How to Write a Damn Good Novel: A Step-by-Step No Nonsense by James N. Frey

By James N. Frey

I am a film & television screenwriter grew to become hopeful novelist. i've got learn a number of books on writing novels, yet just a couple of have rather been as useful as Mr. Frey's books. He covers all of the bases and offers you what you want to move ahead with the necessities and peculiaralities of novel writing and novel publishing. All aces in my book.

Paul Sekulich
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Extra resources for How to Write a Damn Good Novel: A Step-by-Step No Nonsense Guide to Dramatic Storytelling

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Of course, such a drama has already been written. It was called Hamlet. " The struggle is the action of a drama. Freytag pointed out that "action rises to the point of the climax, and then falls away. " Conflict which fails to rise he calls "static. " What Freytag called "rising action," Egri calls "slowly rising conflict," which is what the dramatist wants. But the question for the writer is how do you tell whether your conflict is static, jumping, or slowly rising? Static conflict is any kind of dramatic conflict that is unchanging.

The same is true for the "Woody Allen" type. Readers and audiences like to type characters. It's unavoidable. Whether or not you like to think of your characters as types, your readers will. But there is an enormous difference between fresh characters of a recognizable type and stereotyped characters. One of the first novels ever written was Defoe's Moll Flanders. Moll is a delightful character—lusty, gutsy, full of life. She's an anarchist, a thief, a whore, a bigamist; she commits incest, yet she's honest with herself and has an infectious good humor.

The Fruitcake, sadly, would be called a "zany" novel, and would have a very limited audience. Some genres succeed in the marketplace better than others, since readers know by past experience, say, that they prefer murder mysteries to surreal fantasies. Simple as that. Easily identifiable types of fiction—genres—are easier to sell. Editors know what readers like. At least they like to tell themselves that they know. Few editors want to take a chance by breaking convention. Therefore, the conventions of genre become more and more rigid as the years go by, until they are so rigid that the writer is in a straitjacket.

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