发布时间:2019-12-08 11:48:39|今晚福彩3d开奖结果号码查询| 来源 :母婴之家


  SYDNEY, Australia — Four years ago, Jane Harper was a business reporter at The Herald Sun, a tabloid in Melbourne, Australia. Harper, who is now 38, liked to tell friends that she had “more self-improvement activities than a Victorian spinster,” busying herself with hobbies including sewing, ballroom dancing, tennis and piano lessons. But there was one project Harper didn’t talk about: She was writing a murder mystery inspired by “Gone Girl,” Agatha Christie and all the other thrillers she’d loved reading since childhood.

  “Is there anything more boring than someone trying to tell you about the novel they’re working on?” Harper asked over lunch recently here in Sydney. She was explaining why she didn’t let on about her manuscript, which she worked on for an hour before and after work each day. A journalist eking out a novel is cliché, but what happened next was so shocking, you’d have to call it a twist.

  In April 2015, Harper entered pages she’d written over the past six months into the Victorian Premier’s Literary Award for an Unpublished Manuscript. She won, picked up six-figure publishing deals in Australia, the United States and Britain, and went on to sell more than a million copies worldwide of her debut novel, “The Dry.”

  Two subsequent crime novels — “Force of Nature” and “The Lost Man,” which is about to be released in the United States by Flatiron Books — have sold an additional 600,000 copies. There’s also a movie version of “The Dry” in production, starring Eric Bana and produced by Bruna Papandrea of “Big Little Lies” fame. And a baby, who arrived in between international best sellers. Harper is unfailingly modest, but she did admit that “life has changed so much in the last few years.”

  “It was stunning,” offered a former colleague, Victoria MacDonald, of her friend winning a major literary award for a manuscript she knew nothing about, and then becoming Australia’s most widely read crime writer. “She didn’t have a smartphone for a really long time” — 2014, Harper later confirmed — “and I remember thinking that the time the rest of us were wiling away on Candy Crush were the moments Jane must have been working on her book.”

  [Read our reviews of “The Dry,” “Force of Nature” and “The Lost Man.”]

  Harper outlined her writing process in a TEDx Talk last October called “Creativity in Your Control.” She returns often to the idea that artistic endeavor is made easier — and more enjoyable — with planning. “If you focus on the technical aspects,” she says, neat red corkscrew curls bobbing, “you can build a framework which serves as a base for your creative ideas.”

  Harper’s TEDx Talk was in part, perhaps, an effort to set the record straight: Much has been made in the news media about a 12-week creative writing course she took in 2014 through an offshoot of the London branch of the literary agency Curtis Brown. Shortly afterward, she produced the manuscript of “The Dry.” When Harper was asked at lunch about the course, it was the one time she seemed anything less than sunny. “I think honestly the impact of that has been overstated,” she said. “I was a journalist for thirteen years. I wrote every single day. I wrote thousands of words a week under pressure.” The course, she said, merely offered her some external accountability.

  The writing is the “fun part” for Harper, but for several months beforehand, she plots. As her Australian editor Cate Paterson said, every development in a Jane Harper story feels credible. “It’s one of the things that I get annoyed about with other crime writers,” Paterson said. “Some late inclusion, or a new character out of the blue, is the one who did it, but what I find with Jane is that the clues are there all along and she puts them together in a clever way.”

  Another element that Paterson said elevates Harper’s books from procedurals is an attention to character. At the center of both “The Dry” and “Force of Nature” is Aaron Falk, a Melbourne detective. In “The Dry,” he is forced to confront a dark chapter in his past as he solves a murder in his hometown; in “Force of Nature,” he searches for a missing hiker, lost in the woods outside the city. Falk, at times infuriating in his emotional inhibition, is a particularly compelling creation.

  From her training as a journalist, Harper had determined exactly what she needed from the research trip: “I knew how I wanted the story to play out, but I’d left enough flexibility for the things I didn’t have at that stage.” She didn’t know how two-way radios worked, for instance, or what kitchens looked like at cattle stations. Those were the known unknowns. But there were still surprises: “If anything,” she said, “I’d underestimated how dangerous it can be out there, and how quickly things can go wrong.”

  Reached on the phone from his home in Charleville, McShane praised Harper’s evocation of (very) small-town life. “You can drive 12 hours here without passing another car,” McShane said. “She nailed the loneliness of it.”

  “You don’t have to know the place to get the feelings of the characters,” said Deborah Force, who owns an independent Melbourne bookstore called the Sun and was an early champion of Harper’s writing. “The Lost Man” was her shop’s best-selling title over the holidays. “Even people who say they don’t like crime really liked ‘The Dry,’” Force said.

