How To Write A Damn Good Thriller

A quick look at any fiction bestseller list reveals that thrillers make up most of the titles at the top. HOW TO WRITE A DAMN GOOD THRILLER will help the aspiring novelist or screenwriter to design, draft, write, and polish a thriller that is sure to grab readers. Frey uses examples from both books and movies and addresses the following hot topics: *Germinal ideas *Breathing life into great thriller characters *Crafting a gripping opening *Maintaining tension *Creating obstacles and conflicts *Writing a mean, lean thriller scene *Adding surprise twists *Building a smashing climax and many more. In his trademark approachable and humorous style, Frey illuminates the building blocks of great thrillers and gives the reader the tools to write his or her own.

Edgar award nominee James N. Frey, author of the internationally best-selling books on the craft of writing, How to Write a Damn Good Novel, How to Write a Damn Good Novel II: Advanced Techniques, and The Key: How to Write Damn Good Fiction Using the Power of Myth, has now written what is certain to become the standard "how to" book for mystery writing, How to Write a Damn Good Mystery. Frey urges writers to aim high-not to try to write a good-enough-to-get-published mystery, but a damn good mystery. A damn good mystery is first a dramatic novel, Frey insists-a dramatic novel with living, breathing characters-and he shows his readers how to create a living, breathing, believable character who will be clever and resourceful, willful and resolute, and will be what Frey calls "the author of the plot behind the plot." Frey then shows, in his well-known, entertaining, and accessible (and often humorous) style , how the characters-the entire ensemble, including the murderer, the detective, the authorities, the victims, the suspects, the witnesses and the bystanders-create a complete and coherent world. Exploring both the on-stage action and the behind-the-scenes intrigue, Frey shows prospective writers how to build a fleshed-out, believable, and logical world. He shows them exactly which parts of that world show up in the pages of a damn good mystery-and which parts are held back just long enough to keep the reader guessing. This is an indispensable step-by-step guide for anyone who's ever dreamed of writing a damn good mystery.

Written in a clear, crisp, accessible style, this book is perfect for beginners as well as professional writers who need a crash course in the down-to-earth basics of storytelling. Talent and inspiration can't be taught, but Frey does provide scores of helpful suggestions and sensible rules and principles. An international bestseller, How to Write a Damn Good Novel will enable all writers to face that intimidating first page, keep them on track when they falter, and help them recognize, analyze, and correct the problems in their own work.

"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.

The one book that should be on every fiction writer's shelf...From the author of How to Write a Damn Good Novel, this book offers powerful advanced techniques in fiction writing - how to build suspense, create fresher, more interesting characters, and achieve greater reader sympathy, empathy and identification. Quoting a range of writers from Stephen King and Kafka to Peter Benchley and Stephen Crane, this is a practical, readable, down to earth and concise book which analyses what makes good (and commercial) fiction work and shows how to apply this understanding in an author's own writing. It is a must for any serious writer.

In his widely read guides How to Write a Damn Good Novel and How to Write a Damn Good Novel II: Advanced Techniques, popular novelist and fiction-writing coach James N. Frey showed tens of thousands of writers how--starting with rounded, living, breathing, dynamic characters--to structure a novel that sustains its tension and development and ends in a satisfying, dramatic climax. Now, in The Key, Frey takes his no-nonsense, "Damn Good" approach and applies it to Joseph Campbell's insights into the universal structure of myths. Myths, says Frey, are the basis of all storytelling, and their structures and motifs are just as powerful for contemporary writers as they were for Homer. Frey begins with the qualities found in mythic heros--ancient and modern--such as the hero's special talent, his or her wound, status as an "outlaw," and so on. He then demonstrates how the hero is initiated--sent on a mission, forced to learn the new rules, tested, and suffers a symbolic death and rebirth--before he or she can return home. Using dozens of classical and contemporary novels and films as models, Frey shows how these motifs and forms work their powerful magic on the reader's imagination. The Key is designed as a practical step-by-step guide for fiction writers and screen writers who want to shape their own ideas into a mythic story.

WHODUNIT? YOUDUNIT! So you want to write a mystery. There's more to it than just a detective, a dead body, and Colonel Mustard in the drawing room with the candlestick. Fortunately, Larry Beinhart--Edgar Award-winning author of You Get What You Pay For, Foreign Exchange, and American Hero--has taken a break from writing smart, suspenseful thrillers to act as your guide through all the twists and turns of creating the twists and turns of a good mystery. Drawing on advice and examples from a host of the best names in mystery writing--from Raymond Chandler and Mickey Spillane to Scott Turow and Thomas Harris--plus some of his own prime plots, Larry Beinhart introduces you to your most indispensable partners in crime: *Character, plot, and procedure * The secrets to creating heroes, heroines, and villains ("All writers draw upon themselves and their experience. While the whole of yourself might not be capable of being either a serial killer or an FBI agent, there are parts in each of us that are capable of almost anything.") * The fine art of scripting the sex scene *The low-down on violence ("A crime novel without violence is like smoking pot without inhaling, sex without orgasm, or a hug without a squeeze." ) *And much more! From the opening hook to the final denouement, Larry Beinhart takes the mystery out of being a mystery writer.

Thrillers have become the number one genre in commercial fiction, with millions of potential readers across the world. Thriller writer Scott Mariani helps aspiring thriller writers into that market, creating exciting, suspenseful novels.