Detective Conan Mystery Formula

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The following formula, found on Reddit and submitted by user TeraVonen, is a near perfect summary of the typical 2-part story pattern you find in the mystery anime and manga Detective Conan. Conan is the 4th best selling manga series of all time, and the anime has been on the air for over 20 years, and in that time a definitely formula to how the stories play out has developed. There is still a lot of variety within this formula, but it’s the basis of the majority of Conan episodes which aren’t directly linked to the overarching plot.


The typical murder case Detective Conan episode

Part 1 :

  • Conan goes with some of his usual companions somewhere for leisure.
  • Optional: Conan thinks about some plot progression elements he recently discovered. *
  • Conan’s group run into a group of people. One of them is being a douche to everyone else and then goes somewhere away from the others. Conan will listen a bit to the argument then move on with his day.
  • A scream. Conan and any detective he was with (Heiji, Sera, etc) will go running to the scene. It’s a murder. The person being a douche earlier got killed.
  • The police come to the scene.
  • Optional: The scene might appear as an accident/suicide initially, before the detective confirm it’s actually a murder.
  • Conan starts citing strange things to the police. [Things that Conan notes as being strange about the case or situation- Rob]
  • There are three suspects: The ones who argued with the victim earlier.
  • End of the episode.

Part 2 :

  • The suspects are searched and interrogated. At least one of them has a good motive for the crime.
  • The police discovers new elements related to the crime, but still not enough to determine the identity of the murderer.
  • Conan and the other detectives (if present) are close to the truth, then someone in Conan’s group will bring up a subject or say something unrelated that will make Conan or the other detectives realize how the crime was committed.
  • At this moment, the three suspects want to go home and urge the police to let them go, they will explain again their own versions of the events to show how the murderer wasn’t one of them.
  • This is when the case is resolved, either by one of the adult detectives, Sleeping Kogoro, or Conan himself. The method of murder is explained and the culprit identified. They will deny it, claiming no proof, this is when the detectives will use the “We will find your blood/fingerprints/DNA” card.
  • The culprit admits his crime. His motive is either to punish an unpunished crime, getting blackmailed, or to avenge someone else. [Also hatred and jealousy are common ones- Rob]
  • End of the case, Ending starts.
  • Conan and his group move on from the case usually going home after having their leisure time disrupted.
  • Optional: If there is any plot progression deductions from Conan, they will be shown here. *

[ *  = These refer to the overarching story of the manga, not the individual mystery which this is a summary of. -Rob]


The above formula is best understood by watching a few episodes of Detective Conan (aka Case Closed in English) which can be found on Netflix or (better, because they have more episodes) Crunchyroll. Or, of course, you can also read the manga at various places online. It’s a nifty little mystery story structure for short stories that has been proven to work time and again.

If you wanted to use it for another type of detective story that wasn’t broken into two parts, however, you would need to make a few modifications. The audience knows who Conan is, whereas another detective would have to be quickly introduced. Also, in a short story you probably don’t need to have the suspects explain themselves twice, because that’s just for people who missed/forgot the first half to catch up before the reveal.

Anyhow, this was a great summary of the Conan story formula, so I thought it was worth archiving for future writers. Enjoy

Rob

Classic 12-Chapter Murder Mystery Formula

(Note: This has been floating around the internet for years, and I don’t know who first wrote it (if anyone does, let me know!) but it’s worth archiving and Camp Nanowrimo starts next week, so here it is.)

The classic mystery is popular fiction which follows a specific formula. Clever writers may try to change the formula, but the most clever will cling to it for a very good reason. They work within the bounds of the formula because it works!


The following outline serves the modern mystery novel, as defined by editors and publishers. A typical story will contain 60,000 to 65,000 words (205 manuscript pages) and will be divided into 12 chapters, each approximately 17 pages in length.

The Classic 12-Chapter Mystery Formula

Act 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. It should have been committed in an extraordinary way and either the victim the perpetuator, 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. Those clues should point to suspects and motive which will cary the sleuth to the end of Act 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.

C. Introduce the sleuth who will solve the crime early, and have him or her do or say something very clever or unexpected which will establish that person as unique. Create this character with care. His or her personality should be interesting enough to sustain the interest of the reader to the very last page. (or through an entire series of books). It is not necessary to disclose all aspects of the sleuth’s personality at the onset. Let the description unfold gradually to sustain interest. Do reveal enough background to let the reader understand the world in which the protagonist functions. (Small town sheriff, Scotland Yard detective, Pinkerton agent in the old West, country squire, investigative reporter in New York City, etc.)

D. Ground the reader in the time and place where the crime occurs. It is often useful to include some sort of symbol, an object or a person, in the opening scene which serves as a metaphor for what occurs in the story. The reappearance of this symbol at the conclusion of the story will create a certain organic unity.

