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Sunday, 07.05.2009 |
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| Writing a Thriller |
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Product Details
Notes
0.1% talent, 0.9% craft and technique, 99% perseverance and perspiration
the tools - language, senses, technique, sheer will
your language and observations will be unique to you, there's no correct way
one of the author's novels was rewritten 43 times and rejected 44 times
when reading other books, try anything, but accept only what works for you
read John Braine, "Writing a Novel"
the author made more on film options than all his hardcover sales
historical authors - Edgar Allen Poe, H. Rider Haggard, Arthur Conan Doyle
a story idea should resonate emotionally as well as intellectually
women are the largest readers and buyers of books, even thrillers
characterization leads to readers identifying and resonating with the story
if you have to choose between characterization and pace, develop character
search the telephone book to make sure character names aren't too common
be very careful of libel, your publishing contract says you have to pay the bill
provide characterization through action, not description
reveal your characters slowly so that the depth of their personality emerges
give your main character a memorable quirk that readers will identify with
don't talk about your idea too much until you've written it, you'll lose the spark
too much plot leads to an overwritten story, cramming in every possible angle
look to later sections of your book to get ideas for a high impact intro page
consider writing a prologue after the entire draft is done, so you know the story
don't force yourself to break in equal length chapters, varying lengths is ok
use the breaks to help with suspense, pace or rhythm as necessary
the first sentence of every section or chapter must draw the reader to continue
flashbacks should be relevant to the specific point they occur in the story
writers are like pop philosophers, observing the trends of their time in history
informal research - you'll naturally read relevant materials, so don't overdo it
the emotional commitment to the story is more important than factual research
don't do primary research on a topic, read nonfiction books by other writers
mechanical expertise can come across as exhibitionism, showing off knowledge
but expertise on a non-mechanical subject like politics is considered worthy
find a single telling detail from research that makes you seem like an expert
characters that run away with the story should be cut, kill your darlings
reverse the stereotype or personality of your character to get a fresh angle
combine aspects of different characters, particular conflicting qualities
if you're stuck writing a scene, consider cutting it, how much change would it be?
look for something completely unpredictable to happen in the scene and write it
establish a writing routine and then stick to it no matter what
Arthur Hailey writes and rewrites continually rather than doing multiple drafts
never leave a novel half finished even if it sucks, you'll learn from it
writing prompts: "Out of nowhere..." "The madness started when..."
"None of us will ever forget how..." "No one believed me when..."
poverty can motivate your writing, but don't write full time until your third novel
rewrite to develop characterization but also to sharpen up the pace
take 6 months away from the final draft before rewriting with a fresh eye
start with the big picture and cut parts, then chapters, paragraphs, sentences
cut unnecessary subplots, secondary characters, research background
only 2% of the population are regular readers, typically intelligent middle class
assume smarter readers, so lean more towards subtlety and suggestion
format your printed manuscript in different ways to get a new perspective
A Dictionary of Modern English Usage, by H. W. Fowler
The Complete Plain Words, by Sir Ernest Gowers
ask your readers for specific comments on their area of expertise
make sure your agreement says all books go with you if you leave your agent
do three to four multiple submissions to publishers but make it discreet
build a long term relationship with a publisher for many novels
check publishers in both London and New York, not just the local one
don't guarantee the next novel to the same publisher in the contract
get at least 60% of all paperback income, not 50%
retain all television and film rights, videogame or other future technology |
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