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In Agatha Christie’s And Then There Were None there are at least two of the twenty rules from “Twenty Rules for Writing Detective Stories” by Van Dine used. These two rules being “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” (Van Dine) and “No willful tricks or deceptions may be placed on the reader other than those played legitimately by the criminal on the detective himself” (Van Dine) In And Then There Were None by Agatha Christie One of the many rules from “Twenty Rules for Writing Detective Stories” by Van Dine shown is “The culprit must turn out to be a person who has played a more or less prominent part in the story. . .” (Van Dine).
The book “And Then There Were None”, written by Agatha Christie, each of the guests have committed a crime; more specifically, a murder. Vera Claythorne, who let her lover’s weak nephew swim out to a rock, is mentioned to feel guilty all the time. She remembers the event whenever she is near water. In the end, she commits suicide, knowing that she should be punished for her crime. General Macarthur is also one of the characters who accepts the guilt, having sent an officer out to a reconnaissance.
Throughout the passage given, the author uses imagery and figurative language such as metaphors. The figurative language in the passage creates the theme surrounding evil and justice as well as a symbol that is used throughout the rest of the novel; through this the readers learn more about Agatha Christie’s writing style and ideas. The passage begins with Hercule Poirot detailing the man’s voice being, “slightly husky in tone” and having a “queer, soft, dangerous quality.” This activates the audience’s auditory senses and makes the novel easier to read and imagine. This imagery and using such words as “husky” and “dangerous” make the tone of the passage as well as the novel cautionary and curious; the readers want to know more about this man
In And Then There Were None, Agatha Christie chronicles the deaths of the ten main characters. Slowly, one by one, each character is killed off by an unknown. At first, the deaths were suspected as suicides, but as the coincidences build up, the thought about murder provoked the remaining characters’ minds. 10… 9… 8… 7… 6… 5… 4… 3… 2… 1… everyone is killed. That isn’t the question though.
After reorganizing the Agatha Christie essay, its effectiveness is evident. First, the introduction begins with a broad question to draw in the reader, and make them question the contents of the essay. Next, through the mention of related authors, the reader becomes more familiarized with the topic; another good tactic in pulling at the audience’s curiosity. The introduction then narrows down to the specifics of the essay, to let the reader know what is to come. Tying in with the introduction, the body follows the order of the points found in the introduction.
In the story And Then There Were None by Agatha Christie I believe that the killer does not act justly for many reasons. The first reason is because most of the guest on the island had payed for what they did. They did not just get off the hook they all had something taken from them after they committed the murder. The second reason is because justice had no right to just go around killing more people. Just because he was a judge doesn't mean he has the right to kill the guests on the island.
Everyone knows that suspense is a fundamental part of a storyline. It makes the reader keep on reading by filling them with anxious anticipation of what will happen next. In And Then There Were None by Agatha Christie, the ten main characters go through a time of immense stress. After being invited to an island by a mysterious unknown millionaire, they realize that something is not quite right; their host hasn 't shown up. Each of them starts dying.
All characters are accused and redeemed of guilt but the murderer is still elusive. Much to the shock of the readers of detective fiction of that time, it turns out that the murderer is the Watson figure, and the narrator, the one person on whose first-person account the reader 's’ entire access to all events depends -- Dr. Sheppard. In a novel that reiterates the significance of confession to unearth the truth, Christie throws the veracity of all confessions contained therein in danger by depicting how easily the readers can be taken in by
