Writing Genre Fiction: A Guide to the CraftSeveral years ago, after many years of writing nonfiction, I decided to write a novel-a medical thriller in the mold of Robin Cook, Michael Crichton, and Michael Palmer. The problem was that, although I knew how to write and had received a number of awards for nonfiction works, I didn't know the how to write fiction. So, before putting fingers to keyboard I did a thorough search of the literature, which included reading numerous books and hundreds of website articles. What I discovered was that there simply wasn't one good source from which to learn the craft of writing genre fiction. "Writing Genre Fiction: A Guide to the Craft" is the book I was looking for when I set out on my quest to learn how to write fiction. It is an attempt to share what I learned from my research. It covers the six key elements of genre fiction; the various genres and subgenres; a large number of genre-fiction writing techniques; plot, subplots, and parallel plots; structure; scene and sequel; characterization; dialogue; emotions; and body language. It also covers additional information about copyrighting and plagiarism, where to get ideas, manuscript formatting and revision, and query letters and synopses. In addition, an appendix covers a large number of grammar tips. |
What people are saying - Write a review
We haven't found any reviews in the usual places.
Contents
CXLVIII | 161 |
CXLIX | 172 |
CL | 173 |
CLI | 174 |
CLII | 175 |
CLIII | 177 |
CLIV | 178 |
CLV | 181 |
14 | |
19 | |
20 | |
21 | |
22 | |
23 | |
24 | |
25 | |
26 | |
XXIII | 27 |
XXV | 28 |
XXVI | 29 |
XXIX | 30 |
XXXI | 31 |
XXXIII | 32 |
XXXVI | 33 |
XXXVIII | 34 |
XXXIX | 35 |
XLII | 36 |
XLIII | 37 |
XLV | 38 |
XLVII | 39 |
XLVIII | 43 |
XLIX | 50 |
L | 51 |
LI | 52 |
LIII | 54 |
LIV | 55 |
LV | 56 |
LVII | 57 |
LIX | 63 |
LX | 64 |
LXI | 65 |
LXII | 66 |
LXIV | 67 |
LXV | 68 |
LXVII | 69 |
LXIX | 70 |
LXX | 71 |
LXXIII | 72 |
LXXV | 73 |
LXXVII | 77 |
LXXVIII | 78 |
LXXX | 79 |
LXXXI | 80 |
LXXXII | 81 |
LXXXIII | 82 |
LXXXV | 83 |
LXXXVI | 86 |
LXXXVIII | 87 |
XC | 88 |
XCI | 91 |
XCII | 92 |
XCIV | 95 |
XCVI | 99 |
XCVII | 100 |
XCIX | 102 |
C | 105 |
CII | 111 |
CV | 112 |
CVIII | 113 |
CX | 114 |
CXI | 115 |
CXIII | 116 |
CXIV | 117 |
CXV | 119 |
CXVII | 120 |
CXVIII | 123 |
CXX | 125 |
CXXII | 126 |
CXXIII | 127 |
CXXVI | 128 |
CXXVIII | 132 |
CXXIX | 134 |
CXXX | 135 |
CXXXIII | 136 |
CXXXV | 137 |
CXXXVI | 146 |
CXXXVII | 147 |
CXXXVIII | 151 |
CXXXIX | 152 |
CXLI | 153 |
CXLII | 154 |
CXLIII | 155 |
CXLIV | 157 |
CXLVI | 159 |
CLVI | 182 |
CLVIII | 183 |
CLIX | 185 |
CLX | 186 |
CLXI | 187 |
CLXII | 188 |
CLXIV | 193 |
CLXV | 194 |
CLXVII | 196 |
CLXVIII | 197 |
CLXIX | 200 |
CLXXI | 201 |
CLXXII | 203 |
CLXXIII | 208 |
CLXXVI | 209 |
CLXXIX | 210 |
CLXXXI | 213 |
CLXXXII | 214 |
CLXXXIII | 218 |
CLXXXIV | 219 |
CLXXXV | 223 |
CLXXXVII | 224 |
CLXXXVIII | 225 |
CLXXXIX | 227 |
CXC | 228 |
CXCII | 229 |
CXCIV | 230 |
CXCVI | 231 |
CXCVII | 233 |
CXCVIII | 236 |
CXCIX | 238 |
CC | 239 |
CCI | 245 |
CCII | 246 |
CCIV | 249 |
CCVI | 250 |
CCVIII | 252 |
CCIX | 253 |
CCX | 255 |
CCXII | 256 |
CCXIV | 257 |
CCXVIII | 258 |
CCXIX | 259 |
CCXXI | 260 |
CCXXII | 261 |
CCXXIV | 262 |
CCXXVI | 263 |
CCXXVII | 264 |
CCXXIX | 265 |
CCXXXI | 266 |
CCXXXIV | 269 |
CCXXXV | 270 |
CCXXXVIII | 271 |
CCXL | 276 |
CCXLI | 277 |
CCXLII | 283 |
CCXLIII | 284 |
CCXLV | 285 |
CCXLVI | 286 |
CCXLVII | 287 |
CCXLVIII | 288 |
CCXLIX | 289 |
CCL | 293 |
CCLI | 297 |
CCLII | 299 |
CCLIII | 300 |
CCLIV | 301 |
CCLV | 302 |
CCLVII | 304 |
CCLVIII | 309 |
CCLIX | 312 |
CCLX | 319 |
CCLXI | 320 |
CCLXII | 329 |
CCLXIV | 330 |
CCLXV | 331 |
CCLXVI | 333 |
CCLXVIII | 334 |
CCLXXI | 335 |
CCLXXIII | 336 |
CCLXXIV | 338 |
CCLXXV | 339 |
CCLXXVII | 340 |
CCLXXIX | 341 |
Common terms and phrases
action scenes adjective adverb antagonist backstory Bart battle beginning Bill Strickland body language Caduceus Awry Chapter character’s Cincinnati cliché climax conflict create Da Vinci Code death dialogue emotions example eyes fear feel Fifth Profession figurative language flash forward flashback Foreshadowing genre fiction give goal going hair happen important instance Interactive Fiction involves Jack Literary look love scene main character major characters manuscript means Michael Crichton middle Milhorn move movie murder mystery narrative narrator noun Novel Writing ophidiophobia pace paragraph parallel plots participle past person phrase point of view present problem prologue protagonist reader romance romance novel Schnelbach science fiction sentence situation Slang someone subplots suspense Swain synopsis tags tell tense There’s Thief Lord things thought thriller usually verb versus What’s woman words Writer’s Digest Books Writing for Teens York