Friday, September 29, 2017

The Canary Murder Case (1927)

Major characters:
  • Philo Vance, dilettante detective
  • John F. X. Markham, District Attorney
  • Margaret Odell, Broadway beauty, found murdered in her aparrtment
  • Amy Gibson, Margaret Odell's maid
  • William Jessup, telephone switchboard operator
  • Charles Cleaver, a man-about-town
  • Kenneth Spotswoode, a manufacturer and Margaret's date that evening
  • Louis Mannix, a fur importer
  • Dr. Ambrose Lindquist, neurologist who is quite cozy with Margaret
  • Tony Skeel, professional burglar

Locale: New York City

Synopsis: Margaret Odell, known as "The Canary", is murdered in her apartment, and found the following morning by her maid Amy Gibson. Witnesses and evidence show no one entered or left the apartment at the time, and it appears the assailant had been hiding in a closet waiting for her to return home from a date.

Interior of apartment

It seems like a classic locked-room mystery, although quite obvious someone was hiding in the closet since the keys were found on the inside of the closet door! The only door to the apartment was under constant view by the telephone operator.

Floor plan of first floor

Skeel is the only one known to be in the apartment at the time. But while narrowing down the possibilities, Skeel himself winds up murdered.

Vance finds the culprit by staging a poker game and applying the psychology of poker to the players.

Monday, September 18, 2017

The Benson Murder Case (1926)

Major Characters:

  • Philo Vance, dilettante detective
  • John F. X. Markham, district attorney
  • Sgt. Ernest Heath, Homicide Bureau
  • Alvin Benson, wall street broker, dead in his home as story opens
  • Major Anthony Benson, brother of the murdered man
  • Mrs. Anna Platz, housekeeper for Alvin Benson
  • Muriel St. Clair, a young singer
  • Captain Philip Leacock, finace of Muriel St. Clair
  • Leander Pfyfe, friend of Alvin Benson
  • Mrs. Paula Bannon, friend of Leander Pfyfe
  • Elsie Hoffman, secretary of the firm Benson and Benson

Locale: New York City

Synopsis: District Attorney John F. X. Markham invites Philo Vance along to a murder scene. Broker Alvin Benson has been found dead in his home. Sgt. Ernest Heath is in charge of the investigation. A drawing of the scene is provided:

Not much to go on for clues: a grey Cadillac was seen parked outside with fishing tackle sticking out the back, in the room are found a pair of ladie's gloves and a handbag, with the monogram "M. St.C". The housekeeper, Anna Platz, heard the shot in the night but did not recognize it as such.

The handbag turns out to belong to Muriel St. Clair, who had been to dinner with Benson, but denies any involvement. Muriel, however, is engaged to Capt. Philip Leacock, who was none too pleased to find that she has been stepping out with Alvin Benson.

Vance finds that five people had motive and opportunity to do away with Benson, and examines a theory for each to find the murderer.

Saturday, September 16, 2017

Twenty Rules for Writing Detective Stories

by S. S. Van Dine

The following article is from the corresponding page at It also appears (in my edition, at least) in the back of The Winter Murder Case (Grosset & Dunlap, 1939). 

The detective story is a kind of intellectual game. It is more--it is a sporting event. And the author must play fair with the reader. He can no more resort to trickeries and deceptions and still retain his honesty than if he cheated in a bridge game. He must outwit the reader, and hold the reader's interest, through sheer ingenuity. For the writing of detective stories there are very definite laws--unwritten, perhaps, but none the less binding: and every respectable and self-respecting concocter of literary mysteries lives up to them.

