How to Write a Damn Good Novel, II: Advanced Techniques For by James N. Frey

By James N. Frey

"Damn stable" fiction is dramatic fiction, Frey insists, if it is through Hemingway or Grisham, Le Carre or Ludlum, Austen or Dickens. regardless of their variations, those authors' works percentage universal parts: powerful narrative traces, attention-grabbing characters, progressively construction conflicts, and gratifying conclusions. Frey's tips on how to Write a rattling strong Novel is among the most generally used publications ever released for aspiring authors. right here, in find out how to Write a rattling sturdy Novel, II, Frey bargains strong complex suggestions to construct suspense, create more energizing, extra fascinating characters, and attain larger reader sympathy, empathy, and identification.How to write down a rattling sturdy Novel, II additionally warns opposed to the pseudo-rules frequently inflicted upon writers, principles similar to "The writer should always be invisible" and "You needs to keep on with a unmarried point of view in a scene," which cramp the mind's eye and deaden the narrative. Frey focuses in its place on can provide that the writer makes to the reader—promises approximately personality, narrative voice, tale kind, etc, which has to be saved if the reader is to be happy. This booklet is wealthy, instructive, sincere, and sometimes tellingly humorous in regards to the approach writers occasionally fail their readers and themselves.

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Extra resources for How to Write a Damn Good Novel, II: Advanced Techniques For Dramatic Storytelling

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In Gone with the Wind, the Confederate Army is leaving Atlanta, the dreaded Yankees are coming to burn the city, and Scarlett must get out—but first she has to deliver Melanie's baby because the doctor has already fled. • In Carrie, the fuse is lit as the pranksters are getting set to douse poor Carrie with pig's blood at the moment of her coronation as prom queen. • In Pride and Prejudice, Lydia runs off to Gretna Green with Wickham and everyone's in a panic to catch up with them before she is completely ruined by the scoundrel.

Freezing the quivering and helpless reader to the book is what a novelist lives for. To do that, the novelist tries to make his or her readers "worry and wonder" about characters. "Worrying and wondering" is another way of saying the reader is being held in suspense. Webster's defines suspense this way: Suspense: n, 1. The state of being undecided or undetermined. What is it that is undecided or undetermined? It is not the author, certainly. And not the reader, either. What is undecided or undetermined is a story question.

What if it wasn't an office but a mental hospital, and the head nurse was determined to grind down a patient? You'd have a very suspenseful situation. In fact, it worked out quite well for Ken Kesey in One Flew Over the Cuckoo's Nest. It works because Big Nurse has the power to menace. Say you have another idea for a story. There's a rich lady and her servant. She treats him like dirt. He takes her guff because he needs the job. You want to make some kind of statement about rich people's mistreatment of the poor, but where's the suspense?

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