We’ve been looking at the rolling, mid-level rhythm of story, and how sequences might be the way to achieve that. The Bestseller Code* gave us a list of the top ten books with good rhythms (none of which were as good/steady as TDC* and FSoG*).
The book I picked from the list to test the sequences=rhythm theory–the theory that sequences are the path to purposely developing this rhythm–was Graeme Simsion’s The Rosie Project,* and I think it was a good choice for several reasons. Continue reading
I read Red Dragon* again recently. Let’s look at the details Thomas Harris chose for his antagonist’s introduction, Continue reading
In the last post, we listed seven techniques to use when introducing characters. Most of the masters use a combination of techniques. Here’s how. Continue reading
This week, we’re learning how to forge the reader-character bond. Here’s how the masters do it: Continue reading
Stephen King. All I can say is, no matter which of the three methods for creating three-dimensional characters you prefer, Stephen King is ALL ABOUT the three dimensions of character. Especially in The Shining. Continue reading
We’re doing the Outer Journey this week, and today we’re looking at the Outer Journey of Ian Paine, the main character in Lisa Unger’s Crazy Love You. (We did Ian’s inner journey last week.)
Spoiler Alert Continue reading
We’re looking at the Inner Journey this week. Here’s the inner journey (to my eyes and ears anyway) of the main character, Ian Paine, in Lisa Unger’s Crazy Love You (336 pages).
Spoiler Alert. And Long Post Alert. Continue reading
It’s Tension, Conflict, Suspense week, and today we’re looking at how Harlan Coben milks the tension, conflict, and suspense in No Second Chance. I guarantee that I did not pick up on all of his uses and manipulations, but here’s what I did spot: Continue reading
We’re looking at Setting this week. Here are some setting passages from some of the books I’ve read lately. Let’s see how the masters multi-task. Continue reading