Download The Fire in Fiction: Passion, Purpose and Techniques to Make by Donald Maass PDF

By Donald Maass

How do generally released authors retain their tales burning scorching? the best way to supercharge each tale with deep conviction and, conversely, flip fiery ardour into powerful tale. the fireplace within the Fiction exhibits you not just the best way to write compelling tales jam-packed with attention-grabbing settings and vibrant characters, yet the way to do it again and again. With examples drawn from present novels, this inspiring consultant exhibits you the way to infuse your writing with existence.

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Extra info for The Fire in Fiction: Passion, Purpose and Techniques to Make Your Novel Great

Sample text

When I was a boy, he was a hero. I dreamed of being half the man he was. Something about the edge to his tone when he said the words chief, colonel, and senator rubbed me the wrong way. It suggested something ironic in those honorifics, which, beyond the general irony of everything, there is not. I nearly said, Hell, I’m twice the man you are now, despite our difference in age, so things didn’t work out so bright for your condescending hopes. And, by the way, what other than our disparity of age confers upon you the right to talk about me as if I’m not present?

Even worse can be stories in which there is no villain as such. Literary fiction, women’s fiction, romances, and coming-of-age tales are just a few types of story that do not necessarily call for a classic wrongdoer. In such manuscripts, even so, those who oppose the protagonist are often poorly developed and inactive. Lacking strong resistance, one wonders why the protagonist is having a hard time. It is possible to build confl ict out of internal obstacles, of course, but over the long haul it’s wearisome and hard to maintain readers’ interest that way.

He hits Ethan’s son, killing him. This is a crucial moment for Schwartz. Why doesn’t Dwight stop? Schwartz has Dwight’s son Sam dozing in the car, his face pressed against the passenger door handle. There is the impact. Schwartz executes the moment this way: The impact made the car shudder. My foot came off the gas. And we were coasting, still there, but moving, fleeing. Unless I braked now: Do it. My foot started for the brake. But then Sam started to wail in pain and I froze. I looked over and he was holding his face in both hands and screaming in pain.

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