Often he has a special talent: a unique memory, ability for languages, etc. In a word, he is always somehow different from mere mortals - this is part of the myth.

Oddities and paradoxes in the character of the hero decorate the narrative: the quiet librarian can ride a motorcycle; pathologist - work as a clown on weekends, etc. But here we must be careful: a lumberjack who loves ballet looks unnatural. If a librarian rides a Harley to work, there should be a rational explanation for it. For example, she inherited a motorcycle from her deceased husband.

Assistant- serves so that the detective can explain the details of the investigation to someone. As a rule, this is a person of average abilities, against whose background the main character looks more representative.

Criminal- a person who committed or organized a crime. As a rule, his name is not fully known.

Here's what James N. Frey advises in How to Write a Great Mystery:

The criminal must be selfish and act out of self-interest. If the reader discovers that the murder was committed by a kind nun who protected orphans, one of the pleasure factors of reading a detective story is lost. People want evil to be punished. No evil - no conflict - no feeling of satisfaction. If a good criminal is necessary for the development of the plot, increase the intensity of the conflict in other ways.

The criminal must be afraid of exposure - otherwise the severity of the conflict will again be lost. Make it smart and resourceful. Let them fight on equal terms with the detective.

The criminal may have suffered mental trauma in the past, after which he went down a crooked path.

Suspect- the person on whom suspicion initially falls. As a rule, he turns out to be innocent.

Victim- a person killed or injured as a result of a crime.

Witnesses- people supplying the detective important information about a crime and/or a criminal.

Sage- gives to the detective valuable advice on how to conduct an investigation.

Expert- provides the detective with important scientific or professional data. For example, in the field of ballistics, linguistics, art, etc.

Detective's plan

Usually a detective story is built according to the following scheme:

1) The detective takes up the investigation. In some cases, the author describes a crime scene or introduces a prologue in order to create the desired atmosphere.

If the main character is a professional, then there is no need to explain his motivation (why he agreed to conduct the investigation): that’s his job. If the main character is an amateur or a private detective, you cannot do without an introductory part: you need to show why on earth the hero got involved in the case. This can be done in flashback order.

2) The detective begins an investigation and at first he is lucky. In mythology, this is called initiation - the hero leaves his usual life and finds himself in Far Far Away kingdom crime.

The investigation is carried out in two ways:

Hunting - the detective immediately finds an important clue and this allows him to unravel the whole tangle;

Gathering - the detective studies disparate facts, which are subsequently combined into a picture of the crime.

The conflict can escalate if the detective finds himself in an environment that is not his own: for example, a simple, taciturn guy from the lower social classes is investigating a murder on Rublyovka.

3) The detective is faced with a serious crisis that turns his life upside down, gathers his strength and continues the investigation in a new direction.

4) The investigation is hot on the trail. The detective discovers the missing links in the chain. The moment of enlightenment comes - he finds answers to all the key questions.

5) The detective catches the criminal. The killer (kidnapper, spy, etc.) gets what he deserves.

6) It tells how the events of the novel influenced the characters.

What to look for when writing a detective story

Investigators are always tracking:

Motive - the reason for committing a crime,

Method - the suspect must have access to the crime weapon and be physically able to commit this or that action.

When thinking through the plot of a detective story, you should start with the motive: why did the locksmith Kuvaldin strangle the ballerina Tapkina? Next, we think about the easiest way to do this: with your bare hands, your own pants, or a wire from a toaster. Don't complicate things: water flows to where it is lower, criminals act in the simplest way.

A detective story must have at least two stories: one true, the other false. First, the detective develops a false version: it fits so well with the facts that he has no doubts about the chosen path. And only then, closer to the climax, does it begin to emerge true position of things. The situation is turned upside down and it is at this moment that the reader experiences catharsis.

It’s useful to stop somewhere in the middle of the novel and write down: what is the reader guessing by this time? What forecasts does he make? And at least two or three forecasts should not come true.

To make it impossible to identify the killer right away, give each of the suspects equal strengths and weaknesses. Let the readers' attention concentrate on the detective: if the most interesting character There will be a murderer in the novel, the secret will immediately become apparent.

The same thing will happen if you emphasize that the locksmith Kuvaldin had neither the motive nor the opportunity to kill the ballerina Tapkina. When the author diverts suspicion from the hero, there is a feeling that this is where the dog is buried. This perceptual feature is often used to create false keys. For example, the author shows that Kuvaldin is as innocent as a daisy, the reader grins contentedly: “Well, everything is clear!”, but in fact, not everything is clear. At the same time, we should not forget that false clues are triggered only when they fit perfectly into the initial investigative version.

