Lester Dent was the staff writer who, the house name Kenneth Robeson, penned all but 20 of these 181 novel-length tales of the science adventurer and globetrotting detective Clark Savage, Jr. Dent created a workmanlike product, on tight deadline, to his wordcount.
Lester Dent Master Plot Formula
This is a formula, a master plot, for any 6000 word pulp story. It has worked on adventure, detective, western and war-air. It tells exactly where to put everything. It shows definitely just what must happen in each successive thousand words. No yarn of mine written to the formula has yet failed to sell. The business of building stories seems not much different from the business of building anything else.
Here’s how it starts:
- A DIFFERENT MURDER METHOD FOR VILLAIN TO USE
- A DIFFERENT THING FOR VILLAIN TO BE SEEKING
- A DIFFERENT LOCALE
- A MENACE WHICH IS TO HANG LIKE A CLOUD OVER HERO
One of these DIFFERENT things would be nice, two better, three swell. It may help if they are fully in mind before tackling the rest.
A different murder method could be — different. Thinking of shooting, knifing, hydrocyanic, garroting, poison needles, scorpions, a few others, and writing them on paper gets them where they may suggest something. Scorpions and their poison bite? Maybe mosquitos or flies treated with deadly germs?
If the victims are killed by ordinary methods, but found under strange and identical circumstances each time, it might serve, the reader of course not knowing until the end, that the method of murder is ordinary.
Scribes who have their villain’s victims found with butterflies, spiders or bats stamped on them could conceivably be flirting with this gag.
Probably it won’t do a lot of good to be too odd, fanciful or grotesque with murder methods.
The different thing for the villain to be after might be something other than jewels, the stolen bank loot, the pearls, or some other old ones.
Here’s the second installment of the master plot.
Divide the 6000 word yarn into four 1500 word parts. In each 1500 word part, put the following:
FIRST 1500 WORDS
- First line, or as near thereto as possible, introduce the hero and swat him with a fistful of trouble. Hint at a mystery, a menace or a problem to be solved — something the hero has to cope with.
- The hero pitches in to cope with his fistful of trouble. (He tries to fathom the mystery, defeat the menace, or solve the problem.)
- Introduce ALL the other characters as soon as possible. Bring them on in action.
- Hero’s endevours land him in an actual physical conflict near the end of the first 1500 words.
- Near the end of first 1500 words, there is a complete surprise twist in the plot development.
SECOND 1500 WORDS
- Shovel more grief onto the hero.
- Hero, being heroic, struggles, and his struggles lead up to:
- Another physical conflict.
- A surprising plot twist to end the 1500 words.
THIRD 1500 WORDS
- Shovel the grief onto the hero.
- Hero makes some headway, and corners the villain or somebody in:
- A physical conflict.
- A surprising plot twist, in which the hero preferably gets it in the neck bad, to end the 1500 words.
FOURTH 1500 WORDS
Shovel the difficulties more thickly upon the hero.
Get the hero almost buried in his troubles. (Figuratively, the villain has him prisoner and has him framed for a murder rap; the girl is presumably dead, everything is lost, and the DIFFERENT murder method is about to dispose of the suffering protagonist.)
The hero extricates himself using HIS OWN SKILL, training or brawn.
The mysteries remaining — one big one held over to this point will help grip interest — are cleared up in course of final conflict as hero takes the situation in hand.
Final twist, a big surprise, (This can be the villain turning out to be the unexpected person, having the “Treasure” be a dud, etc.)
The snapper, the punch line to end it.
Source: The Doc Savage Formula
L. Ron Hubbard wrote a large amount of pulp stories, and quickly settled on a “practical joke” format. The plot twist, by which the hero wins, would take on the form of a practical joke played upon the adversaries. They would think they had victory in the bag, and the hero would be three or four steps ahead by the end of the story.