E. Begin with a dramatic event. Some writers offer a prologue, describing the execution of the crime in detail, as it occurs, possible from the point of view of the victim or perpetrators. The same information could also be revealed by a character, through dialogue. Sufficient details should be furnished to allow the reader to experience the event as though he or she were actually there. Another good opening would be to put the sleuth in a dire situation and allow detail of the crime to unfold in due course.

Chapter 2

A. Set the sleuth on the path toward solving he mystery. Offer plausible suspects, all of whom appear to have had motive, means and opportunity to to commit the crime. Select the most likely suspects, and have the sleuth question them. One of these suspects will turn out to be the actual perpetrator.

B. At the approximate mid-point of Act 1, something should occur which makes it clear to the reader that the crime is more complicated than originally thought. Hints may be given to allow the reader to actually see possibilities not yet known to the sleuth.

Chapter 3

A. The sub-plot should be introduced. The plot will continue to maintain the progress of the story, but the sub-plot will carry the theme, which is a universal concept to which the reader can identify. Sub-plots tend to originate either in a crisis in the sleuth’s private life, or in the necessity of the sleuth to face a dilemma involving a matter of character, such as courage or honesty.

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.

Act II

Direct the investigation toward a conclusion which later proves to be erroneous.

Chapter 4

A. Reveal facts about suspects, through interrogations and the discovery of clues.

B. Flight, or disappearance of one or more suspect.

C. Develop a sense of urgency. Raise the stakes or make it evident that if the mystery is not solved soon, there will be terrible consequences.

Chapter 5

A. The investigation should broaden to put suspicion on other characters.

B. Information gathered through interviews or the discovery of physical evidence, should point toward the solution, although the relevance may not yet be apparent.

Chapter 6

A. The sleuth’s background is revealed as the sub-plot is developed. Tell the reader what drives the protagonist, what haunts or is missing in his or her life.

B. Make it clear that the sleuth has a personal stake in the outcome, either because of threat to his or her life, or the possibility of revelation of matters deeply disturbing to the protagonist on an emotional level.

Act III

Change of focus and scope of the investigation. This is the pivotal point in the story where it become evident that the sleuth was on the wrong track. Something unexpected occurs, such as the appearance of a second body, the death of a major suspect, or discovery of evidence which clears the most likely suspect. The story must take a new direction.

Chapter 7

A. Reveal hidden motives. Formerly secret relationships come to light, such as business arrangements, romantic involvement’s, scores to be settled or previously veiled kinships.

B. Develop and expose meanings of matters hinted at in Act I., to slowly clarify the significance of earlier clues.

Chapter 8

A. The sleuth reveals the results of the investigation. The reader, as well as the protagonist and other characters, are given an opportunity to review what is known and assess the possibilities.

B. The solution of the crime appears to be impossible. Attempts to solve the crime have stymied the sleuth. Misinterpretation of clues or mistaken conclusions have lead him or her in the wrong direction, and logic must be applied to force a new way of grasping an understanding of the uncertainties.

Chapter 9

A. Have the sleuth review the case to determine where he or she went wrong.

B. Reveal the chain of events which provoked the crime.

C. The crucial evidence is something overlooked in Act I, which appeared to have been of little consequence at the time it was first disclosed. That evidence takes on new meaning with information disclosed in Act III.

D. The sleuth (and perhaps the reader, if a keep observer) becomes aware of the error which remains undisclosed to the other characters.

Act IV

Solution

Chapter 10

A. The sleuth weighs the evidence and information gleaned from the other characters.

B. Based on what only he or she now knows, the sleuth must seek positive proof to back up the yet undisclosed conclusion.

Chapter 11

A. Resolution of the sub-plot

B. The protagonist, having been tested by his or her private ordeal, is strengthened for the final action leading to the actual solution of the mystery.

Chapter 12

A. The Climax – a dramatic confrontation between the sleuth and the perpetrator in which the sleuth prevails. The more “impossible” the odds have been, the more rewarding the climax will be.

B. Resolution – Revelation of clues and the deductive process which lead to the solution. Establish that the case has been solved and justice has been served to the satisfaction of all involved (except, the villain).

How to Write a Murderously Good Mystery

On her excellent writer’s blog, writer Karen Woodward has written and put together a fantastic collection of articles on writing mysteries that anyone wanting to move into the genre should definitely check out. She covers setting, victims, making sufficiently intriguing murders, and even delves into the techniques used by Agatha Christie in order to explore how to write the perfect mystery story. Check it out! And while you’re there, read some of her other excellent articles on writing as well, Karen really knows her stuff!

Rob

The Technique of Mystery

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In my travels across the net, I recently came across a book from 1914 by Carolyn Wells called The Technique of Mystery. This book is her thoughts on the theory and practice of writing mysteries, and while Ms. Wells may not have been a particularly successful mystery writer, she did put a lot of thought into the subject that even a modern writer might want to consider.