From Amazon.com
Distinctions are often made between writers of "literature" and writers of popular fiction. The two seem to come together in David Morrell, author of
Lessons from a Lifetime of Writing. Morrell writes thrillers--lots of them--including
First Blood, which gave the world Rambo. But Morrell was also a longtime literature professor. He is as likely to quote E.M. Forster as he is Lawrence Block; Steve McQueen appears on the same page as Henry James.
Lessons is a lovely examination of writing and the writing life. To read it is to put oneself in the company of a writerly raconteur. Toward the beginning of the book, he discusses Hemingway's bizarre upbringing, wartime experiences, and post-traumatic stress disorder. Toward the end, he reveals the secret to bribing the dispatchers and drivers who supply airport bookstores (a hint rarely, if ever before, reported in a writing book). With chapters devoted to plot, character, research, structure, viewpoint, and dialogue, Morrell covers all the basics. But this is less a how-to book than a written rendition of an intimate university writing workshop. "There are no inferior types of fiction," Morrell implores, "only inferior practitioners of them."
--Jane Steinberg
From Publishers Weekly
In this literate, encouraging how-to, the bestselling author of First Blood and The Brotherhood of the Rose (among 15 other novels, as well as some nonfiction, stories and scripts the two named made it to the screen) offers would-be writers advice on plot, character, structure and beyond. With blurbs from Peter Straub and Dean Koontz, Morrell's foray into the literary do-it-yourself field is sure to grab the attention of readers who want to write their own thriller, but there's food here for any hopeful scribe, whether it be a delicious skewering of former Paramount Productions head Don Simpson (said to have coined the term "high concept") or a reflection on E.M. Forster's assessment that all good plots are mysteries. And because Morrell is an avid reader and a former English literature professor, the textual examples he employs Hemingway's descriptions, Twain's dialects are rich and varied. Write because you have to; remember that characters need to control plot and that description must "serve the requirements of your story"; don't get discouraged when you fail; and send to editors whose tastes runs toward your kind of fiction: these are a few examples of Morrell's advice. So it's not earth-shattering but it is careful and thoughtful, and at times, inspirational.
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