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In his widely read guides How to Write a Damn Good Novel and How to Write a Damn Good Novel II: Advanced Techniques, popular novelist and fiction-writing coach James N. Frey showed tens of thousands of writers how--starting with rounded, living, breathing, dynamic characters--to structure a novel that sustains its tension and development and ends in a satisfying, dramatic climax.
Now, in The Key, Frey takes his no-nonsense, "Damn Good" approach and applies it to Joseph Campbell's insights into the universal structure of myths. Myths, says Frey, are the basis of all storytelling, and their structures and motifs are just as powerful for contemporary writers as they were for Homer. Frey begins with the qualities found in mythic heros--ancient and modern--such as the hero's special talent, his or her wound, status as an "outlaw," and so on. He then demonstrates how the hero is initiated--sent on a mission, forced to learn the new rules, tested, and suffers a symbolic death and rebirth--before he or she can return home. Using dozens of classical and contemporary novels and films as models, Frey shows how these motifs and forms work their powerful magic on the reader's imagination.
The Key is designed as a practical step-by-step guide for fiction writers and screen writers who want to shape their own ideas into a mythic story.
- Sales Rank: #178296 in eBooks
- Published on: 2002-08-03
- Released on: 2002-08-03
- Format: Kindle eBook
Amazon.com Review
"You don't begin with meaning," according to fiction writer Rick DeMarinis, "you end with it." A critic approaching a story from a mythological standpoint might find a mythological theme, but "there are as many themes in a story as there are critical theories." Hogwash, says James N. Frey. "Mythic structures, forms, motifs, and characters ... are 'The Key' to writing more-powerful fiction," and it is a fiction writer's job to imbue his or her work with them. In The Key, Frey describes each of the mythic qualities (ascribed to the mythic hero, the "Evil One," the "Call to Adventure," and the other elements of the mythic journey) and offers examples of how to use them in one's writing. Don't get the wrong idea. Frey is not interested in academic or overly intellectual writing. Sure, he invents a Proust-reading Nevada cowboy to illustrate the concept of "The Hero's Lover," but there are more references here to James Bond than to Homer. Frey advises using first-person journal writing to get to know one's characters. He emphasizes fiction's need for conflict at every turn. And he recommends working from a premise, as it helps one know what to leave out (everything in the story must work to further the premise). Frey defines every possible mythic character or situation, then insists one not feel confined by them all. "The mythic pattern is not a straitjacket," he says, "it's Play-Doh. Have fun with it." --Jane Steinberg
From Library Journal
In this well-written and witty how-to, Frey, a writing teacher and author of the "Damn Good" writing books, focuses on the tradition of myth as a recipe for storytelling. Drawing from Joseph Campbell's The Power of Myth, Frey explains that people respond strongly to mythic images and will essentially read the same stories over and over again; readers of romances are a good example of this concept. The first half of the book is especially interesting, for it examines the mythic structure in such diverse works as Robin Hood, Beowulf, and Jaws and looks at myths that function in everyday modern life. In the second half, Frey provides the reader with a sample novella titled "The Blue Light" to illustrate the use of myth as a writing tool. Expect beginning writers to use this informative guide along with the author's other books. Recommended for public libraries.DLisa J. Cihlar, Monroe P.L., WI
Copyright 2000 Reed Business Information, Inc.
Review
"You could struggle through learning the basics of storytelling by trial anbd error or you could just read this book. I wish I had this fifteen years ago."—Sara Pariott, screenwriter for The Runaway Bride
"For me, the mythological approach has indeed been the key to creating stories that have a far greater impact on the reader than anything I'd written before."—Tess Collins, author of The Law of Blood and The Law of Revenge
"This well-written and witty how-to [focuses] on the tradition of myth as a recipe for storytelling. Drawing from Joseph Campbell's The Power of Myth, Frey explains that people respond strongly to mythic images and will essentially read the same stories over and over again; readers of romances are a good example of this concept. The first half of the book is especially interesting, for it examines the mythic structure in such diverse works as Robin Hood, Beowulf, and Jaws and looks at myths that function in everyday modern life. In the second half, Frey provides the reader with a sample novella titled 'The Blue Light' to illustrate the use of myth as a writing tool. Expect beginning writers to use this informative guide along with the author's other books."—Library Journal
"Everything I know about plotting a novel, I learned from Frey."—Marjorie Reynolds, author of The Starlite Drive-In
Most helpful customer reviews
0 of 0 people found the following review helpful.
He bases the archetypal Western "story" on ancient myths (they do compare pretty well) and recommends how to go about writing yo
By TJM
This is interesting. Frey has broken down several successful plots (movie and book) and found a similar pattern -- not just of climax and denouement, but of theme and character. He bases the archetypal Western "story" on ancient myths (they do compare pretty well) and recommends how to go about writing your own story based on this framework. Its simplicity and broad-based appeal would seem most applicable to pop-genre fiction and movies (even non-genre movies). Literary, it is not -- nor postmodern nor poetry. (It could be epic poetry.) But it's definitely the map of the skeleton of some of the most popular and satisfying stories.
0 of 0 people found the following review helpful.
Another good one by Frey
By Amazon Customer
All of James N. Frey's books are excellent. And entertaining. This one covers novel writing from the requirements and characteristics of the quest, a format that seems to fit most of the novels written today, either loosely or quite closely.
There are other books on this subject, including Joseph Campbell's works and Christopher Vogler's The Writer's Journey. There are important differences in Frey's book. It is written by a fiction writer for fiction writers. It is a quicker read and an easy one. And Frey shows us how to actually build a novel, using the power of myth. And he does this right in his book. So you get explanations but also enlightening examples constantly.
Some feel that we need Campbell and Vogler for an indepth treatment of myth. Phooey. We don't need to become myth scholars. What those of us need to know is the characteristics of quest fiction so that when we wish we can use them in the building of our fiction. The Key provides plenty of that.
Whether building the Parthenon or the pyramids, the ancients created with a wisdom that often astonishes us. So it is with the power of myth. Get this book and learn what you need to know.
12 of 13 people found the following review helpful.
DAMN GOOD ADVICE FOR WRITERS
By Tami D. Cowden
Go to just about any writing workshop, and you'll hear advice to employ the "power of myth." All this is really means is to use ageless storytelling techniques. But unlike a lot of instructors, Frey gives excellent advice on HOW to do just that.
Frey understands that plot arises out of character, and so he focuses on the character interaction, and the use of archetypal - mythic -- patterns for development. Throughout the book, he offers many examples from well-known sources, enabling the reader to see the commonalities between very diverse characters and stories.
Another bonus of this book is the illustration of the techniques described in Frey's other works. We see how character bios aid the writing in understanding the character - even if much of that bio never shows up in the novel or screenplay. The journals "written" by the characters demonstrate the importance of getting inside the heads of characters, a method that aids the writer to understand the character's motivation. I particularly appreciate the advice to use this method will all important characters, not just protaoonists. Villains and secondary characters require the writer's understanding, too.
While in many respects, the underlying information here is not very different from that provided by Swain, McKee or Vogler, (but then, how could it not be similar? - all concern story structure) Frey's explanation is more accessible. Being a writing book junkie, I'd say buy `em all. But if you can only get one about story - this is probably the one to get.
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