James Patterson's Success

James Patterson: One Step at a time to a Suspenseful Success

James Patterson, best known for his thriller series of Alex Cross, Michael Bennett, and the Women’s Murder Club. These series are just a few to mention of the author’s colossal success in publications. Being duly noted that Patterson’s books account for one out of every seventeen hardcover novels purchased in the United States (Berkowitz). More so, Patterson’s success has been accredited to his instinctive ability to create suspense, in addition to, his distinctive writing style. For instance, Patterson takes a seven-step approach to producing a page-turning suspense thriller. Patterson couples this approach with a stylistic nature of storytelling that swiftly envelopes the reader
into a maze of mystery; making it difficult for his reader to put the book down.
Specifically, Patterson makes each one of his stories, an experience for his audience. He creates this experience by setting the scenes, and coincides them with the kind of details that has his readers experiencing what his characters are encountering at the turn of each page. For example, in Patterson’s novel Run for Your Life, he draws the reader into the life of detective Michael Bennett in the first sentence. Patterson pens, “GETTING STUCK ON a bus in New York City, even under normal circumstances, is a lesson in frustration.” Immediately the reader has a perception of being on an overcrowded bus in a less than friendly atmosphere. In one simple sentence, Patterson has set the scene as an investigation transpires in New York City. Patterson then couples this thought with the following statement:
But when the bus belongs to the NYPD Tactical Assistance Response Unit, and it’s parked at a barricade that’s swarming with cops, and you’re there because you’re the only person in the world who might have a chance at keeping several hostages from being killed, you cancel your dinner plans. (3 ch.1)
Consequently, the reader just became Michael Bennett or, at the very least, his trusted side-kick fetching his coffee. Specifically, Patterson places the person who is reading in Michael Bennett’s shoes. Patterson states, “you’re there because you’re the only person in the world who might have a chance at keeping several hostages from being killed, you cancel your dinner plans” (3 ch.1).
Secondly, writing shorter chapters keeps the reader reading. For instance, the chapters in his novels are on average three to four pages in length, while his average paragraph is three to four sentences long. This attribute is an important feature in his novels because leaving chapters short leaves the reader longing to know what transpires in the following chapters. Along with short paragraphs the reader becomes more intrigued. Patterson omits the frivolous additives and sticks with only the essential detail. Furthermore, the majority of Patterson’s novel contains up to one hundred and seventeen of these short chapters. As a rule, Patterson believes, writing short chapters gives the novel a more colloquial style of storytelling where things just move smoothly, and this became his style of literature (Berkowitz).
Thirdly, Patterson points out that he does not do realism; it does not have to be realistic. Even though Patterson takes his reader into the scenes and gives him a feeling of being the central character, in contrast, not all of his stories elements are realistic. In this case, a good example would be his book, Witch and Wizard. “Guilty as Charged!” he roared. “You, Wisteria Allgood, are hereby determined by the new order to be a witch! You, Whitford Allgood, are determined to be a wizard!” (58 Ch.18). While it may be unrealistic to be a witch or wizard, Patterson once again demonstrates his ingenious ability of storytelling and places his reader in a spell where anything is possible.
The next step is to outline the book like it depends on it because it does. Berkowitz notes that Patterson is a fanatic about outlining. More so, Patterson believes it will make whatever he writes better, allowing for fewer false starts, as well as, taking less time to complete his book. Patterson points out that he writes his outlines over and again. In fact, reading his outline is comparative to reading his books in a more condensed version. Within each of his outlines, it is clear what the scene is and with what makes the scene work.
The fifth step in his work in progress is to be open to changes during the writing process. Consequently, as Patterson begins his outlining process he already knows what his all-encompassing story is. Incidentally, as he is writing down the scenes, it is not clear what the order is going to be at that time. Notably, Patterson will almost always change the ending as he listens to the characters. Also, as Patterson transcribes his story to paper, he begins to listen to his characters. Subsequently, asking “What if this happened, instead of this?” This distinctive step is the beginning of a roller coaster effect that delivers the thrills for all of his book lovers. As an illustration, Patterson leads Lauren Stillwell from The Quickie through a series of desires, secrets and consequences. The story takes off with Lauren drenched from the rain while riding on the back of Scott’s motorcycle. In a similar manner, it ends with Lauren being drenched as she emerges from the Potomac River. Unfortunately, this occurred after being pushed out of Paul’s Jaguar. Paul derailed Lauren at every turn, as Patterson does to his book lovers. The author quotes Lauren as she stands in her hotel room watching the news:
I shook my head at the screen as the news anchor called it a tragic accident. “You don’t know the half of it,” I said. “You have no idea what you are talking about, mister. No Idea.” (349)
In addition to, Patterson includes a sixth step: Write with confidence, even if one does not feel confident yet.
Patterson confesses, although he is self-assured that he can to tell a good story, this has not always been the case. Patterson particularizes that when he was 26 years of age, he won an Edgar Award for Best First Mystery. Even though he knew he had won, he believed there might have been a mistake. Patterson points out that this is the kind of lack of confidence a writer can experience at the beginning of his career. An author can write and rewrite until he becomes confused and uncertain about what he is trying to express. Therefore, writing with confidence is a big deal (Berkowitz). It is hard to believe that Patterson has ever been anything less than a confident author. Time Magazine once dubbed Patterson as “the man that can’t miss” for his adrenaline packed novel, Run for Your Life.
(…) Last, but not least, Patterson’s seventh step to successfully writing suspense novels is to know who the audience is and what the reader wants.
As a result, Patterson has mastered this step several times over and is known as the “Master of Genre” which includes a variety of readers of all ages. Providing novels from captivating romances, young adult fictions to suspense packed thrillers; Patterson reaches a vast audience awaiting his next bestseller to be produced. Ultimately, utilizing these strategic skills, Patterson can create a one of a kind suspense within each of his stories that keep his readers glued to the pages as they turn.
In 1976, Patterson won the Edgar award from the Mystery Writers of America for his novel titled The Thomas Berryman Number. According to Books: The Thomas Berryman Number | The Official James Patterson Website,
The Thomas Berryman Number begins with three terrifying murders in the South. It ends with a relentless and unforgettable manhunt in the North. In between is the riveting story of a chilling assassin, the woman he loves, and the beloved leader he is hired to kill with extreme prejudice.
Patterson combines all the elements necessary for a riveting mystery, an adrenaline packed action, as well as, a drama and intertwines each genre with
romance.
Hamilton, Geoff and Jones concur that his distinctive style alternates between the consciousness of the criminal and the detective’s narration being in the first person. In conjunction, short chapters shift quickly between different narrative perspectives. Therefore, the text is frequently charged with dramatic irony. Patterson also has a tendency to intensify the suspense by complicating the initial arrest, proving it incorrect, incomplete, or psychologically unsound.
Consequently, Patterson and Poe both have a mutual passion for fictional detective stories. Although, Poe’s first love was poetry, in April of 1841 Poe published his first-ever fictional detective story. However, during his years in Philadelphia, Poe published such trademark horror tales as The Tell-Tale Heart, and The Pit and The Pendulum which remain iconic novels to date. Equally important, Edgar Allan Poe remains today as one of the most beloved mystery writers in history. Not to mention, his contributions to literature and the mystery genre are not underestimated. It is no wonder why he is referred to as “The Father of Modern Mystery” (?). Poe opened the doors for his fellow novelists to cross the threshold and acquire their success. As a matter of fact, James Patterson and Edgar Allan Poe share a similar style of writing within their books. For example, Poe’s The Pit and The Pendulum, and Patterson’s The Thomas Berryman Number, each author approaches their story in first person. For instance, in The Pit and the Pendulum Poe writes, “I WAS SICK- SICK UNTO death with that long agony; and they at length unbound me, and I was permitted to sit, I felt that my senses were leaving me.” Comparatively, Patterson pens in The Thomas Berryman Number, “I parked my rent-a-car in a crowed yard marked ALL HOSPITAL VISITORS ALL. Then, armed with [a]tape recorder, suit coat over my arm too, I made my way along a broken flagstone path tunneling through bent old oak trees.” Although Poe transcribed in a darker gothic tone and Patterson seizes a manner of action, the similarities are there just the same.
John Grisham is also considered to be a great storyteller like James Patterson. Although, his suspenseful novels revolve mostly around attorneys and legal corruption his writing style remains similar in nature to Patterson’s; as they both create suspense that keeps their readers buying book after book. John Grisham, whom is also on the bestseller list with Patterson, each share similar successes. By the same token, both authors have shared success on the big screen as many of their novels have turned into box office hit movies. Not only are their novels intense to read, but their films, such as Patterson’s, Kiss the Girls, and Grisham’s The Pelican Brief are filled with adrenaline bursting, on the edge of the seat suspense.
In conclusion, while James Patterson shares similarities in writing style with other great authors, he stands uniquely alone as one of the bestselling authors of his time. Maybe it is because of his seven-step approach to writing suspense thrillers. Maybe it is because of his mass volume of producing many novels with co-authors in a well-timed fashion, or perhaps it is just because he possesses a unique ability of just simply being a magnificent storyteller. Whatever the case may be, it is certain his audience is waiting for Patterson to produce his next bestseller.