Chapter 1. Story Is Character
1. Anne Bernays and Pamela Painter, What If? Writing Exercises for Fiction Writers (New York: HarperCollins, 1990), p. 42.
2. Harper Lee, To Kill a Mockingbird (New York: J. P. Lippincott, 1960), pp. 183-185.
3. Toni Morrison, Beloved (New York: Alfred A. Knopf, 1987), pp. 3-5.
Chapter 2. Setting Is Story
1. Elizabeth George, For the Sake of Elena (New York: Bantam Books, 1992), p. 313.
2. Michael Dorris and Louise Erdrich, The Crown of Columbus (New York: HarperCollins, 1991), pp. 102-104.
3. T. Jefferson Parker, Laguna Heat (New York: St. Martin’s Press, 1985), pp. 93-95.
4. Bernays and Painter, What If?, p. 45.
5. Barbara Kingsolver, The Bean Trees (New York: Harper & Row, 1988), pp. 39-41.
Chapter 3. Nothing Without Landscape
1. Martin Cruz Smith, Rose (New York: Random House, 1996), pp. 25-26.
2. Michael Dorris, A Yellow Raft in Blue Water (New York: Warner Books, 1987), pp. 29-30.
3. Elizabeth George, Well-Schooled in Murder (New York: Bantam Books, 1990), pp. 251-252.
Chapter 4. Plotting: “It Is the Cause, My Soul”
1. Bernays and Painter, What If?, p. 97.
Chapter 6. Onward from Idea
1. James N. Frey, How to Write a Damn Good Novel (New York: St. Martin’s Press, 1987), p. 30.
2. Ibid., pp. 33-34.
3. Ibid., p. 36.
Chapter 7. The Start: Decisions, Decisions
1. Robert Ferrigno, The Horse Latitudes (New York: William Morrow, 1990), p. 9.
2. P. D. James, A Taste for Death (New York: Alfred A. Knopf, 1986), p. 3.
3. Elizabeth George, A Great Deliverance (New York: Bantam Books, 1988), p. 1.
4. William Shakespeare, King Richard the Third.
5. Ferrigno, The Horse Latitudes, p. 9.
6. Ken Follett, The Key to Rebecca (New York: New American Library), p. 3.
Chapter 8. As There Is Viewpoint, So Is There Voice
1. Bernays and Painter, What If?, p. 59.
2. Frey, How to Write a Damn Good Novel, pp. 98-99.
3. Oakley Hall, The Art and Craft of Novel Writing (Cincinnati: Writer’s Digest Books, 1989), p. 28.
4. Ernest Hemingway, “Indian Camp,” The Enduring Hemingway (New York: Charles Scribner’s Sons, 1974), pp. 22-23.
5. Stephen King, The Dead Zone (New York: Viking Press, 1979), pp. 356-358.
6. Alice Hoffman, Second Nature (New York: G. P. Putnam’s Sons, 1994), pp. 13-15.
7. Susan Isaacs, Shining Through (New York: Harper & Row, 1988), p. 1.
8. Martin Cruz Smith, Havana Bay (New York: Random House, 1999), pp. 1-2.
9. Barbara Kingsolver, The Poisonwood Bible (New York: HarperCollins, 1998), p. 13.
10. Ibid., p. 20.
11. Ibid., p. 22.
12. Elizabeth George, A Traitor to Memory (New York: Bantam Books, 2001), p. 17.
13. Ibid., pp. 34-35.
Chapter 9. Voice: You Gotta Have ’Tude
1. Elizabeth George, Payment in Blood (New York: Bantam Books, 1989), p. 258.
2. George, For the Sake of Elena, pp. 310-311.
3. James, A Taste for Death, p. 55.
4. Dorris and Erdrich, The Crown of Columbus, pp. 251-252.
5. Ibid., pp. 10-11.
Chapter 10. Dialogue: Speak the Speech, If You Will
1. George, For the Sake of Elena, pp. 94-96.
2. Hall, The Art and Craft of Novel Writing, p. 94.
3. Dennis Lehane, Mystic River (New York: William Morrow, 2001), pp. 11-12.
4. William Faulkner, Light in August (1932; 1970), pp. 15-16.
5. Elizabeth George, In the Presence of the Enemy (New York: Bantam Books, 1996), pp. 210-211.
Chapter 11. Tricks of the Dialogue Trade
1. George, A Great Deliverance, p. 56.
2. Elizabeth George, In Pursuit of the Proper Sinner (New York: Bantam Books, 1999), pp. 271-273.
3. E. M. Forster, A Passage to India (Orlando, Fla.: Harcourt Brace & Company, 1924; 1952), pp. 192-193.
4. Bernays and Painter, What If?, p. 85.
Chapter 12. The Scene: Okay, So It Is Rocket Science
1. Jim Harrison, “Revenge,” Legends of the Fall (New York: Delacorte Press, 1978), pp. 3-6.
2. Forster, A Passage to India, pp. 192-193.
3. James, A Taste for Death, pp. 212-213.
4. John Irving, Cider House Rules (New York: William Morrow, 1985), pp. 22-23.
5. George, Payment in Blood, pp. 51-53.
6. George, For the Sake of Elena, pp. 89-90.
7. George, In the Presence of the Enemy, pp. 79-80.
8. Elizabeth George, A Suitable Vengeance (New York: Bantam Books, 1991), pp. 311-313.
9. George, For the Sake of Elena, pp. 13-14.
10. Ibid., pp. 261-262.
11. George, Payment in Blood, pp. 143-144.
Chapter 13. Knowledge Is Power, Technique Is Glory
1. William Golding, Lord of the Flies (New York: G. P. Putnam’s Sons, 1959), p. 25.
2. Ibid., p. 142.
3. Elizabeth George, Deception on His Mind (New York: Bantam Books, 1997), pp. 52-53.
4. James, A Taste for Death, pp. 167-169.
Chapter 14. Loose Ends
1. Ferrigno, The Horse Latitudes, p. 9.
Chapter 18. Gimme a Map, Please
1. Chris Vogler, The Writer’s Journey (Studio City, Cal., 1998), pp. 15-25.
2. Hall, The Art and Craft of Novel Writing, p. 64.
3. Ibid., p. 65.
4. Ibid., p. 73.
5. Ibid.
6. Ibid.
Chapter 20. Turning Places into Settings
1. Elizabeth George, Missing Joseph (New York: Bantam Books, 1993), pp. 475-477.
2. Ibid., p. 288.
3. Ibid., pp. 229-230.
4. George, In the Presence of the Enemy, pp. 375-376.
5. Ibid., pp. 187-188.
6. Ibid., pp. 487-490.