Thrill Me: Essays on Fiction

There’s a new volume to add to the first shelf of books on the craft of writing. Benjamin Percy’s ‘Thrill Me: Essays on Fiction’ is worthy to stand alongside such classics as Stephen King’s ‘On Writing’ and Ursula K. LeGuinn’s ‘Steering the Craft’; books that not only offer invaluable advice, but ultimately expand the mind, inspiring us to question our most deeply-entrenched assumptions about literature—what it is, what it isn’t, what’s good, what’s bad—our prejudices about process—what works, what doesn’t—all the creative-writing-course clichés and stultifying conventional wisdom that narrows our outlook and limits our potential even as it smothers the creative spark we hope to nurture.What’s the difference between ‘literary’ and ‘genre’ fiction, and are the two categories mutually exclusive? The worst of genre fiction according to Percy “features formulaic plots, pedestrian language, paper-thin characters, gender and ethnic stereotypes and a general lack of diversity…” Literary fiction at its worst “features a pile of pretty sentences that add up to nothing happening…” A fairly grim, if acutely accurate, assessment; there seems precious little hope or redemption on either path, and even less possibility of reconciliation. “But why not flip the equation?” Percy asks. “Toss out the worst of genre and literary fiction—and merge the best…” This is the extraordinary, some might say counterintuitive, premise of Percy’s argument, what makes ‘Thrill Me’ not only unique but indispensable. “If I’m going to align with anyone,” Percy declares, “it’s with … [those authors] who make an effort to be both a writer *and* a storyteller, someone who puts their muscle into artful technique and compulsive readability.”And Percy shows us precisely what he means, offering generous examples of exceptionally well-written and excitingly-told stories ranging across the literary/genre spectrum from Cormac McCarthy, Shirley Jackson, and Tim O’Brien to Michael Chabon, Ursula K. LeGuinn, and George R.R. Martin, not ignoring the rich vein of contemporary film and novelistic television. In each chapter, these examples are used to illustrate solutions to the problems every storyteller must face at one time or another; creating a sense of urgency in a narrative, finding the language appropriate to stage an effective set piece, dealing with issues arising from the portrayal of violence, employing setting and detail to “make the extraordinary ordinary’, designing suspense, knowing when to incorporate backstory (or not), the use of artful repetition…and so, so much more.As in Stephen King’s ‘On Writing’, autobiography is employed as a vehicle for insight, a framework for instruction, the writer’s personal experience illuminating broader points about process in an engaging narrative that reads like the best coming-of-age fiction. As a boy, the author relates, “I had too much empathy; it was a superpower (as a budding writer) and a disability (as a functional human being).” But Percy is wise enough to eschew the one-size-fits-all approach to creativity, the arrogant assumption that the experience of one individual somehow translates into universal truth.Nor is Percy afraid to gore the sacred cows of contemporary fiction, fearless—and trenchantly precise—in his criticisms of semi-canonized writers like Bret Easton Ellis, Chuck Palahniuk and Michael Chabon, yet also lavish in his praise of those same authors where praise is due.Percy draws strong parallels between music and writing, citing Aaron Copland’s description of the listening experience (on the sensual, expressive, and purely musical or cerebral levels) and showing how the same principles can apply to a reader’s enjoyment of fiction. Like LeGuinn in 'Steering the Craft' Percy explains how types of punctuation may be equated to musical rests of varying lengths. He invites us to appreciate the rhythmic richness of language, the visceral effects of well-chosen words, and the natural sense of momentum in a well-crafted phrase: “Tone refers not only to voice, but to music, the foot-tapping rhythm of the words. Dialogue is typically staccato [fast-paced, marked] while narrative is typically legate [smoothly flowing at a more leisurely pace]...”Chock-a-block with eye-opening insight and practical advice conveyed in a fresh, down-to-earth style, ‘Thrill Me’ is a must-read for all aspiring writers of dramatic fiction and the next best thing to a refresher course for more experienced authors. Enthusiastically recommended!

