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The Key: How to Write Damn Good Fiction Using the Power of Myth Paperback – Aug 3 2002


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The Key: How to Write Damn Good Fiction Using the Power of Myth + How to Write a Damn Good Mystery: A Practical Step-by-Step Guide from Inspiration to Finished Manuscript + How to Write a Damn Good Novel: A Step-by-Step No Nonsense Guide to Dramatic Storytelling
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Product Details

  • Paperback: 272 pages
  • Publisher: St. Martin's Griffin (Aug. 3 2002)
  • Language: English
  • ISBN-10: 0312300522
  • ISBN-13: 978-0312300524
  • Product Dimensions: 21.1 x 14.1 x 1.7 cm
  • Shipping Weight: 259 g
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (17 customer reviews)
  • Amazon Bestsellers Rank: #336,160 in Books (See Top 100 in Books)


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First Sentence
As a storyteller, you practice a kind of magic, the most powerful magic on earth. Read the first page
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Customer Reviews

3.8 out of 5 stars
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3 of 3 people found the following review helpful By Amazon Customer on Nov. 23 2003
Format: Paperback
The book is basically a rehash of Christopher Vogler's classic "The Writer's Journey." Frey's book covers exactly the same concept, however, his focus is more basic and directed toward novelists versus screenwriters. (If you read Vogler's book, and you're a novelist, you'll do just as well if not better.)
I might have liked this book more if I hadn't read Vogler's first which covers the concept much more comprehensively. One reviewer noted he's using Frey's book as a 'template' rather than a 'guideline.' Fine, if your goal is cookie-cutter fiction. (Vogler's book specifically warns against using mythic concepts in this way.)
If you want a simple introduction to myth-as-story, this book will do. (In fact, the entire book is summarized in a single chapter toward the end. If you must have it, borrow the book from the library and photocopy the chapter.) But if you really want to fully explore the potential mythic structure has to offer, this book comes up a bit short.
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Format: Paperback
On a subconscious level, anyone who is interested in literature recognizes the structure and key elements of the epic story where the archetypical hero leaves the security of his home, goes into the unknown 'woods', confronts evil and is somehow transformed by the whole adventure. Some built-in human chemistry allows this kind of story to excite us, no matter how many times we have heard it. The elements are all familiar, but unless you've read Campbell or taken a course on the mythical hero, you have not put all the elements together in a format that is easy to understand and utilize. Frey does just that.
Frey looks at the power of myth and creates a template that will help any level writer create a journey of transition. He employs various examples to back up his premise and analysis and relies heavily on outlines discussed in his two previous "Damn Good" how-tos. (I don't have either of the other works and I was able to make perfect sense of Frey's suggestions.) Frey's analysis provides fledgling writers such as myself a way in which to formulate a concrete foundation before actually attempting to delve into the literary process that entails the use of distinctive language. I am hoping that in employing his tips I will avoid my usual sandtraps---adding too many scenes simply because I enjoy placing my fictional creations in situations that have little to do with the message of my book.

Bottom line: I believe Frey's ideas wonderfully readable and easily employable. He suggests fleshing out each character by defining him/her physiologially, sociologically and pyschologically and then writing a journal in the character's voice to better facilitate 'stepping into that character's shoes.
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Format: Hardcover
The 'Key' mentioned in the title is what the author describes as the monomyth. A supposed model of a mythic story that contains certain elements and has been replicated for centuries and across many societies because it is basic to humanity.
While the idea of extracting a universal pattern from great literature is intriguing the result is not necessarily useful. The book consists largely of a long laundry list of elements that may or may not be found in a particular story. Included are a large number of self serving references of the form 'as I said in my other book...' which I found irritating since I bought this book not another.
The author has attempted to support the idea of a great model by including an example based on using the techniques described. You would think that if you were writing a book on how to write, and demonstrating a great technique, that you would make sure your example was a wonderfully written piece. It isn't. The author's excuse it by adding at the end that it is 'Only a draft'. I'm unimpressed by the example and the technique.
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By Enantiodromos on June 12 2001
Format: Hardcover
Anyone who really wants to write mythopoetically resonant fiction is probably more sensitive to these kinds of issues than... this book assumes they are. I liked it, but honestly, it spent a lot of time persuading me that it's angle was relevant. IMO this book should be an ADJUNCT to thoughtful progress in more conventional storytelling and writing skills, and/or to an understanding of Mythological themes and motifs. People strong in one area and wanting to branch into the other should get this book and either the Hero with a Thousand faces (and/or the Masks of God tetrology, if you've got the patience), or some good books on writing.
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Format: Hardcover
I haven't read any of Frey's other works, and after this one I won't bother. The concept of this book though unoriginal is very interesting. The idea of universal themes and fundamental myths that speak to the core of the human psyche is the grist of forklore classes and the keynote of Joseph Campbell. It is a great idea and one that may still have room for exploration. Don't look for it here. Frey is trying lamely to devise a formula for hacks.
Have you ever written a twelve-page term paper based on a three-page idea? Haven't we all? This is a book written like that. I would imagine that Frey asked his publisher if he could double space. You and I are are likely to have spent more time in the library doing our work than did Mr. Frey. His literary alusions are to such masters as Steven King and Ian Fleming. James Joyce is cited as an bad example. He believes Ahab is the Evil One in Mobey Dick. and he makes repeated referance to someone he calls "Big Nurse" in "One Flew Over KooKoo's Nest". How could anyone forget a name like Nurse Rachet? She is called "Rachet" for a reason, Mr. Frey. It is a name with meaning, like Finn-again.
You want a good book on the craft of writing? Read Anne Lamott's "Bird by Bird". You want to write like Steven King? Read Steven King's "On Writing"(and see Eudora Welty's work by the same name). You want to become a great writer? Read Joyce and Dispair. It is a gift, Steven King says so.
Look at Lamott, and Joyce, and King and Frey and take heart. It is a gift that doesn't make you happy anyway. Worm farming is more fun and apt to pay bettter. Write if you must. All art is sorrow in the end.
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