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

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Macmillan, Mar 15, 1994 - Language Arts & Disciplines - 161 pages
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"Damn good" fiction is dramatic fiction, Frey insists, whether it is by Hemingway or Grisham, Le Carre or Ludlum, Austen or Dickens. Despite their differences, these authors' works share common elements: strong narrative lines, fascinating characters, steadily building conflicts, and satisfying conclusions. Frey's How to Write a Damn Good Novel is one of the most widely used guides ever published for aspiring authors. Here, in How to Write a Damn Good Novel, II, Frey offers powerful advanced techniques to build suspense, create fresher, more interesting characters, and achieve greater reader sympathy, empathy, and identification.

How to Write a Damn Good Novel, II also warns against the pseudo-rules often inflicted upon writers, rules such as "The author must always be invisible" and "You must stick to a single viewpoint in a scene," which cramp the imagination and deaden the narrative. Frey focuses instead on promises that the author makes to the reader—promises about character, narrative voice, story type, and so on, which must be kept if the reader is to be satisfied. This book is rich, instructive, honest, and often tellingly funny about the way writers sometimes fail their readers and themselves.


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How to write a damn good novel, II: advanced techniques for dramatic storytelling

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Frey ( How To Write a Damn Good Novel , St. Martin's, 1987) expands on his earlier take on the art of novel writing. His focus here is on dramatic fiction. Using examples from a broad range of fiction ... Read full review

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The fictive dream requires sympathy, identification, empahy, and inner conflict between reason and passion. Use story questions. Write biographies as interesting stories of people to use as characters. They are good at something. Contrast serious characters with ones that have a wacky trait or philosophy. They may not belong in the setting. The ruling passion defines the character. Dual characters have a mix of two personalities. A premise is like a chisel where the core conflict or conclusion is the result of the actions of the story on the characters. This differs from morals, what a story teaches, or themes, recurring fictional ideas. The three types of premises are chain reaction, opposing forces and situational. Sample excerpts are shown from popular literature. 


The Fictive Dream and How to Induce It To Dream Is Not to SleepSympathyIdentificationEmpathyThe Final Step The Transported Reader
All About Suspense or Pass the Mustard Im Biting My Nails Suspense DefinedLighting the Fuse
Of Wimps and Wackos Creating Truly Memorable Characters WimpsCharacters Worth KnowingCharacter and CompetenceThe Wacky FactorCharac...
The P Word Premise Revisited Part One The Concept Is Explained and Simplified A Rose by Any Other Name Is Not a BananaFinding a Premise for ...
The P Word Premise Revisited Part Two The Novelists Magic Wand Premise PrestidigitationPremiseMaking for Fun and ProfitThe Multipremise Novel
On Voice or The Who Who Tells the Tale Why the Who Aint YouThe Roar of the Lion Using a Strong Narrative VoiceThe First versus Third Pseud...
The AuthorReader Contract or Dont Promise a Primrose and Deliver a Pickle The Basic ContractGenreMainstreamLiteraryThe Contract beyond the C...
The Seven Deadly Mistakes 1 Timidity2 Trying to Be Literary3 EgoWriting4 Failure to learn to Redream the Dream5 Failure to Keep Faith with You...
Writing with Passion Why Now is the Best Time in History to Be a Fiction WriterThe James N Frey 100 Percent Guarantee of SuccessCreating a Mast...

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About the author (1994)

James N. Frey is the author of the internationally bestselling How to Write a Damn Good Novel and How to Write a Damn Good Novel, II, as well as nine novels. He has taught and lectured on creative writing at several different schools and conferences throughout the U.S. and Europe.

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