Absalom! Absalom! (Faulkner)
Adventures of Huckleberry Finn, The (Twain)
adverbs
Allen, Karen
Amityville Horror, The (Anson)
Angelou, Maya
Anna Karenina (Tolstoy)
Anne of Green Gables (Montgomery)
Art and Craft of Novel Writing, The (Hall)
attitude
Atwood, Margaret
Austen, Jane
Back End Barn
Bean Trees, The (Kingsolver)
Bellow, Saul
Beloved (Morrison)
Bernays, Anne
Branagh, Kenneth
British Parliament
Burgis, Richard
Bush, George H. W.
Campbell, Joseph
Carey, Peter
Carlson, Ron
“Cask of Amontillado, The” (Poe)
catharsis
character analyses
core needs in
desires in
employment in
example of
highlighted points in
narrative voice drawn from
past experiences in
pathological maneuver in
plot elements drawn from
prompt sheet for
sexuality in
in stream-of-consciousness style
theme derived from
character prompt sheet
characters
advance creation of
conflicts of
dialogue of see also dialogue
external landscape vs. internal landscape of
flaws of
growth of
ideas vs.
immediate agendas of
inner conflicts of
intentions of
names of
narrative voice of
past experiences of
plot vs.
as points of view
readers’ identification with
in risky situations
self-doubt of
setting used in presentation of
suspense about
telling details of
chases
Christie, Agatha
Cider House Rules, The (Irving)
Clavell, James
climax
dramatic vs. narrative
closed communities, conflicts within
clues
Cold Mountain (Frazier)
cold readers
Collins, Wilkie
conflict:
dialogue as reflection of
in individual scenes
meaning of
necessity of
rising
types of
Connell, Evan
Conroy, Pat
Constant Gardener, The (le Carré)
copy editors
core needs
Couric, Katie
Courtenay, Bryce
Crais, Robert
Crown of Columbus, The (Dorris and Erdrich)
crucibles, conflicts in
Cujo (King)
Dead Zone, The (King)
Deception on His Mind (George)
Deep End of the Ocean, The (Mitchard)
denouement
dialects
dialogue
as character
character-specific styles of
conciseness of
conflict delineated in
critical evaluation of
defined
foreign speech and dialects in
foreshadowing in
indirect
junk words in
long speeches in
narrative voice vs.
natural speech vs.
regional vernacular in
relationships illustrated in
speech patterns in
subtext of
tag lines of
Talking Head Avoidance Devices in
Dickens, Charles
Dillard, Annie
disbelief, suspension of
Dorris, Michael
double plots
Doyle, Sir Arthur Conan
dramatic dominoes
dramatic narration
dramatic questions
du Maurier, Daphne
Dune (Herbert)
Dunnow Hall
East of Eden (Steinbeck)
editorial letter
Erdrich, Louise
Exorcist, The (Blatty)
Fairbairn, Michael
false clues
fantasy fiction
Farleigh Hungerford Castle
fast reading
Faulkner, William
Ferrigno, Robert
figurative language
first person narrative
Five Red Herrings (Sayers)
flashbacks
Follett, Ken
Ford, Harrison
foreshadowing
Forster, E. M.
Forsyth, Frederick
For the Sake of Elena (George):
character’s attitude in
initial idea of
relationship shown in dialogue of
scene structures of
setting of
theme of
writing process of
Fourth Protocol, The (Forsyth)
Fowles, John
Freitag, Gustav
French Lieutenant’s Woman, The (Fowles)
Frey, James
George, Elizabeth:
as Anglophile
childhood of
daily schedule of
literary agent of
writing career of
Golding, William
Gottlieb, Robert
Grafton, Sue
Grapes of Wrath, The (Steinbeck)
Great Deliverance, A (George)
Hall, Oakley
Hardy, Thomas
Harris, Thomas
Harrison, Jim
Harry Potter novels
Havana Bay (Smith)
Hemingway, Ernest
Herbert, Frank
hero’s journey, plot format of
Hillerman, Tony
Hoffman, Alice
Holmes, Sherlock (char.)
hooks
Horse Latitudes, The (Ferrigno)
Hospital, Janette Turner
hourglass plot
House of Commons, British
How to Write a Damn Good Novel (Frey)
idiomatic speech
impulse life
“Indian Camp” (Hemingway)
indirect dialogue
Ingenious Pain (Miller)
In Pursuit of the Proper Sinner (George)
intention
In the Presence of the Enemy (George):
character analysis for
character names in
dialogue speech patterns in
first scene plot outline of
initial idea of
research on
scene structure in
setting of
THAD in
Into Thin Air (Krakauer)
Irving, John
Isaacs, Susan
James, P. D.
character’s attitude portrayed by
conciseness of scenes of
plot chronology of
on point of view vs. plot
primary event at story opening of
on red herrings
scene start of
setting used as contrast by
theme illustrated by
Jaws (Benchley)
journals
Joy Luck Club, The (Tan)
Jurassic Park (Crichton)
Keneally, Thomas
Kennet and Avon Canal
Key to Rebecca, The (Follett)
King, Stephen
King Rat (Clavell)
Kingsolver, Barbara
King-Wilkinson, John
Kirk, Suzanne
K Is for Kidnap (Grafton)
Kiss of the Spider Woman (Puig)
Koontz, Dean
Laguna Heat (Parker)
Lancashire, England
landscape
action interwoven with
internal
of person
physical elements of
setting vs.; see also setting
as total place experience
le Carré, John
Lee, Harper
Lehane, Dennis
Lesley, Craig
Letts, Billie
Light in August (Faulkner)
literary agents
literary mystery
Little Drummer Girl, The (le Carré)
Little House books (Wilder)
Lord of the Flies (Golding)
Lord of the Rings, The (Tolkien)
Lords of Discipline, The (Conroy)
Lucy Kroll Agency
Ludlum, Robert
Macbeth (Shakespeare)
McEwan, Ian
MacGuffins
Major, John
Marek, Richard
Márquez, Gabriel García
Martin, J. Wallis
Melville, Herman
mentors
Miciak, Kate
Mirror
Misery (King)
Missing Joseph (George)
Moby-Dick (Melville)
Montgomery, L. M.
