Category Archives: Big Huge Book Reviews

Tens of thousands of words. No, seriously. Some of these are really huge… Click here to see the concise list of all books available in this section: The List of Big Huge Book Reviews

Extraordinary Delusions and The Madness of Crowds by Charles Mackay (Part 4)

Big Huge Book Reviews, How Not To Write

Tulipomania

This form of money madness takes the shape of fashion, the whim of the moment that creates a desire for something absolutely ridiculous. In this case, it’s the question of tulip bulbs. There are other manias of course. We see them every year at Christmas with the hot toy of the season. It’s an irrational desire for something that one feels the need to possess immediately.

Like the South Sea Bubble (or any bubble), manias can provide a good backdrop to chaos. Think of the lines outside Wal-Mart the day after Thanksgiving. Think of the fights that people get into (and are reported on the news) while bustling to get the deals. It’s insane. Now, layer this onto something like a luxury item that only a few can afford, bring the camera in for a close focus on just a few individuals, and soon someone is going to get a knife in the back – and then you have a story that someone will want to read.

Continue reading Extraordinary Delusions and The Madness of Crowds by Charles Mackay (Part 4) →

Extraordinary Delusions and The Madness of Crowds by Charles Mackay (Part 3)

Big Huge Book Reviews, How Not To Write

The South Sea Bubble

Having lived through the Internet Bubble, I read this particular case with interest. Again, we have a story about greed but in this case it isn’t inside information but mass greed. The South Sea Bubble deals with a scheme to pay off debt by granting a monopoly to a single company working the import business of the South Sea. Most bubble start this way, some company or another will claim to have sole possession of a new market or service. The public, by sheer determination to ignore the impossibility in the service of greed, will begin to invest in this bubble. Shares rise at astronomical rates thus fueling more insane growth. Then, at some point, investors begin to pull out taking their cash with them. The market falls, perhaps slowly at first, but then with increasing speed, cutting the legs out from underneath the poor fools who stayed in too long.

Continue reading Extraordinary Delusions and The Madness of Crowds by Charles Mackay (Part 3) →

Extraordinary Delusions and The Madness of Crowds by Charles Mackay (Part 2)

Big Huge Book Reviews, How Not To Write

Money Mania

Every age, every decade (heck, every year) some new financial scandal unfolds that first captures the wallet of the unwitting and then the ire and rage of the public once informed of the nature of the swindle. Mackay begins his book with three great scams that persist (as all great scams will) into this very enlightened day.

The Mississippi Scheme

This was a very complicated series of schemes that all tied back to the idea of getting on the game behind the scene. This method is generally known today as “The Spanish Prisoner” whereby a sum of money needs to be procured from the mark in order to secure a supposed larger sum from some other source (often a bank or an inheritance). During the course of the con, the mark is led to believe that they are special and that this deal is only being offered to them. In reality, there are usually several marks being led down the same path and at the end is not a pot of gold but the realization that the scammers are gone and there was never any treasure to be had. The modern variant is spread by email and known as the “Nigerian Scam”.

O’Henry, the great short story author who wrote Gift of the Magi, was also fond of writing about con men. He actually did a few stretches himself and so he wrote about this lot with authority. The Mississippi Scheme was a favorite, but I don’t assume he wrote about it because he liked it. He wrote about it because it sold.

Other crime writers do the same thing, but why does this particular one capture the popular imagination? I suppose it must have something to do with the tension of multiple scams running at the same time. The marks possibly coming into contact with one another and figuring it out. These deals usually have something illegal about them too and so the marks are also qualified as willing to take a risk. They’ve cross the line and that makes them dangerous. It’s that kind of heightened tension that is sure to people glued to the story wondering if the graft will be successful or if caught what will happen.

Writing the Breakout Novel by Donald Maass (Part 27)

Big Huge Book Reviews, How Not To Write
This entry is part 27 of 27 in the series Writing the Breakout Novel by Donald Maass

Contemporary Plot Techniques

I’m going to break with my promise above to write 10,000 more words about plot and summarize the rest of this book in quick fashion. At this point, you’ve already read close to 11,000 words. If you’re not certain about the things Maass can teach you, there isn’t much else I can do. Looking at the next few areas, I personally see little I can add to the discussion. I’ve already poured my heart out on the main topics.

