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Every narrative has a few rules.
Every narrative that he writes is addictive.
Every narrative titbit is laced with "London's biggest" this or the "world's most exciting" that.
Every narrative that turns toward unreliability or ambiguity written since the eighteen-forties owes a debt to Poe.
Every narrative tactic that Anne Perry executes with a graceful flick of the wrist, David Morrell attacks with balled fists in MURDER AS A FINE ART (Mulholland/Little, Brown, $25.99), a hot-blooded account of a mid-Victorian case of multiple murder.
Every narrative I construct always involves the intersection of at least two human lives.
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Even within the individual narratives, every story casts doubt on itself.
Every other narrative is developed by political motivations.
In every case, narrative moves to the rhythm of journeying.
Every good narrative has a villain, and we picked ours early on: AT&T.
It seems they believe every modern narrative requires a bad guy.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com