A good detective story is reminiscent of a quest - a computer game: in order to get to the goal, you need to collect a certain number of items that will later be useful to the player. In a detective story, this role is played by evidence.

The level of skill of the author largely depends on how skillfully he hides them. Skilful does not mean far. On the contrary, the evidence should lie on the surface, but at the same time have such an insignificant appearance that the reader does not pay attention to it. As a result, at the moment of climax, he can only throw up his hands: Well, how did I not guess? After all, they gave me all the clues!

How to hide evidence? American writer Shannon Okork gives this advice: “If the evidence is big, show it small. If it should get lost, put it in a visible place. Dirty or break beautiful evidence, present dangerous evidence as a completely ordinary object.”

An excellent example of hidden evidence can be found in Roald Dahl's story Sacrificial Lamb: Wife Kills Her Husband Frozen leg of lamb, and then feeds it to the police, who spent the whole day unsuccessfully searching for the crime weapon.

Particular attention should be paid to climax. It comes in the following types:

The detective gathers everyone characters and announces who the murderer is;

In desperation, the criminal tries to do something terrible (grabs hostages, etc.);

The detective knows who the killer is, but he has no direct evidence. He sets a trap and the killer falls into it himself;

The criminal is ready to triumph, but then an unexpected witness appears;

The battle between the detective and the criminal (option - chase);

The detective suddenly realizes that his assumptions are not true;

Pseudo-climax. The criminal is caught, the reader rejoices, but last moment It turns out that they took the wrong one.

The climax itself is built according to the following scheme:

Surprise - for example, the reader did not expect that the Minister of Defense would be the killer;

Increased threat - the killer is cornered, he has nothing to lose and is now ready to do anything;

Peak of conflict;

Justice triumphs.

The detective catches the criminal only thanks to his own mind - no luck, fortune telling, God ex machina, etc.

The reader will feel cheated if the murder ends up being a suicide or an accident. The same thing will happen if the crime is solved when the criminal turns himself in.

Surprises and unexpected turns the plot is wonderful. But when there are too many of them, the reader gets confused. It is recommended to introduce two or three big surprises and a couple of small ones. Neither the detective nor the criminal should do anything deliberately stupid. Otherwise, such a fight is not interesting to watch.

Luck may be on the villain's side before the detective exposes him. If the villain then flies away in a blue helicopter, the reader is disappointed.

Stamps in detective stories

The detective wears a raincoat and a hat, and he always has a flask of alcohol in his pocket.

Before an audit, criminals start a fire in a store or warehouse.

A luxurious woman, the main suspect, is trying to seduce the detective.

Before dying, the victim whispers a mysterious word or name that is a clue.

Pathologist chewing at work.

The main mafioso wears a diamond ring on his finger, licks his hair with gel and goes everywhere accompanied
gorilla bodyguards.

The investigator is constantly worried that the case will be taken away from him.

A mysterious sect with a maniac leader at its head is to blame for everything.

The criminal runs away, asking to go to the toilet.

Forgery of fingerprints.

The dog does not bark at a known stranger, from which the detective concludes that the dog knows this person.

Having caught the detective, the villain ties him to the death machine and talks for a long time about his insidious plans.

The chief of the investigator is a complete idiot and/or bastard.

At the climax, the criminal grabs the detective's girlfriend and puts a gun to her head.

The detective's wife died at the very beginning (several years before the beginning), and since then our hero has not known words of love.

The detective finds a cigarette butt at the crime scene and uses teeth marks (lipstick imprint) to identify the villain.

The criminal provides himself with an alibi using a mannequin or twin brother.

The main villain has fun compiling secret codes and clever pictograms.

The detective makes deductive conclusions that are not as clear-cut as the author would like.

Detectives are perhaps the most popular books fiction. They follow the rules of genre, which means that all stories follow the same principles. For example, they always involve a crime and someone who solves it. There is a certain formula for detective stories. And if you know it, you can follow it every time you want to write a detective story (Agatha Christie did it!). Read a couple of mysteries and you will see that each of them includes the elements described below. And then you can write your own detective story!

How to write a detective story yourself?

