Distinctions are often made between writers of "literature" and writers of popular fiction. The two seem to come together in David Morrell, author of Lessons from a Lifetime of Writing. Morrell writes thrillers--lots of them--including First Blood, which gave the world Rambo. But Morrell was also a longtime literature professor. He is as likely to quote E.M. Forster as he is Lawrence Block; Steve McQueen appears on the same page as Henry James. Lessons is a lovely examination of writing and the writing life. To read it is to put oneself in the company of a writerly raconteur. Toward the beginning of the book, he discusses Hemingway's bizarre upbringing, wartime experiences, and post-traumatic stress disorder. Toward the end, he reveals the secret to bribing the dispatchers and drivers who supply airport bookstores (a hint rarely, if ever before, reported in a writing book). With chapters devoted to plot, character, research, structure, viewpoint, and dialogue, Morrell covers all the basics. But this is less a how-to book than a written rendition of an intimate university writing workshop. "There are no inferior types of fiction," Morrell implores, "only inferior practitioners of them." --Jane Steinberg


From Publishers Weekly
In this literate, encouraging how-to, the bestselling author of First Blood and The Brotherhood of the Rose (among 15 other novels, as well as some nonfiction, stories and scripts the two named made it to the screen) offers would-be writers advice on plot, character, structure and beyond. With blurbs from Peter Straub and Dean Koontz, Morrell's foray into the literary do-it-yourself field is sure to grab the attention of readers who want to write their own thriller, but there's food here for any hopeful scribe, whether it be a delicious skewering of former Paramount Productions head Don Simpson (said to have coined the term "high concept") or a reflection on E.M. Forster's assessment that all good plots are mysteries. And because Morrell is an avid reader and a former English literature professor, the textual examples he employs Hemingway's descriptions, Twain's dialects are rich and varied. Write because you have to; remember that characters need to control plot and that description must "serve the requirements of your story"; don't get discouraged when you fail; and send to editors whose tastes runs toward your kind of fiction: these are a few examples of Morrell's advice. So it's not earth-shattering but it is careful and thoughtful, and at times, inspirational. Copyright 2002 Cahners Business Information, Inc.


From Library Journal
In this insightful manual for aspiring writers, best-selling novelist Morrell (First Blood; Brotherhood of the Rose) offers sound advice by examining his own writing abilities and discussing the basics of the craft, such as how to structure a novel and develop strong characters, as well as the nitty-gritty of the publishing industry. One quickly notices the inevitable similarities with Stephen King's On Writing. Both novelists taught writing in high school, not college, and both enjoy cultural, popular, and financial success. Morrell gave us Rambo, King a vault of horror movies. Yet while On Writing was a relentlessly chatty memoir and writing primer, the kind that only the writers among his fans could fully enjoy, Lessons is a much clearer and more precise take on writing, without the memories. Morrell walks the fine line between using his successes to prove his points and bragging, coming across as both instructional and very entertaining. At times, he tries too hard to be geometrical in describing plot development, but his vaguely revisionist take on how to write keeps the book interesting. Recommended for writing collections in public libraries. Robert Moore, Parexel International, Waltham, MACopyright 2002 Cahners Business Information, Inc.


From Booklist
Morrell, author of numerous thrillers, including First Blood (which introduced the world to a Vietnam vet called Rambo), has given would-be writers a wonderful tool: a how-to guide that is easy to understand and very useful. He addresses the usual how-to topics--how to create characters, how to fashion a believable plot, how to spice up dialogue and narration, how to survive the publishing game--and he illustrates his points with examples from his own writings and from the works of such well-known authors as E. M. Forster, Raymond Chandler, and a fistful of others. He discusses many potential stumbling blocks, such as spending (as he once did) a lot of time on a plot element that turns out to be a dead end. There is never the sense that Morrell is telling us what to do; rather, he describes what has worked for him (and other writers), noting mistakes that many have made and how we might avoid them. For anyone interested in the craft of writing, from beginners to seasoned veterans, this is a must read. David Pitt
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FROM THE PUBLISHER