Morrison, Toni
Mountain View, Calif.
Mrs. Bridge (Connell)
Murder of Roger Ackroyd, The (Christie)
murder plots
mystery, literary
Mystic River (Lehane)
names, fictional
narration, narrator:
dramatic
flow of
objective
omniscient
scenes vs.
summary
see also point of view; voice
Nixon, Richard M.
Oates, Joyce Carol
objective narration
Old Wardour Castle
omniscient narrator
opening:
hook at
primary event vs.
Ordinary People (Guest)
Oscar and Lucinda (Carey)
Oyster (Hospital)
Painter, Pamela
paragraphs:
narrative flow of
topics of
Parker, T. Jefferson
Parliament
Passage to India, A (Forster)
pathological maneuver
Payment in Blood (George)
Pendle Hill
Perfect Storm, A (Junger)
Persuasion (Austen)
picaresque novels
Place of Hiding, A (George)
Playing for the Ashes (George)
plot
advance planning of
causal sequence in
character analyses as source of
characters vs.
climax of
conflict needed in
defined
double
expansion of story idea of
formats of
of hero’s journey
high points in drama of
hourglass model of
initial ideas for
picaresque
primary event of
pyramid diagram of
resolution of
running outline of
as seven-step story line
single-character viewpoints and
step outline of
story arc of
subplots vs.
successive dramatic questions of
suspense within
suspension of disbelief on
theme of
three-act structure of
plot points
Poe, Edgar Allan
point of view
defined
distance vs. closeness of
of first person
of multiple characters
narrative voice reflected in
of narrator as observer
objective
of omniscient narrator
of single character
of third person
Poisonwood Bible, The (Kingsolver)
Power of One, The (Bryce)
preplotting
see also plot
Pride and Prejudice (Austen)
primary event
Princess Bride, The
Raiders of the Lost Ark
Rand, Ayn
Rebecca (du Maurier)
Red Dragon (Harris)
red herrings
relationships, dialogue as illustration of
“Remember, I’ll Always Love You” (George)
research
on settings
“Revenge” (Harrison)
Richard III (Shakespeare)
rising conflict
risk, characters at
Rose (Smith)
Roth, Philip
rough drafts
running plot outlines
Sayers, Dorothy L.
scene
character agenda in
conciseness of
conflict required in
dramatic narration vs.
motion picture technique in
point of view in
present-past-present technique in
running outline of
shape of
sound-versus-sight technique in
structural techniques of
Schneider, Deborah
science fiction
Second Nature (Hoffman)
self-discipline
Sense and Sensibility (Austen)
sentences, types of
setting
character revealed by
choice of
as contrast to events
defined
in flow of action
landscape vs.
maps of
mood conveyed through
photographs employed in development of
research on
telling details of
seven-step story line
Shakespeare, William
Shakespeare in Love
Shawn, Wallace
shifting first person
shifting third person
Shining, The (King)
Shining Through (Isaacs)
Shōgun (Clavell)
Singer, Isaac Bashevis
Singer and Singer (le Carré)
Sky Fisherman, The (Lesley)
Smith, Martin Cruz
speech patterns
see also dialogue
Stegner, Wallace
Steinbeck, John
step outlines
story:
arc of
expanded idea of
initial idea of
opening of
thematic unity of
see also plot
stream of consciousness
Sturz, Herbert
subplots, theme reflected in
subtext
Suitable Vengeance, A (George)
summary narration
suspense
suspension of disbelief
Swaine, A. E.
Swift, Graham
syntax
tag lines
Tale of Two Cities, A (Dickens)
Talking Head Avoidance Device (THAD)
Tan, Amy
Taste for Death, A (James)
Telingator, Kathe
Ten Little Indians (Christie)
theme:
defined
direct depiction of
subplots as variations on
third-person narration
Thompson, Emma
three-act structure
thrillers, time pressures in
To Kill a Mockingbird (Lee)
Traitor to Memory, A (George)
Trident Media
Turtle Moon (Hoffman)
Twilight Eyes (Koontz)
unity, thematic
viewpoint, see point of view
violence
Vogler, Chris
voice
attitude conveyed by
components of
defined
of first-person narrator
of omniscient narrator
viewpoint as reflection of
Watergate tapes
Well-Schooled in Murder (George)
What If (Bernays and Painter)
Where the Heart Is (Letts)
Wilder, Laura Ingalls
Wilton Windmill
writer’s block
Writer’s Journey, The (Vogler)
writing critique groups
writing process:
character development in
cold reader’s evaluation in
commitment in
daily schedule and
editorial letters on
fast reading in
fear in
fourteen steps in
individuality in
initial ideas in
journals on
necessity of
openings and
pace of
physical responses to
plot outlines in
research work in
rough draft in
scenes and
second drafts in
self-consciousness and
on setting
story idea expanded in
stream-of-consciousness mode in
Yellow Raft in Blue Water, A (Dorris)