By Lewis W. J.
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Extra info for A Treatise on Crystallography
Storytellers are oriented the right way; consequently, their stories almost never go wrong. Which type of fiction writer are you? Really? I believe you, but the proof is in your passion and whether or not it gets on the page. PLAYING WITH FIRE Readers know when a novel is drifting off course. We may not be able to articulate where the problem lies, but clearly some novels are poorly focused, lacking force, self-indulgent, or just plain ill-conceived. What went wrong? Was it a stubborn refusal to abandon a difficult idea?
Had it been an animal the callousness of it would have offended him. For a human being to die like that filled him with a towering anger and a desire to lash out physically and strike something. His breath heaved in his chest and his throat convulsed. Yet he knew he must keep calm. Intelligence was needed, not passion, however justified. Is Pitt's "overwhelming pity for the gross indignity of it" affected by the condescending treatment he's just been handed by Dunkeld? Obviously, but Perry is too subtle a novelist to say so.
Watson comes easily to mind; perhaps also Sancho Panza or Paul Drake? After that it's easier to think of sidekicks from movies or comic books. Same question for femmes fatales. Not so easy, is it? Conjuring up the names of Brigid O'Shaughnessy in Dashiell Hammett's The Maltese Falcon (1930) or Carmen Sternwood in Raymond Chandler's The Big Sleep (1939) tests the depth of your trivia knowledge. Maybe you thought of Justine in Lawrence Durrell's Alexandria Quartet (19571960)? Points to you—but what about contemporary fiction?
A Treatise on Crystallography by Lewis W. J.