1. Crime

A crime occurs (usually murder). It was committed by a villain who has not yet been discovered.

Arthur Binks, a millionaire, was killed with an encrusted knife while celebrating his sixtieth birthday. He was found dead, alone, in the library. The party took place at his summer home, and guests included his two daughters, Lily and Nina, his young wife Helen (the girls' stepmother), his golf partner Pierre H, and Pierre's wife, Roberta H.

1. Detective

A detective arrives to solve a crime. The detective can be a man or a woman, he can be a lawyer, or a policeman, or a tough private investigator, or an amateur with a keen mind (like a nosy old lady).

Helen Binks hired a private investigator, Michael Borlotti. Borlotti is quite smart and has a habit of flipping coins. He doesn't fit in with those rich kids and isn't afraid to ask the tough questions - he's here to do his job.

1. Investigation

A detective conducts an investigation, unraveling and interpreting a tangle of evidence. A detective must be smart and savvy and be able to decipher evidence using strong evidence and sometimes intuition.

Borlotti begins to discover evidence - it turns out that Binks was not liked. Even his golf partner Pierre refers to him as a "slippery guy." Everyone believes that Helen married him for money. Lily and Nina hate their stepmother and blame her for their father's death. But Barlotti is interested in the mysterious Roberta, the reserved and attractive wife of Pierre X, Binks' friend.

1. Scene

In detective novels great importance action takes place, and it is always described in detail. We often imagine a dark, rainy city full of shadows and crime. Sometimes we are in huge old mansions where crimes happen behind closed doors.

Binks has a beautiful old mansion, but it hides many secrets. The garden seems especially frightening - overgrown, wild and unnaturally quiet. Bonnie, Arthur Binks's beloved cat, lurks in dark corners, meowing and hissing ominously.

1. Suspicion

There is always a sense of danger in detective stories, and readers will no doubt become suspicious as they follow the investigating detective. The detective carefully studies mysterious places where armed criminals could be hiding. Throughout the story, the detective collects evidence in places where others would not even think to look. The detective may discover some misplaced item that will prove invaluable in the future.

Borlotti appears to be making no progress in his investigation. All the evidence he had found so far turned out to be a pursuit of non-existent shadows. Everyone in the house seems to suspect Helen Binks, who is growing darker by the day. Something makes Borlotti go out. He realizes that someone is hiding in the shadows. And just when we think his song is over, Bonnie the cat jumps out of the bushes and runs away like a wild one. Bolotti looks closely at where the cat jumped out from and finds the key to the mystery.

1. Denouement

The detective story ends once the detective has collected enough evidence, talked to enough people, and is able to correctly interpret the evidence. Often, while the detective is solving a murder mystery, the suspects are gathered together, the criminal gives himself away and surrenders to justice.

Borlotti gathers all the suspects at the crime scene, in the library. He slowly reveals the evidence. He shows an object found in the garden - it is a comb from the head of Roberta X! We learn that Roberta killed Binks because he was blackmailing her, threatening to expose her spy past. To everyone's amazement, Roberta breaks down and admits her guilt and is arrested by the local police.

How to make friends. Let's study. How you can learn on your own. Let's learn palmistry for children. How to make your first . at home.

Instructions

Collect impressions. Personal experience – main source inspiration. Even if yours comes from another galaxy, the logic of events and actions should be clear to your future readers.

Write down all your ideas and thoughts in a special notebook. Try to write each thought on a new sheet of paper, preferably approximately in the order in which you arrange the events and... Don't aim for a large form right away. Start with stories that can unfold in a maximum of ten printed pages.

Write one typed page every day (about 4,000 characters without spaces). If you want more, don't limit yourself. If you want to write less, overcome yourself and write. The next day, re-read everything you wrote and mercilessly cut out what seems unnecessary. Add what you need, change phrases, etc.

The lucky ones who have literary gift, preparatory stage can take up to six months, and the actual recording of the work is about . The first experience may differ significantly in terms of timing. Be prepared to work for a long time.

While working on a detective story, read newly written chapters to friends you trust. Listen to their opinion, correct the shortcomings that they notice. In general, try to look at your work through the eyes of the reader more often.

Sources:

• write a detective

Classical detective- this is Sherlock Holmes, Nero Wolfe and Hercule Poirot, slowly unraveling the intrigue. Weapons do not appear often on the pages of the novel, and blood appears even less often. Well, what about modern Russian detective- this is the child of the American “black” detective A. A cool hero, rivers of blood, million-dollar deals and fatal beauties are a must-have. Chase, Spillane and Chandler are his parents. Since the Great American Depression, everything similar works according to one principle. And you can do it too.

