The Essential Classic Mystery Formula

by DirtyBoy McF---

Part I

Introduction of the crime (mystery) and the sleuth

Chapter 1

A. Disclose the crime and mystery to be solved. The crime must capture

the imagination.

DirtyBoy:

“Okay, maybe it should be a horrible crime, like manufacturing

unworkable TV remotes--yes, that would be evil

“oh, and maybe we need a criminal--how about George SD (SlamDunk) Bush

—and, maybe, some local color, like, Bushy McBush, his gorgeous, out of

control daughter, who writes steamy, hot trashy ebooks right in my lap--

yes, this is good--wow, I am completely on track here.”

"Hold on, DirtMan," Bushy says. "I'm hungry. Are we going to dinner?"

"Sure," I explain, remorsefully—no, powerfully, with a loaded gun in

the police station locker, somewhere in Harlem.

"Dirt, did you hear me?"

"Oh, yeah. Sorry. I was drifting off. Just writing me book in my

stupid, damn airpod--"

"Your what?"

"I got an airpod cloud. Some guy sold it to me in Manhattan Beach."

"What? You shouldn't be buying stuff there. It's probably full of

viruses."

"What, you mean STDs, like you've got?"

"Don't piss me off, DirtBag. I told you I was hungry."

"Okay, sorry Bushy. Just kidding. Let's hit BurgerQueen."

The crime:

It should have been committed in an extraordinary way and either the

victim, the perpetrator, or both, should be unusual. Give the reader enough

information about the victim to make them truly care that the perpetrator

is found out and that justice is served.

B. Early in the story, clues should be revealed which suggest both

physical and psychological aspects of the initial crime.

Dirt:

“holy crap--this sounds like actual work. I may have to skip some of

this stuff--maybe insert some flashy pics of stunning babes--yeah, that

might be good.

Those clues should point to suspects and motive which will carry the

sleuth to the end of Part I. Some clues should point the sleuth in the

right direction, others may not be obvious or be recognized as actual clues

unto later in the story.

Edited for clarity—and short attention spans of readers

B. The ultimate resolution of the sub-plot with demonstrate change or

growth on the part of the protagonist, and will climatic on a personal or

professional level. That climax may coincide with, or occur as prelude to

the climax of the main plot. The sub-plot may be a vehicle for a romantic

interest or a confrontation with personal demons of the sleuth. The author

can manipulate the pace of the novel by moving back and forth between the

plot and sub-plot.

Dirt, “yes, I like this climax idea.”

Part II

Direct the investigation toward a conclusion which later proves to be

erroneous.

Dirt:

“errors---I'm good at them”

Chapter 4

A. Reveal facts about suspects, through interrogations and the

discovery of clues.

Again, we will fast forward

Steps

1. 1

Figure out the basics. Sit down and think about the basic component of

your murder mystery. You've got to answer all these questions:

Who will be murdered?

Dirt:

“whoa, I'm not sure I'm into this murder crap---how about just a

little mild pistol whipping---of, like, bears in zoos.”

What will they be murdered with?

“a taco? bees?”

Why were they murdered?

“hmmm---you mean I got to give a damn?”

Who was the murderer?

Dirt:

“wait, what are cops for?”

Write the ending. Is it a cliffhanger?

Dirt:

“yes, no problem--we have cliffs, and cliff notes--like this---I'm

hanging on for dear life”

Dirt notices the gorgeous curves of Bushy—how could he?

"hey, Bushy, let's hit the pool--get that bikini on---you know--the

one I like--that is almost invisible"

the end, finally