Herewith, then, is a sort of Credo, based partly on the practice of all the great writers of stories, and partly on the promptings of the honest author's inner conscience. To wit:
1.The reader must have equal opportunity with the detective for solving the mystery. All clues must be plainly stated and described.
2.No wilful tricks or deceptions may be played on the reader other than those played legitimately by the criminal on the detective himself.
3.There must be no love interest in the story. To introduce amour is to clutter up a purely intellectual experience with irrelevant sentiment. The business in hand is to bring a criminal to the bar of justice, not to bring a lovelorn couple to the hymeneal altar.
4.The detective himself, or one of the official investigators, should never turn out to be the culprit. This is bald trickery, on a par with offering some one a bright penny for a five-dollar gold piece. It's false pretenses.
5.The culprit must be determined by logical deductions--not by accident or coincidence or unmotivated confession. To solve a criminal problem in this latter fashion is like sending the reader on a deliberate wild-goose chase, and then telling him, after he has failed, that you had the object of his search up your sleeve all the time. Such an author is no better than a practical joker.
6.The detective novel must have a detective in it; and a detective is not a detective unless he detects. His function is to gather clues that will eventually lead to the person who did the dirty work in the first chapter; and if the detective does not reach his conclusions through an analysis of those clues, he has no more solved his problem than the schoolboy who gets his answer out of the back of the arithmetic.
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 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 tiptop 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 sÈances, crystal-gazing, and the like, are taboo. A reader has a 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 machine. 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 who 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 he 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 wits with the reader.
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 had 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 rest 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 irremediably 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 author'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 Jules Verne manner, he is outside the bounds of 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 perspicacious readers will be able, by analysis, elimination and logic, to put their finger on the culprit as soon as the detective does. And herein 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.
16.A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no "atmospheric" preoccupations. Such matters have no vital place in a record of crime and deduction. They hold up the action, and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude; but when an author of a detective story has reached that literary point where he has created a gripping sense of reality and enlisted the reader's interest and sympathy in the characters and the problem, he has gone as far in the purely "literary" technique as is legitimate and compatible with the needs of a criminal-problem document. A detective story is a grim business, and the reader goes to it, not for literary furbelows and style and beautiful descriptions and the projection of moods, but for mental stimulation and intellectual activity--just as he goes to a ball game or to a cross-word puzzle. Lectures between innings at the Polo Grounds on the beauties of nature would scarcely enhance the interest in the struggle between two contesting baseball nines; and dissertations on etymology and orthography interspersed in the definitions of a cross-word puzzle would tend only to irritate the solver bent on making the words interlock correctly.
17.A professional criminal must never be shouldered with the guilt of a crime in a detective story. Crimes by house-breakers and bandits are the province of the police department--not of authors and brilliant amateur detectives. Such crimes belong to the routine work of the Homicide Bureaus. A really fascinating crime is one committed by a pillar of a church, or a spinster noted for her charities.
18.A crime in a detective story must never turn out to be an accident or a suicide. To end an odyssey of sleuthing with such an anti-climax is to play an unpardonable trick on the reader. If a book-buyer should demand his two dollars back on the ground that the crime was a fake, any court with a sense of justice would decide in his favor and add a stinging reprimand to the author who thus hoodwinked a trusting and kind-hearted reader.
19.The motives for all crimes in detective stories should be personal. International plottings and war politics belong in a different category of fiction--in secret-service tales, for instance. But a murder story must be kept gem¸tlich, so to speak. It must reflect the reader's everyday experiences, and give him a certain outlet for his own repressed desires and emotions.
20.And (to give my Credo an even score of items) I herewith list a few of the devices which no self-respecting detective-story writer will now avail himself of. They have been employed too often, and are familiar to all true lovers of literary crime. To use them is a confession of the author's ineptitude and lack of originality.
  1. Determining the identity of the culprit by comparing the butt of a cigarette left at the scene of the crime with the brand smoked by a suspect.
  2. The bogus spiritualistic sÈance to frighten the culprit into giving himself away.
  3. Forged finger-prints.
  4. The dummy-figure alibi.
  5. The dog that does not bark and thereby reveals the fact that the intruder is familiar.
  6. The final pinning of the crime on a twin, or a relative who looks exactly like the suspected, but innocent, person.
  7. The hypodermic syringe and the knockout drops.
  8. The commission of the murder in a locked room after the police have actually broken in.
  9. The word-association test for guilt.
  10. The cipher, or code letter, which is eventually unravelled by the sleuth.

Introduction and title list

The six Collier spiderweb design books sat on my parents' bookshelf for years. My mother was a great book club joiner, so perhaps that's where they came from. The spiderweb design always seemed creepy to me as a kid. In later years I found there were additional S. S. Van Dine titles, and picked them up one by one until I had all twelve. 

This blog will give you a post for each one - characters and synopses. Perhaps you will find them interesting as well!
Title List:
Other resources: