![]() The key word in understanding both Fleming’s success and the admiration of other writers is right there in Fleming’s opening assertion: craft. Fleming was, Amis wrote in 1991, “a masterly action-story writer,” and Horowitz has summarized Fleming’s novels as “small masterpieces … brilliantly written, wonderful descriptions, great characters.” Kingsley Amis and Anthony Horowitz, accomplished authors who have also written “continuation” novels for Fleming’s estate, have extensively praised his skills. Fleming wrote from a deep affection for the genre, a genre in which, from 1953’s Casino Royale on, he found immediate and lasting success.īut when he is remembered simply as the creator of James Bond, the films overshadow his achievement, especially as a writer. It was difficult then and is difficult now to find a widely available thriller that is not overlong, badly written, and peopled with flat, clichéd characters. ![]() This provocation, the opening line of his essay, “How to Write a Thriller,” may be evergreen. ![]() According to Ian Fleming, writing in 1963, “the craft of writing sophisticated thrillers is almost dead.”
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