By Rachel T. Pellman

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But looking back now on the way I was thinking over these fifteen years as I wrote, it seems to me that this above all else is what I have affirmed. 7 BUILDING READER IDENTIFICATION by Alfred Coppel As I look over my keyboard at the title I have just typed, I get the feeling that I have begun a piece for Mechanix Illustrated rather than something intended to help writers draw readers into their emotional nets. Still, in a craft where there are few specifics, the business of involving real people in the lives of imaginary people is one of the few techniques that can actually be taught.

With a Knight of ghosts and shadows I summoned am to Tourney: Ten leagues beyond The wide world's end— Methinks it is no journey. Not only did " H e n r y Brocken" give me my way into storytelling, it gave me a form. My journey took m e first to Provence with my novel Madam, Will You Talk? a n d this, my first adult book, took the form of the picaresque a n d episodic tale, the series of outdoor encounters linked b u t separate, which was the first novel form ever used, in R o m a n times by Petronius a n d 42 TECHNIQUES OF NOVEL WRITING Longus, then in England with Nashe's Unfortunate Traveller.

TELLER OF TALES 43 The love story is that of a fate-driven love, self-contained, allelse-excluding, whose image is the enchanted bubble in which the lovers seem to move, while the violent world swirls around them, unable to touch them or destroy their faith in each other. " Wildfire at Midnight was an attempt at something different, the classic closed-room detective story with restricted action, a biggish cast, and a closely circular plot. It taught me technically a great deal, but mainly that the detective story, with its emphasis on plot rather than people, is not for me.

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