260
Index
Accuracy, 73
Agent(s)
desires and pet
peeves, 213-215
finding, 210-212
how to offend, 37-38
pros and cons of
using, 204-207
selling novel with-
out, 208-209
“All That You Love
Will Be Carried
Away,” 53
Amazon index, check-
ing, 33-34
Antagonist. See
Antihero
Antihero, 96
As I Lay Dying, 79
Asimov, Isaac, 83
Ask the Dust, 75
At All Costs, 150-151
Atlas Shrugged, 63
Author. See Writer(s)
Background para-
graph, in query,
224-226
Backstory
actively dropping in,
145-149
to bond reader
with characters,
142-144
Becoming a Writer, 82
Bernau, George, 13
Bird by Bird, 45-46
Blackstock, Terri,
22-24
Block, Lawrence,
180-182
Bradbury, Malcolm,
42-43
Bradbury, Ray, 43, 80
Brande, Dorothea, 82
Browne, Robert
Gregory, 134-135
Bull’s-eye moment, 113
Business
publishing as, 8-10, 12
writing as, 186-191
Casablanca, 92-93,
105, 106
Chapters, first three,
submitting,
219-220, 230-231
Character(s)
and premise, 86-89
and redemption,
104-106
solitary, providing
action in scene,
131-132
Spencer Tracy ap-
proach to, 133-134
See also Lead character
Character-driven writ-
er, delving into
action, 94-95
Christine, 183
Cliché, turning
around, 110-112
Coben, Harlan, 50,
122-123
Comedy, 163-164
Comfort zone, writing
outside, 94-95
Competition, focusing
on, vs. striving
for personal best,
47-49
Complaints, refraining
from, 27
Conf lict, 161
inner, 100-103
Contacts, networking
with, 197-198, 238
Coonts, Stephen, 248
Courage, writing
with, 258
Cover copy, 168-169
Craft, commitment
to, 11
Creating Characters:
How to Build Story
People, 118
Creativity, system for,
56-57
Crisis, revealing
character in,
97-98
Criticism, turning
into strength,
253-255
Cry Hard, Cry Fast, 79
Darker Than Amber, 74
Darkness, Take My
Hand, 75
The Day After
Tomorrow, 122
Day job, 216-218
Desire, 11
Desperation, 37-38
Details
using closed-eyes
technique, 112
vs. plain description,
73, 76
Determination, 53-55
The Devil Knows You’re
Dead, 180-182
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261
Dialogue
and character’s ob-
jective, 152-153
flowing, 107-108
having scene unfold
through, 154
including on page
one or two, 230
letting f low, 60-61
narrative, 157-159
Dickens, Charles, 81
Disbelief, suspending,
72-73
Discipline, 11, 18,
258-259
Dreams, avoiding in
opening, 125
Dreamscape, weaving,
72-73
Dubus, Andre III,
1145-147
Dunn, Sharon, 217
Editing, creating pro-
cess for, 84-85
Editor(s)
appropriate,
pitching to, 208
how to offend, 37-38
nurturing relation-
ship with, 246
Ego, 31-32
Eisler, Barry, 251-252
Elevator speech,
235-236
Ellison, Harlan, 12
Emotion, 60, 161
Ending, chapter, 231
The End of the Night, 79
Envy, turning into
writing energy,
45-46
The Executioners, 80
Exercise, physical, 35,
44, 56-57
Exposition, cutting,
108-110, 155-156
Fahrenheit 451, 80
Fante, John, 75
Faulkner, William, 79
Fear, conquering,
28-30
Fiction
“mere,” 68-70
See also Novel, Story
Fiction writer. See
Writer(s)
First-person POV,
178-183
combined with third
person, 182
Folsom, Allan, 122
Format
query letter, 228-229
synopsis, 233-234
The Fugitive, 104
Gerritsen, Tess, 33-36
Gilstrap, John,
150-151
The Girl in the Plain
Brown Wrapper,
158-159
Goals, defining and
reaching,
192-196
Google.com, checking
self on, 34
Grippando, James,
131-132
Gross, Andrew, 165
Guidelines,
following, 229
Guide to Literary Agents,
210, 211
Heart, in writing, 62
Hemingway, Ernest,
79, 233-234
High Noon, 139-140
Hobbies, pursuing,
35-36
Honesty, as writer, 12
The House of Sand and
Fog, 145-147
How to Write for Money,
2-3
I Am Charlotte Simmons,
175-176
Inner conflict,
100-103
Inner journey, 87-88,
91-92
Inner level, 90-91
Inner struggle,
100-101
Jackson, Lisa, 249
Katz, Christina, 27
Kava, Alex, 252
Kerouac, Jack, 63-64
King, Stephen, 53,
69-70, 81, 183
Koontz, Dean, 126
Lamott, Anne, 45-46
Last Call, 131-132
Lead character, 87-88
having reader bond
with, 96-99
inner journey, 91-93
inner struggle and
conflict, 100-103
negative, 96-97
three types, 96
Learning, willingness
for, 12
Lehane, Dennis, 75
Logline, 168, 222-223,
235-236
London, Jack, 80-81
Love, showing vs.
