Conflict, Action and Suspense (Elements of Fiction Writing) (Hardcover)

~ (Author) "WHAT MAKES A STORY interesting?..." (more)
Key Phrases: story pace, narrative pacing, suspense scene, Edgar Allan Poe, Mark Twain, Jack London (more...)

Editorial Reviews

Product Description

Using this work, writers will learn how to create stories full of drama, tension and surprise. Noble walks writers through setting the stage of a great narrative and then builds on this foundation taking it all the way to a gripping close.' --This text refers to the Paperback edition.

Product Details

• Hardcover: 176 pages
• Publisher: Writers Digest Books (February 1994)
• Language: English
• ISBN-10: 0898796342
• ISBN-13: 978-0898796346
• Product Dimensions: 9.3 x 6.2 x 0.7 inches
• Shipping Weight: 13.6 ounces
• Average Customer Review: 3.5 out of 5 stars  See all reviews (23 customer reviews)
• Amazon.com Sales Rank: #487,797 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

34 of 34 people found the following review helpful:

3.0 out of 5 stars A handy, if slightly flawed, book, May 20, 2004

By	H. Grove "owling6683" (Maryland, USA) - See all my reviews (TOP 100 REVIEWER)    (REAL NAME)

This review is from: Elements of Writing Fiction - Conflict, Action & Suspense (Elements of Fiction Writing) (Paperback)

Drama produces excitement in our writing. It keeps the reader interested. And how do we create drama? By playing with conflict, action, and suspense. Noble's book covers the basic concepts of drama, confrontation, pulling on the reader's emotions, escalation, and immediacy. He also deals with elements that keep your story moving: appropriate grammar, charged images, shifts in point of view, and contrast. He does a good job of telling us the how and why of things, rather than simply telling us what to do.

He touches on suspense's relationship with all sorts of basic writing issues such as dialogue, openings, cliffhangers, mood and atmosphere, character development, point of view, pacing, endings, and so on. Noble does a good job of focusing on specific techniques relevant to suspense for the most part.

It isn't a perfect book. It isn't as dry as most textbooks, but it could certainly be better than it is. Some of the examples that Mr. Noble makes up to use in the book are a bit on the overblown side, which kind of undercuts some of his points. He might have been better off using more examples from published fiction. Also, some of Mr. Noble's assertions regarding his topics have since been proven to be wrong. For example, when talking about the logic of settings: "...And a horror-suspense story would have problems if it was set in the unfolding of a miracle." I've seen this done quite well, actually.

This book was originally copyrighted in 1994, and this may be part of the problem. Since then some of the techniques that he lauds as strong and effective have become over-used and trite. (Overused techniques became that way precisely because they're so effective.) Some of the things he says can't be done have been done. As it is, this book serves as a very good example of why you need to do a lot of reading in the fiction field you want to write in. Otherwise, how will you know which of his techniques have been over-used, which can be seen as trite if you aren't careful how you use them, and which are still seen as solid, useful methods?

48 of 52 people found the following review helpful:

2.0 out of 5 stars It's the Emeril Show of fiction writing!, May 12, 2003

By	Wayne Rossi (Mount Holly, NJ United States) - See all my reviews (REAL NAME)

This review is from: Elements of Writing Fiction - Conflict, Action & Suspense (Elements of Fiction Writing) (Paperback)

William Noble, from the start of Conflict, Action & Suspense, writes about making your story into DRAMA! (And yes, the way he talks about it, emphatics like that are appropriate.) The book is written in a rather appropriate style, going short and choppy when it needs that dramatic emphasis, and giving ominous warnings about how, if you don't do things right, bam! Another reader lost. But in the end, it reads like watching the Food Network's Emeril hovering over your shoulder while you're writing and telling you to "Kick it up a notch!" - it gets as tiring as a book written as per Noble's advice would.

Most of Noble's examples are action-oriented melodrama; his techniques lend themselves naturally to the same. On the bright side, it doesn't have to be action-oriented; Noble endorses soap operas at one point, meaning that you can also use emotions as what you're constantly escalating. Don't get me wrong, I'm not against having your writing be exciting; but it should be exciting because there are dynamic characters at opposition, not because you're using tricks like Noble's to artificially generate it.

You can write a pretty good, forgettable airport novel if you follow Noble's advice; if you also buy Jack Bickham's Scene & Structure, you can even think about elevating your potboiler up to the level where you can make some cash off of it. But don't get it into your head that this is the right, or only, way to write...because it's not.

33 of 35 people found the following review helpful:

2.0 out of 5 stars More is less, June 5, 2000

By	Ziv Wities "Standback" (Raanana, Israel) - See all my reviews

This review is from: Elements of Writing Fiction - Conflict, Action & Suspense (Elements of Fiction Writing) (Paperback)

This is the first book I've read from the "Elements of Fiction Writing" series, and I can't say I'm very impressed. The first couple of chapters were very annoying. Basically, Noble keeps writing that, to create suspense, you need to EMPHASIZE things. You need to employ wods that NO ONE EVER USES in order to seem original. You need to OVERUSE ITALICS. You get the idea. I completely disagree with this approach, because such prose seems forced and jarring. The examples Noble gives are also not very enlightening, as the "bad" ones are so horribly contrived that you have to be TRYING to sound awful to think of them, and the "good" ones aren't that enthralling either. In the later chapters, the book improves somewhat, giving more examples of methods to create suspense and action. Still, these are not terribly insightful and most could come up with these ideas on their own by reading a few action and suspense novels - plus they'd get to read the novels, rather than an annoying book which seems to be written by one of those guys who thinks that if you repeat something often enough and with enough ITALICS, it might actually work.