The New Shape of the Novel
The Character-Driven Story
Self-Discovery in the Plot-Driven Novel
Nonlinear Narrative
Tension on Every Page

Criticize John Grisham if you must, but there is this to learn from him: Tension on every page is a technique that keeps readers glued to a novel, even in the absence of artistic prose, rich atmosphere, complex characters and lofty means. It is the application of macroconflict on a microscale.

It is a key breakout skill.

If you read all of those headline above, you might wonder what it is you’re missing. Check it out by all means, but I didn’t find this section helpful. Reading novels by breakout writers is probably more instructive.

Multiple Viewpoints, Subplots, Pace, Voice, Endings

Here, I would recommend looking at Albert Zuckerman’s book for more actual assistance. The idea of how many views and subplots, the pace of the story, and the way to work toward an ending are dealt with in far more detail in Writing the Block Buster Novel than in Maass’ text. What Maass does accomplish here is reminding the author of all the questions they need to ask while reading, which is really I guess Maass’ speciality.

Breaking Out

This section is about getting published and pushing the limit. It’s far too limited considering Maass’ experience and the fact that he is an experienced agent. No biggie though. I don’t expect folks to giveaway their secrets entirely. Anyway, like most books of this type, people are not really going to read all the way to the back. Just like I as the reviewer, dropped out of the race when I made it halfway through.

Conclusion

This is one of those books that will hit you in the gut. But like anything that does that to you, this one will eventually wear on your patience because in the end it is you, the author, who needed to get to work. No one can tell you exactly what it is you need to do, but they can show you the way to get there and the questions you might want to ask. In the end, it’s work, hard work and honesty that will set your book apart from the pack. Maass’ voice is a dose of realism in the vast ocean of pretty self-help writing guides.

Writing the Breakout Novel by Donald Maass (Part 26)

Big Huge Book Reviews, How Not To Write
This entry is part 26 of 27 in the series Writing the Breakout Novel by Donald Maass

High Moments, Turning Corners, Killing Characters

Mmmm. Puppies.

Ok, I’m not going to go on about the puppies, but really once that kind of thing gets in your head it’s tough to get it out again. Or as I said to two friends in a hotel room once, “There are some things you just can’t unsee.”

And that’s sort of what this section is about. Part pumping your fist in the air, part memorable scenes, and in the end, things you just cannot forget. If your novel is missing these types of scenes, how is your reader going to connect in a deep and meaningful way with your book? Better yet, why on earth would they recommend it to friends?

No really, Jessica, you need to buy this book. There’s this sentence on page one hundred and twenty seven that will just blow your mind. The use of alliteration changed my life.

This quote doesn’t come from Maass. It’s mine, and the point is that you are never going to hear this kind of talk from anyone except maybe a handful of dedicated literary souls. Nothing wrong with that, but Flaubert isn’t going to pay the rent.

Structuring the Plot

Up until this point, you might accuse Maass of flinging platitudes down from on high. I mean, yes, it’s wonderful to talk about “high moments” and other things you must have in your book, but how the heck do you work that in?

Maass knows what you’re thinking:

At this point you may be thinking, All that sounds great but what about structure? How can I be sure my conflicts will escalate in a powerful way, that they will provide a sense of rising action?

And so Maass begins by introducing several concepts in rapid fashion, structures employed by other novelists to address your particular needs. It isn’t an exhaustive list, but it is a start. He talked about frame stories and flashbacks. He talks facade stories (which are based on ideas we hold true but through the course of the story are proven false). He also touches on visitation stories (someone comes to town, hi-jinx ensue). But he never dives down further than a few sentences.

I’m not entirely sure what the purpose of this section is because it could be so much more. Frankly, I need it to be more.

Larger Plot Structures

This is where Maass dives off the pier and into the deep water of archetypal theory. This is probably the fifth or sixth book in a row where someone has done this kind of thing. Read Hero With a Thousand Faces. Read The Writers Journey. Super. I’ve read those books and I’ve written about those books. Great books, but this isn’t helpful. Hopefully there will be more in the next section.