Instructions

Come up with a hero. Books are written for people and about people, so you can’t do without a main character. As a rule, the author always puts a part of himself into his characters. Perhaps the ideal self that the author would like to become, but will never become. Create a past for the hero and let it be reflected in his character. Failed marriage, military service, unhappy love - take your pick. Incorporate memories of a harsh past into the narrative, it's fashionable.

The profession of the main character should be close and understandable to you. If you don’t know a balance from a bulldozer, and EBITDA sounds like a terrible curse to you, don’t write economic statements and don’t make the main character an accountant who accidentally discovered multimillion-dollar fraud. The best option- journalist. By the nature of his activity, he is obliged to poke his nose everywhere and not understand anything.

Find the crime. Use the press and the Internet for this. The media is filled with information about horrific corruption, uncovered scams and scams in the upper echelons of power. Choose the most interesting scam from your point of view, adapt it to book reality and think about how your hero can get into it.

Based on the nature of the crime, think about the remaining characters. Since your hero has little understanding of the issue and got into the story by accident, you need a consultant: a thief in law, a police colonel, an underground financial officer who has retired. Then kill the consultant. Be sure to introduce a villain who turns out to be good and a best friend who turns out to be a traitor. Don't forget about humor. Funny character, regularly getting into trouble, will decorate the pages of your novel and make them come alive.

Since the majority of the reading audience in our country is, we need love line. Mix together the story of Cinderella, Bluebeard, Romeo and Juliet and the Snow Maiden, and you'll get it great story. Add two - three bed scenes and a happy ending.

Create a structure for the entire activity. All modern detective They are built according to a very simple principle:
- the main character accidentally gets into trouble,
- then he starts to deal with troubles and gets into even more troubles,
- loses his wife (friend, partner, parents, etc.),
- hiding in the woods (in Paris, in Georgia, among the homeless),
- accidentally finds an ally,
- receives a weapon (killer incriminating evidence, a hostage),
- falls in love and suffers,
- delivers the decisive blow
- loses love (friend, parents, dog) or thinks he is losing it,
- finds out who is behind his torment ( best friend, colleague, ex-wife, evil boss),
- finally understands everything,
- finds love,
- Happy End.

The plot is the skeleton of the future detective ah, now we need “meat”. Add conflicts, quarrels, more details and descriptions. Come up with several events that can turn the course of action upside down. Local color and original speech of the characters are required.

Make sure that everything you do is logically connected, that the characters' actions flow from their characters, and that events flow smoothly into one another. Complete all storylines, every word spoken in the novel must have closure. Of course, unless you plan to write a sequel. In this case, leave a plot tail, clinging to which you can unfold new novel.

Think about which characters are not needed for a happy ending and kill them. If you can’t kill him, send him to the forests (to Paris, to Georgia, to the trash heap of the homeless). Never kill. It's not funny, it's not engaging, and it doesn't make for easy reading. Most readers project the events of the novel onto themselves, and the child may be put off from further reading.

Don't get caught up in long fights. Even if you are an expert in martial arts, control yourself. A detective story is a fast-paced action, and dialogues add dynamism to the novel. Put your thoughts into the characters’ mouths, but don’t let them philosophize for two or three pages.

Make the characters' speech clear and simple; dialect words and a little swearing are welcome. Do not overuse scientific terms and complex words. Please note that most readers do not know these words. For the main character, come up with some kind of verbal trick that he will use appropriately and inappropriately.

Don't delay the action. Everything must happen quickly. An action that lasts for years is not detective. The most you can do is describe events that take place several years later and make a finale out of them. No more than two pages.

Your reader should “swallow” the book, and only then think about why he actually did this.

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• writing a detective story in 2018

Detective works give readers the thrill and novelty of an unexpected solution. Modernity has given rise to many authors detective works, but the classics remain the most popular.

Arthur Conan Doyle - creator of the method of deduction

Sir Arthur Conan Doyle was a doctor by training. He traveled a lot, encountered interesting medical cases and became involved in adventures. Subsequently, all this was reflected in his work. Conan Doyle's first stories were influenced by Edgar Allan Poe, Charles Dickens and Bret Harte. But later the writer developed own style, bringing to the literary arena the mysterious detective Sherlock Holmes, the brave officer Gerard and the encyclopedist Professor Challenger. Holmes became best known to Conan Doyle for using newest method deduction. A cynical detective with a subtle English feeling humor brought the author well-deserved fame and is still popular.

