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Author's Corner > New Outline Your Whodunit Mystery Course

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message 1: by Michael (new)

Michael Dickson (michaelmdickson) | 3 comments Thank you to Donna for allowing me to post my new course in the Author's Corner.

FREE Course Coupon link below!

'Outline Your Whodunit Mystery Novel' just went live and I'm looking for some honest reviews of my course. I'm asking members of The Mystery, Crime, and Thriller Group for your help.

For this course to be a success, I need to start off quickly with as many honest reviews as possible.

If you've ever wanted to write that novel or struggled with how to structure the novel in the first place, this course is for you.

Just bring your basic Whodunit Mystery idea, some creativity, and that's all you need.

If you're interested, I've set up a FREE coupon to the entire course ($159 value), in exchange for reviews. See FREE course link below.

Thank you for all your support!

message 2: by Charles (last edited Aug 26, 2013 10:06AM) (new)

Charles Hi Michael,
I don't think my advice is worth much, as what you are trying to do is driven by who your audience is and what they will buy. Nor could I see into the course very far. I myself would be put off by the formula approach, but I have a much more theoretical approach -- I have a book coming out at the end of October from McFarland on "The Figure of the Detective, a History and Analysis" -- the title might give you an idea of how far apart we are.

That said, your course presents an enticing front page that by itself answers a lot of questions about the product, and I assume the content is delivered as honestly and openly. The free first lesson is a "peek inside" good idea for building trust. You seem to know what you are about -- the web world is full of people who do not.

message 3: by Michael (new)

Michael Dickson (michaelmdickson) | 3 comments Charles,

Thank you for the comment. I agree the course goes in a completely different direction than the topic of tour book. Nonetheless, I'm very interested in reading your book. Please keep us up to date on the release and pre order.

message 4: by Michael (new)

Michael Dickson (michaelmdickson) | 3 comments Charles,

Come to think of it, do you happen to have a synopsis or something you can share with us?

Might your book be of interest to the students who take my course? It's true, my course is designed as a formual approach as you mentioned, and you are correct, but to the students who study the craft of writing, maybe your book would provide an element that is beneficial to the creation of their novels.

message 5: by Charles (last edited Aug 26, 2013 01:16PM) (new)

Charles Michael -- Here's what the cover description says:

This book begins with a history of the detective genre, coextensive with the novel itself, identifying the attitudes and institutions needed for the genre to emerge in its mature form around 1880. The theory of the genre is laid out along with its central theme of the getting and deployment of knowledge. Sherlock Holmes, the English Classic stories and their inheritors are examined in light of this theme and the balance of two forms of knowledge used in fictional detection - cool or rational, and warm or emotional. The evolution of the genre formula is driven by changes in the social climate in which it is embedded. These changes explain the decay of the English Classic and its replacement by noir, hardboiled and spy stories, to end in the cul-de-sac of the thriller and the nostalgic Neo-Classic. Possible new forms of the detective story are suggested.

This is lit crit genre studies stuff, primarily concerned with changes in the genre formula in response to social change -- English Classic into psycho-intuitive into noir into hardboiled/spy into thriller/neo-Classic, and the roles of the detective in the restoration of the social order, the shaman possessed of needed but dangerous knowledge, the moral quest, and such-like.

What I want to do is not to criticize any particular genre formula -- and they are formulas, but I find it more useful to speak of 'traditions') but to get behind the traditions in use to see what makes them attractive to their contemporary audience -- what work they are doing. The ordinary reader of (say) Kate Atkinson doesn't care about this, but it's part of the reason why they want to read her. Whether Kate Atkinson cares, I don't know. Does she need to? I wonder.

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