I thought about my childhood reading often when reading Ben Percy's first non-fiction book, Thrill Me: Essays on Fiction. Ben establishes the premise of the book early on: Don't forget the most basic reason we read: to discover what happens next. Just like kids, most adults don't set out to read something for its excellent character development, nor for its lovely "rhyming action" (described originally by Charles Baxter in Burning Down the House and referenced by Percy in Thrill Me), and certainly not for the "feckless pondering" Percy (pretty comically, especially for those of us who have been known to indulge) eschews. What readers want--kids and adults--is a good story.Clearly, what they'll enjoy more is a story that is made better by the many topics Percy covers in this fast-paced book of fiction-writing craft, including how to create urgency and suspense, how to "make the ordinary extraordinary" and how to "activate setting." You'll read about his "suspense-o-meter," his use of screenplay pacing, his general distaste for backstory. There are no writing exercises, but there are scores of references to good books, compelling stories, can't-look-away movies. If all you did was collect Percy's literary/film references and set out to read/view each, you'd be a better writer for having read Thrill Me.As a fiction writer myself I also love and desperately want to use a suggestion he makes regarding "the balance between whimsy and logic." "Try changing one thing," he writes, if that's where you want to go. "Just one. This is our world except for______." How exciting is that? Just one thing--what will it be? A person with some kind of ESP? A ghost? A piece of music that bubbles up randomly--or not? And then there's all the rest of my favorite Percy-isms: I've always loved (and since first hearing it, have consistently employed--so to speak) his advice in the "Get a Job" chapter, which is to have characters do meaningful work. I love to have characters make decisions after which there is truly no going back. I'm counting on my main character being able to say, "And anything that happened to me afterwards, I never felt the same about again."Percy's essay on "Revision as Renovation" makes the traditional advice about revision--"Kill your darlings"--seem like sweetness and light. Fiction writers note: Let Ben "tell you something: if you've got the angel in one ear, whispering kind things, and the devil in the other, hissing about how badly you stink, listen to the devil. The devil drives revision."Listen to the devil. Go buy your copy of Ben Percy's Thrill Me today.

While I would never want to be Benjamin Percy’s sister, I found his guidance on plot, character development, suspense, and writing techniques to stimulate my creative process. Writers block? Sluggish writing? No more. Especially grateful to Janisse Ray for recommending this book.

This is a good book. It is written in a very conversational manner and is easy to read. The whole thing may be consumed in a single-sitting, or the reader may instead select a single chapter/essay they feel is especially relevant and then dig into it and ponder upon it, it really works either way. Most importantly, the author knows a great deal about the craft and is capable of conveying that knowledge very well.My one criticism might be that much of the abundant advice that Percy gives in this book is not universal. I'm sure that he would agree to an extent, but as I read I found myself thinking "Yes, but what about..." on numerous occasions as I read a recommendation on what to do or not to do as a writer.However, I think that all of the advice is solid nonetheless and even if it does not apply to the reader's particular style, it is all good to ponder upon and digest. I certainly don't feel that it would steer any would-be writers in the wrong direction.This is a definitely a book that benefits from each reread, and thankfully it is easy to reread. Very much recommended.

Percy wrote a gem that any aspiring writer should pick up and read. Funny, with lots of examples and straight to the point. Really liked it.

Percy manages to make a writing text that reads like fine non-fiction. He nicely blends personal anecdotes with studies of famous writers' work--a nice selection from highbrow literary to genre. Much of the ground he covers will be familiar to those who've been writing awhile or have read at least one decent text on fiction writing. Still, Percy breathes new life into familiar territory and manages to focus attention on some fresh ideas that give fiction life and urgency. Definitely one of the better texts on fiction writing and I've read quite a few. His voice is clear and strong and it's a compelling read, especially when he gives us a glimpse of his "backstage" process.

At times laugh-out-loud hilarious, but always with the honest sincerity of a writer who's been in the trenches, has taken wounds and has seen the objective through, Percy illuminates the path for those who wander with a candle in the dark, disoriented or confused.Solid advice, real life examples, and succinct. Best book on writing I've read yet.

Oh my word. This is simply the best book I've read on writing and I've read LOADS. Stephen King's 'On writing' is a close second but this guy seems to sum up things it took me years to learn in classes or on my own in an accessible and enjoyable style. Every page has me feverishly taking notes and trying to commit his tips to memory. If you are interested in writing then I highly recommend this book.

There is some good advice here, but given very authoritatively and with a focus on writing fast-paced, plot-focused stories. It won’t work for everyone, but the book is worth a read. You might find something useful in here.