Several films and TV series are dedicated to Sherlock Holmes, and a museum named after him has been opened in London.

Edgar Allan Poe - creator of the modern detective story

This writer left behind the richest literary heritage. He published stories in Gothic, fantasy and humorous genre, wrote poetry. Poe is also known as the creator of the canons modern detective. His “Murder at the Mortuary” and “The Gold Bug” are included in the classic collection of detective prose. According to several classic detective techniques found in later stories - the appearance of a false trail, blackmail of a detective or victim, murders committed by a maniac, false evidence. In the writer’s works, the main idea of ​​all can be traced - the solution to the crime is valuable in itself, and his is secondary.

Agatha Christie - a female perspective on a detective story

The Queen of Detective fiction gave the reader several memorable characters - the awkward but surprisingly insightful fat man Poirot and the modest but very curious old woman Miss Marple. Writing was for Christy. real passion. According to her, she came up with her works simply by cleaning the house or talking with friends. As a result, the writer sat down at the table, all she had to do was write down the idea she had invented.

Agatha Christie had problems with literacy all her life and, even being widely famous, was forced to use the services of a proofreader.

The heroes were real personalities for her, and, as Christie admitted, they often lived their own own life. Agatha Christie wrote not only about abstract crimes. She also touched upon social issue, often criticizing the British justice system.

Instructions

First of all, to write your own you need an idea. The work should have a thought, and not a chaotic plot and characters. Determine the main idea you want to convey. Maybe it will be a love affair, or an exciting adventure, an action-packed detective story, or Magic world. As you already understand, the idea closely resembles the genre, but is not it. For example, in the detective genre, you write about the life and adventures of a famous detective. This will be the idea.

After this, we begin to build a storyline. In a simplified form, the plot can be divided into the following parts: exposition, plot, climax, plot. This classic version plot building, but you can use your own. In any case, a beginning and end are necessary so that the reader sees a meaningful beginning and end. Think about the plot in advance general outline. So-called plot twists may come as the book is being written.

Identify the main characters. We need to come up with them, habits. Descriptions of appearance often need to be detailed. IN different situations it is necessary to describe the clothes of the characters at one point or another in the book. When describing appearance, try not to use common words. For example, the phrase beautiful has little to say to the reader. But if it happens Full description facial features and figures, then the reader himself will determine her beauty.

Climaxes need to be set in such a way that the reader immediately understands what the event is. Use epithets and dialogues that can determine the emotionality and state of the characters at this moment. If you are telling a story in the first person, then you need to remember that you don’t need to go further than the hero’s thoughts. The character cannot know how this or that person feels. He can only guess. Even if you are planning a continuation of the book, be sure to bring it to the end. The reader should find out the questions that interest him that will arise during reading. Therefore, having read to the end and not finding answers to them, the reader will be disappointed. By following the instructions and using your imagination, you can write good book.

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• Read online book How to write a story

Each of us would definitely like to become famous writer. But these days, it is not necessary to have writing talent. It's certainly important, but you'll need other skills to write a bestseller.

You will need

• First of all, you need a laptop, preferably with a high-quality backlit keyboard. Why a laptop? Yes, because you don’t have to sit at home in the same environment - you can write a book in nature, in a cafe or in any other place. Lighting is necessary for working at night, because inspiration can come at any moment!

Instructions

First of all, for your productivity, I advise you to master touch typing skills. This way you can work faster without having to search for the right letter, and you can capture every flight of thought.

Choose your writing genre. You may find it much easier to write novels than, for example, science fiction, or vice versa. Try to evaluate your abilities in each genre, and perhaps combine several in your work. For example: a fantasy novel with detective elements.

After choosing a genre, think about the plot of your book. Take a notebook and accurately describe: each of your characters (facial features, character), the places where the actions take place, and the world heroes (society, nature, past).

After all this, you can start writing. In the work, follow storyline so that there are no misunderstandings. For example: in one scene a character loves , and in another - fruit. A trifle, but at the same time very important detail.

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note

However, to write something truly worthwhile, you also need the talent of a writer. If you are not confident in your abilities, you can always read various educational articles, go to seminars on your chosen topic, and much more.

