One of my favorite books on writing is Writing the Blockbuster Novel by Albert Zuckerman. Zuckerman is an agent, a writer, a teacher of writing. He has represented Ken Follett, Stephen Hawking, many others. Zuckerman advocates a principle that I’ve used myself many times because it always works. When one character kills another, and they are strangers to each other, we see such an act as frightening, terrible, maybe even shocking. But when a child murders a parent or vice versa, or a brother slays a brother, such a deed strikes us as much more horrific. This comes from a…

We’ve been talking for the past few weeks about Killer Scenes—and how a writer can start with a single scene, or even a couple of lines of text, and build out from that the entire global work. Specifically I’ve been talking about my own book, The Virtues of War, and how it evolved from two sentences that “came to me” and that I knew instinctively were the first sentences of a book. I have always been a soldier. I have known no other life. Let’s get metaphysical today. Let’s go beyond the tactical applications (how to extrapolate an entire book…

In last week’s post we were examining the idea that from a single modest fragment—a scene, or even a couple of lines of text—we as writers can extrapolate a big bite of the global work. Let’s keep biting. Here, to refresh our memories, are the two lines that popped into my head one day about ten years ago and that I knew at once were the opening sentences of a book (though I had no idea what book, or what that book would be about): I have always been a soldier. I have known no other life. Last week we…

I start this post with an apology. In it I’m gonna cite something from my own work. I hate it when writers do that. “Use Tolstoy, man, or Shakespeare! We want something good.” But I gotta do it because in this instance I don’t have to speculate as to what the writer was thinking: I actually know. The theme of today’s post is a continuation of the previous two: Killer Scenes and how to build them out into the global narrative that they imply. In this case, I’m going to address not a scene, but just two sentences. The question…

Have you ever come up with a killer scene—and nothing else? You find yourself with two or three minutes of incredible action, conflict, dialogue, but you have no idea where it goes or what the rest of book or movie might be. Arrrrgggh. Whaddaya do in a case like that? I’m a believer that scenes are like holograms. Every one, no matter how brief or modest, contains the molecular blueprint of the wider project. It’s like a single cell, from which we can clone the entire Tyrannosaurus Rex. Let’s examine one. I’m thinking of the Mad Dog scene from To…

There’s a terrific book that I often recommend to young writers—The First Five Pages by Noah Lukeman. Mr. Lukeman is a long-time agent, editor, and publisher. The thrust of his counsel is this: Most agents and editors make up their minds about submissions within the first five pages. If they spot a single amateur mistake (excess adjectives, “your” instead of “you’re,” “it’s” instead of “its”), your manuscript goes straight into the trash. Grind on those first five pages, says Mr. Lukeman. Make certain they are flawless. I agree completely of course. But I would go further. The make-or-break page, to…

Paul Schrader is the much-honored director and screenwriter (Taxi Driver, Raging Bull, many others) and, for me, a major role model for many years. Here’s what he said in an interview once on the subject of pitching a film idea: Have a strong early scene, preferably the opening, a clear but simple spine to the story, one or two killer scenes, and a clear sense of the evolution of the main character or central relationship. And an ending. Any more gets in the way. I’ve stolen this system lock, stock, and barrel. It’s exactly how I pitch. One of the…