Welcome! My name is Kurt. From a childhood I loved reading books. By the time I’d grown up I’ve understood that my passion is writing, I have started my career as a translator but right now, I am working as a freelance writer. I love spending my holidays camping with friends and everything which related to active sport..

Do you know how to unravel the mystery of a police story? My freelance company pay for essay provide a small article about topic. Almost two centuries after its emergence, police stories continue to feature on the lists of best-selling books, filling movie theaters and being the subject of successful series.

But what makes a narrative a good police story? And yet: what are the essential points that a reader needs to understand in order to unravel the mystery of the story? This is what we are going to discover today in yet another text in the literary genres category .

First of all, let's understand a little more about the mystery of police history. In fact, there are two main divisions in the police genre: mystery and suspense. But, at this point, we will analyze the first of these subcategories, with their main characteristics, rules and tricks.

1. The Helper's Importance

In many stories, the Detective is accompanied by the figure of the Helper, someone of normal intelligence, but who seems stupid in comparison to the genius of the Detective - a trait that creates opportunities for comic relief to the tension of the investigation in which the reader finds himself.

Generally, the Helper is also the narrator, allowing the story to be presented from his point of view: that of an ordinary person, for whom the details surrounding the mystery are absolutely incomprehensible, needing the patient (and ironic) explanation from the Detective to every step of the mystery. Thus, the Helper doubles as the Detective's “ladder”, being a frequent target of his jokes and, at the same time, showing the intellectual superiority that the Detective has.

As the lack of wit is compensated by a noble and courageous spirit and also by a loyalty to all test, the Helper is usually very dear to the public, as much as the Detective is admired. Some of the main mystery stories use this figure of the Helper, with emphasis on: Dr. John H. Watson, narrator of The Adventures of Sherlock Holmes ; Captain Arthur Hastings, chronicler of Hercule Poirot's main narratives; the anonymous narrator of the three classic stories in which C. Auguste Dupin appears: The Murders on Rue Morgue , The Mystery of Marie Rogêt and The Stolen Letter .

2. Reader versus Detective

The game proposed by the mystery story The rules of the game can be considered a dispute between the reader and the Detective: whoever finds out the culprit's identity first wins. It is clear that this type of story requires a well-defined narrative structure, with a series of fixed rules that must be followed by the author, for the game to work.

These rules were explained by SS Van Dine, a pseudonym used by American art critic Willard Huntington Wright, creator of detective Philo Vance. In 1928, Van Dine published an article entitled “Twenty rules for writing detective stories”, which became famous.

Over time, some of these rules have ceased to make sense, others have been questioned and even purposely broken by other authors, but in general they continue to serve as a reference for mystery stories. Here are the main ones:

-The reader must have the same opportunity as the detective to solve the mystery. All leads must be clearly stated and described.

-No intentional trick or mistake can be used with the reader, except those used legitimately by the criminal against the detective himself.
-The culprit must be determined by logical deductions - not by accident, coincidence or forced confession. Solving a criminal problem in this way is like sending the reader on a meaningless search and then saying, after he has failed, that you had the goal of your search up your sleeve all the time. Such an author is no better than a prankster.
-The problem of crime must be solved by strictly natural means. Methods for learning the truth such as ouija boards, mind reading, seances, crystal balls and the like are prohibited. The reader has a chance when he can measure his intelligence with that of a rational detective, but if he has to compete with the spirit world and the fourth dimension of metaphysics, he is already defeated from the start.
-The culprit must be a person who has played a more or less prominent role in the story - that is, a person with whom the reader is familiar and in whom he is interested. If a writer places the blame for the crime, in the final chapter, on a stranger or person who has played a totally unimportant role, he is confessing his inability to measure his intelligence with that of the reader.
-The truth of the problem must always be apparent - as long as the reader is sharp enough to see it. By this, I mean that if the reader, after learning the explanation of the crime, reread the book, he will see that the solution, in a way, was in plain view - that all the clues really pointed to the culprit - and that, if he had been as smart as the detective, he could have solved the mystery for himself before the final chapter. If a police story is just and legitimately constructed, it is impossible to hide the solution from all readers. Inevitably, there will be a number of them as perceptive as the author; and if the author showed due sporting spirit and honesty in his statement of the crime and its clues, these discerning readers will be able, by analysis, elimination and logic,

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