A person always has an irresistible desire to speak out. But it’s not always possible to do this in front of people, especially if your statement is a fantasy. That's why many people turn to paper. Not everyone can express their thoughts on a piece of paper, much less write a book. But even if there is no talent, but there is a persistent desire to create, then we will begin the process of creating a work.

Instructions

First of all, to write your book you need an idea. The work should have thought, and not a chaotic plot and the lives of the characters. Determine the main idea you want to convey. Maybe it will be an exciting adventure, an action-packed story, or a magical world. As you already understand, the idea closely resembles the genre, but is not it. For example, in the genre

Choose in which era the action will take place. This could be any time from Ancient Egypt to the distant future, and even a fictional planet in a new galaxy.

• Do a little research about what happened in a particular country - murders, mysterious cases. If the crime has not been solved, you can come up with any solution.

Create the image of a detective. He can be cool guy, an intellectual, a victim of circumstance, or even the source of trouble in your story. It is not necessary to answer all of the questions below. However, being thorough at this stage will help you write a believable story with a lively and complex central character.

• Come up with the most basic things. Is it a man or a woman? Name? Age? Appearance (skin color, eyes, hair)? Where is he or she from? Where does the hero live at the beginning of the story? How did he get involved? Should he be the victim? Is he the cause of what is happening?
• Give the hero a family. Parents? Brothers and sisters? Significant other? Children? Other relationships? Social groups? Someone who mysteriously disappeared... Let the circumstances be as real or as unusual as you wish.
• What kind of life does the hero lead? Is he a celebrity or is he still a newcomer? Does he have an exceptional mind? What crimes does it solve - murders, thefts, kidnappings?
• Think about what your hero loves. What's his favorite phrase? Favorite color, place, drink, book, movie, music, dish? What is he afraid of? How practical is it? Do you use perfume, and what kind – strong, weak, pleasant or not so pleasant?
• Think about religion. Is your main character religious? If so, what faith does he belong to? Perhaps he came up with it himself or chose from different religions what suited him personally? How do beliefs influence his actions? Is he superstitious?
• Decide how the hero behaves in relationships. Does he have many friends? Do you have a best friend? Is he a romantic by nature? What first impression does he make? Does he love children? Does he read a lot? How do you feel about smoking?
• How does the hero dress? If this is a woman, does she use cosmetics or dye her hair? What about piercings or tattoos? Is your character attractive, and how attractive does he consider himself? Is there anything he would like to change or something he is particularly happy with? How much time does he devote to his appearance?
• It may seem that this is too much for a short story, but it is necessary to develop the image of the main character as deeply and in detail as possible for a good story.

Come up with a plot and a crime.

• To get started, ask yourself questions: who? What? Where? When? Why? How? Who committed the crime and who was the victim? What kind of crime was this? When did it happen (morning, afternoon, evening, late at night)? Where did this happen? Why was it done? How was it accomplished?
• Using this outline, outline the plot of your story more fully, including as much detail in your notes as you need. this moment came to your mind. Plot ideas are probably already in full swing. Don't worry about organizing them, just WRITE them down so you don't forget!

Think about a crime scene. This part of your story is especially important, so take your time and work through it thoroughly. Try to describe every detail so that the picture of the crime scene stands before the reader's eyes. What does it look like? Is there a difference between daytime and nighttime? How are the first and second crime scenes different? What are the details of the crime? It might be a good idea to write a first draft of the crime scene at this stage so that you already have a general idea.

Create an enemy of the main character. Go back to the questions you used to describe the detective, and repeat the same for his antagonist, working through his personality in the same detail. Pay special attention to his attitude towards the hero.

Think carefully about everything about the crime, the suspects, the antagonist, etc. d. Make sure you have all the information organized before you start writing.

• Make a list of suspects. Work through their personality in general terms using the individual questions from Step 1.
• Do the same with witnesses and other characters.
• Don't forget: you must imagine how the crime will be solved!

Think about how to describe the work of a detective. He must be good at his job. Consider how your main character will ultimately solve the case (based on his personality and qualities). Make sure that the solution does not turn out to be banal or too obvious.

Start writing. First, introduce the reader to the characters and setting. Then let the crime happen.

Introduce suspects and witnesses into the story. For example: “Anna entered the office. She was a tall woman with thin arms and legs. Her face was...” Make sure that the reader has a vivid picture of each of them.