telling, 129-130
MacDonald, John
D., 71-74, 79-80,
158-159
MacGregor, Chip,
204-207
Mad Men, 98-99
A Man for All
Seasons, 104
Market analysis, of
premise, 88-89
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262
Marryat, Frederick, 29
Martini, Steve, 82-83
Melville, Herman,
68-70
“Method school of act-
ing,” applying to
characters, 134
Mr. Smith Goes to
Washington,
137-139
Moby-Dick, 68-70
Morrell, David,
147-149
Motivation, and Q
Factor, 136-141
Multiple first-person
POV, 178-179
Music, to break
through “the
wall,” 43-44
Narrative dialogue,
157-159
Narrative summary, 157
Negative Lead, 96-97
Neggers, Carla, 166
Networking,
197-198, 238
“No,” learning to
say, 34
Notebook
recording ideas in, 56
writing, 39-41
See also Voice journal
Novel
completing multiple,
78-79
finishing, 65
selling without
agent, 208-209
successful, essentials
for, 71-76
O’Hara, John, 81
Objectives, characters’,
152-153
Obvious, turning
around, 110-112
The Old Man and the Sea,
233-234
One Lonely Night,
102-103
On the Road, 63
Opening, 169
clichéd or predict-
able, 124-126
first three chapters,
219-220, 230-231
scenes’, 127-128
speedy, 119-123
Outer level, 90-91
Outlines, 165-167
Pacing, scenes,
127-128
Pale Kings and Princes, 74
Palmer, Michael, 166,
247-248
Parker, Robert B., 74
Passion
pinpointing, 64
in writing, 62
Patience, 12
Penick, Harvey, 47
Pitch
to editor, 208-209
inappropriate,
37-38
See also Elevator speech
Platform, 227-229
Plot
progressively
revealing, 150-151
See also Outer level
Plot-driven writer,
delving into
character, 94-95
Plot paragraph,
222-224
Point of view (POV)
first-person, 178-183
switching, 172
third-person,
174-177
Premise, testing, 86-89
Professionalism, 196
in query letter,
228-229
Promise Me, 122-123
Proposal, 219-220
Prose, unobtrusively
poetic, 74-76
Protagonist. See
Lead character
Publishing, as business,
8-10
Purpose, in writing, 62
Pyramid, of writers, 51-52
Q Factor, 136-141
Query letter, 208, 219,
221-229
Quota, writing, 18-21
Rand, Ayn, 63-64
Reader, bonding with
Lead character,
96-99, 143
Reading fees, 210
Redemption, 104-106
Rejection, 12, 239-242
Reminders, for growth
as writer, 60-61
Research, 73, 172
Resist the Urge to
Explain. See RUE
Respect, 257-258
Revelation
progressive, 150-151
through another
character, 180-182
Review, lousy, 23, 34
Revision letter, 22-23
Roosevelt, Teddy, 29
Rose, M.J., 250
RUE, 155-156
’Salem’s Lot, 69-70
Scavenger, 147-149
Scenes, 107-113
great, 160-162
with solitary char-
acter, providing
action, 131-132
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263
Schedule, for writing,
sticking to,
247-253
“Second-book
syndrome,” 31
Self-confidence,
vs. ego, 32
Self-motivation,
58-59
See also
Determination,
Discipline
Self-promotion,
243-245
Self-study, to grow as
writer, 40
Sincerity, 257
Sittenfeld, Curtis,
25-26
Social networking,
238, 245
Spillane, Mickey,
102-103, 253
Story
strong sense of,
71-72
two levels, 90-93
See also Inner level
Straub, Peter, 250-251
Struggle, inner,
100-101
Sturges, Preston, 54
Submissions
appropriate process, 38
e-mail, 215
See also Query letter
Success, critical
factors, 190-191
The Sun Also Rises, 79
Surprise, 60-61, 161
Swain, Dwight, 118
Synonyms, 114-115
Synopsis, 208,
219-220, 232-234
Tagline. See Logline
Talent, 13
Thesaurus, 114-115
Third-person POV,
174-177
combined with first
person, 182
Thor, Brad, 249-250
Tick Tock, 126
Time delay, 178
Time sheet, weekly,
202-203
Tragedy, trivial,
making comedy
from, 163-164
Trollope, Anthony,
18-21
Unsent Letters:
Irreverent Notes
From a Literary
Life, 42-43
Uris, Leon, 62-63
Van Lustbader, Eric,
248-249
Vision statement,
187-188
Voice, elusive concept
of, 213-214
Voice journal, 98,
116-118, 172
“The wall”
hitting, 42-44
techniques to move
beyond, 171-173
Weather, avoiding
in opening,
124-125
Whitney, Phyllis,
14, 178
Whitson, Grace, 217
Wisdom, 256
Wolfe, Tom, 175-176
Woodford, Jack, 2-3,
14-15
Writer(s)
admired, learning from
examples, 39-40
as heroes and fools,
16-17
impatient, following
mini-plan, 168-170
necessary character-
istics, 11-13
pyramid of, 51-52
strategic planning
for, 187-191
what agents look
for, 213
Writer’s block. See
“The wall”
Writers’ conference,
planning ahead
for, 237-238
Writing
as business, 186-191
hard and fast, 77-83
outside comfort
zone, 94-95
putting heart into,
62-64
snatching time for,
200-201
See also Fiction, Novel
Writing Improvement
Notebook, 39-41
Writing life
reality of, 22-24
setting goals, 30
sticking to schedule,
247-253
taking breaks, 88, 199
Writing quota, 18-21
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