In a message dated 4/30/05 3:05:18 PM,
vhend1234@aol.com writes:
> > In the best ones, the twist at the end that
makes the second reading of
> the
> > story a whole new experience with the new piece
of information
> >
> > John Lau
>
> Intriguing answer. I don't think I will ever be good
enough to do it. Can
> you
> give me a good example of this? I can't think of
anything like it.
>
I actually had to stare at my wall 'o books for a minute or
two and think about it. usually, they're the sort of stories
where the killer's identity is revealed near the end, but the
character has had a prominent role in the story.
Michael Connelly's THE POET or THE CONCRETE
BLONDE are probably good examples of that, or maybe T.
Jefferson Parker's first three novels LAGUNA HEAT, LITTLE
SAIGON and PACIFIC BEAT. and while not that type of story,
the last couple sentences of Charles Williford's PICK UP
reinvents the entire novel. what's interesting however is, I
don't consider any of these writers plot >
characterization oriented. they do both extremely well
and in general, one will see the big twist occuring in movies
a bit more frequently, as in MEMENTO
John Lau
[Non-text portions of this message have been removed]
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