This is a classic book for writers. It was written in 1987 and although dated, the basic premise of Frey's writing still rings true for writers today. Frey is a good teacher, he goes through the basics of what good writing is and is not. He discusses in depth how an outline should be utilized and why every writer should have a premise before they begin.

I suggest if a writer reads nothing else, they flip to the back chapters and read the section on rewrites. As Frey explains, anyone can write a book, not everyone will take the time and the determination for rewrites. He explains how this truly distinguishes a damn good novel from a middle of the road one.

This book is now in my library and every time I hit my rewrite phase, I pull this book out, breathe deeply and get to work.

DNF at 6%.

I usually don't give up on books so quickly, and I understand this book was published in the late 80's, but the author's misogynistic and ableist language bothered me enough to make me abandon this book. I'm sure there are much better books out there I can turn to in developing my craft. Recommendations are welcome!

Just another so-so book on writing. I quite liked the chapter on dialogue.

Mazajiem par zvēriņiem. Lasīju un laboju savu mājas darbu Literārajā akadēmijā.
Piedzīvojums. Pirktiņi trīc un sirsniņa arī.
Bet tīk.

You will find this book useful if you don't worry about whether it's true. The thinking is shallow but the tips are practical. I suppose that's what's meant by "no nonsense."

Pragmatiska poētika, romānu taisīšanas mākas izklāsts. Autora izvēlētā balss (aizrautīga un vienkāršota) un grāmatas sākuma daļa, kas izklāstīja vienkāršas tehniskas lietas, radīja man aizspriedumus pret tekstu, kurš (kā var uzzināt, izlasot līdz beigām) tomēr nav domāts, lai palīdzētu štancēt vienveidīgas bezdomu lubiņas.
Interesants ieskats mūsdienu literatūras (Amerikā) žanru ainā, tirgū.
Arī tehniskā daļa, ko tur liegties, ļāva dažas lietas ieraudzīt skaidrāk.

This is a really great book on what the fundamental aspects are to writing a really great novel. The author goes over all major elements such as: character development, conflict, premise, causation, climax and resolution, viewpoint, dialogue, rewriting, and even an quasi-inspirational chapter on what it takes to become a great novelist (hint: it involves lots of time + lots of effort).

The reason I gave the book 4/5 stars is because the author's tone is often a bit too dogmatic. I disagreed with a few points he made regarding his formula for writing a great novel. Another reason for the 4 star rating is because the book would mostly benefit someone writing a dramatic novel of the literary fiction genre. Maybe even narrower to the point that it would mostly be of use to someone writing that of a great detective or mystery novel. Someone inclined to write, say, a philosophical or psychological thriller may not benefit as much from this book.

But putting the above criticisms aside, it is a great book on elucidating what are extremely important fundamentals for writing a great novel. It is in this case that I highly regard the book, as well as recommend it to writers from the novice to the more experienced.

I found this quite informative and entertaining

one of the best writing advice books out there.

Прочла за день, можно сказать, за раз.
Ясные, точные советы о том, как найти идею для книги, как создать персонажей, как должен развиваться конфликт в повествовании. Многие рецензии на Гудридз вменяют автору излишнюю догматичность, мол, говорит, будто только так и надо писать, но, по-моему, это чересчур сурово: он описывает свой метод, но вовсе не требует следовать ему и только ему. К тому же, расставление по полочкам идей, конфликтов и кульминаций очень полезно для тех, кто, как я, не имел счастья получить гуманитарное образование и из школьной программы по литературе помнит только, что "идея и тема повествования - разные вещи" (но в чём разница - хоть убей, не помню).
Для меня это вторая книга про писательское мастерство. По забавному стечению обстоятельств она практически антипод первой ("Как писать книги" Стивена Кинга): метод Фрея основан на тщательной подготовке (пошаговый план, биографии персонажей...), тогда как Кинг признаётся, что следует интуиции; у Фрея упорядоченный курс лекций, у Кинга - автобиография; здесь больший упор на построение сюжета, там - на стиль письма, вдохновение. Так что я довольна: антиподы дополняют друг друга.

This was really good and informative, although intimidating. The only reason why I didn’t give 5 stars is because Frey writes as if his opinion is the right one, and all other opinions are simply wrong. But I thoroughly enjoyed reading this—with the theory, Frey gives examples of both good and bad writing, which really helps get the point across.

James N. Frey's How to Write a Damn Good Novel: A Step-by-Step No Nonsense Guide to Dramatic Storytelling is an excellent primer on the nuts and bolts of writing a novel.

The pros: Frey is a good teacher, and that comes through in his writing. He offers many excellent tips and techniques that many writers would do well to heed. He is great at describing the nuts and bolts of writing fiction.

The cons: He cites a few twentieth century books on writing so much that I was compelled to pick up one I've read before -- Lajos Egri's The Art of Dramatic Writing, originally published in 1947 -- and remind myself of what it had to say. It was then that I realized that there is nothing particularly new in Frey's book. He has not borrowed unethically or without attribution; he just appears to be re-teaching the same information that is in the Egri book. It's just a repackaging, and the examples are a little more contemporary.

Don't get me wrong: This is a fine book, with great content written well. Any writer who has not read the Egri will undoubtedly learn a lot from Frey.