Stephen White, DEAD TIME

Stephen White, the NYT bestselling author of 16 Alan Gregory novels, writes like he’s an expert on understanding nonverbal communication and emotion.  He is.  He’s a psychologist.

There’s no better place to find stellar examples of empowering emotion and nonverbal communication than from a psychologist who writes about a psychologist.  His protagonist, Alan Gregory, is as intuitive about interpreting nonverbals as the author who created him.

Enjoy these examples from Stephen White’s recent release, DEAD TIME:  Cliché Twist, Epistrophe, Simile, Paralanguage Simile, Eye Message, and a Visceral Response. 

P. 141   Cliché Twist:  Where sexual indiscretion was concerned, Sam felt he was the blackest pot on the earth, and he was not about to disparage anyone else’s charred kettle.

P. 93   Epistrophe:  “Because you’ll see something I won’t see.  You’ll see something her sister won’t see.  You may well see something the cop won’t see.” 

P. 113   Simile:   Bad habits with my ex-wife kept surfacing like a beach ball I was trying to hold underwater. 

P. 156   Paralanguage Simile:  “Listen,” he said in a voice that cut off the small talk the way a sharp knife takes the top off a banana.  “I need a favor.  A big . . .favor.”

P. 186   Eyes:  Hector’s eyes locked on mine and restrained me like a pair of handcuffs.

P. 342  Visceral Response:  Another chill skittered across the wide flesh on my back.  It felt like a terrified cluster of semi-frozen bugs running for their lives.

Fresh writing!  I’ll dig deeper into the visceral example.  Stephen White could have written: 

A chill skittered across my back. 

We’ve read that line, or variations, hundreds of times.  Stephen wrote his line fresh.  He amplified, specified, threw in a terrified cluster of semi-frozen bugs – and had fun writing that line.  I’m betting the readers have fun reading it too.

In DEAD TIME, Stephen White adds power with a variety of rhetorical devices including anaphora, epistrophe, similes, metaphors and litotes.  Those are five of the twenty-five rhetorical devices I cover in Deep Editing:  The EDITS System, Rhetorical Devices, and More.  That on-line course is offered in May through Writer University. 

Stephen White’s books are stellar reads.  His placement on the New York Times bestseller list, well-deserved. 

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In the twenty years I've been writing fiction, two teachers have astounded me with their insights and taught me something radically new:  Dwight Swain and Margie Lawson. Margie has made an enormous splash among novelists with her Deep Editing class and her Empowering Character Emotions class.  I absolutely love her work. After reading Margie's material on nonverbal communication and empowering character emotions, something clicked in my brain.  Fiction is about giving readers a powerful emotional experience. Margie taught me a new ways to empower my writing.

 

Randy Ingermanson, Ph. D., award-winning author and writing instructor

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