  Harper doesn’t want to be boxed into a genre. “I don’t really feel drawn to dark things or human misery,” she said. Although all three of her books feature a sudden and mysterious death, they aren’t grisly or scary. “The number of books you come across with a young blond woman who gets mutilated and killed,” said Paterson, Harper’s editor, with a sigh. “I’m just reading a submission at the moment from an agent which starts with a woman getting kidnapped. You get overwhelmed by it.”

  Harper’s goal is clear: to write books people will enjoy reading, ones that she would like to read herself. Right now, those books happen to involve crime. “As a journalist I learned not to assume people will read to the end,” she said. “I need to keep people engaged.”



  今晚福彩3d开奖结果号码查询“【但】【是】【还】【是】【他】【把】【你】【抱】【回】【来】【的】【啊】?” 【南】【千】【听】【见】【这】【一】【句】【话】,【突】【然】【震】【住】【了】。 【对】【啊】,【他】【为】【什】【么】【抱】【自】【己】【回】【来】? 【南】【千】【眼】【眸】【闪】【过】【一】【丝】【迷】【茫】。 “【他】【要】【是】【又】【什】【么】【喜】【欢】【的】【感】【觉】,【肯】【定】【会】【有】【那】【么】【一】【点】【点】【的】【表】【现】【的】【吧】,【但】【是】【没】【有】……【一】【点】【都】【没】【有】……” 【猥】【琐】【系】【统】【大】【爷】【似】【的】【坐】【姿】,【看】【着】【南】【千】,【手】【指】【不】【知】【道】【哪】【里】【来】【了】【一】【个】【棍】【子】,【一】

  【没】【想】【到】【有】【一】【天】【也】【会】【这】【样】,【以】【一】【个】【作】【家】【的】【身】【份】,【敲】【下】【这】【四】【个】【字】。 【虽】【然】【吧】,【现】【在】【其】【实】【还】【远】【远】【配】【不】【上】【作】【家】【这】【两】【个】【字】,【但】【就】【趁】【着】【这】【完】【结】【的】【奇】【妙】【心】【境】,【这】【么】【自】【我】【标】【榜】【一】【次】【吧】。 【海】【贼】【之】【曜】,【其】【实】【一】【开】【始】【写】,【目】【的】【就】【很】【明】【确】,【一】【是】【出】【于】【对】【海】【贼】【王】【这】【个】【故】【事】【的】【热】【爱】,【想】【留】【下】【感】【动】【自】【己】【的】,【并】【按】【照】【自】【己】【的】【设】【想】,【写】【出】【新】【的】【感】【动】,【二】【嘛】

  【太】【夫】【人】【听】【说】【宝】【玉】【不】【知】【道】,【这】【才】【松】【了】【口】【气】。 【王】【氏】【这】【个】【儿】【媳】【妇】,【在】【太】【夫】【人】【心】【里】【很】【是】【有】【些】【爱】【恨】【交】【加】。【年】【轻】【的】【时】【候】,【虽】【然】【有】【些】【小】【气】,【倒】【也】【过】【得】【去】。【尤】【其】【生】【了】【三】【个】【好】【孩】【子】,【这】【给】【她】【在】【这】【个】【家】【里】【添】【加】【了】【不】【少】【好】【感】。【太】【夫】【人】【明】【白】【他】【们】【是】【二】【房】,【侯】【府】【的】【好】【处】【总】【是】【拿】【不】【到】【什】【么】【的】,【所】【以】【一】【早】【就】【从】【自】【己】【的】【私】【房】【里】【头】【留】【了】【不】【少】【东】【西】【给】【他】【们】,【尤】

  【不】【管】【这】【位】【是】【不】【是】【来】【自】【山】【海】【界】,【仅】【是】【这】【份】【无】【匹】【的】【力】【量】,【就】【可】【以】【让】【天】【也】【退】【避】【三】【舍】。 “【我】【们】【冥】【族】【的】【初】【代】【先】【祖】,【曾】【为】【天】【帝】【守】【过】【夜】!”【永】【恒】【之】【夜】【苍】【老】【的】【脸】【庞】【之】【上】,【是】【发】【自】【内】【心】【的】【骄】【傲】【和】【自】【豪】,【在】【他】【看】【来】,【这】【是】【莫】【大】【的】【荣】【誉】,【和】【天】【帝】【扯】【上】【了】【一】【些】【关】【系】,【足】【以】【令】【他】【们】【这】【些】【后】【辈】【感】【到】【无】【与】【伦】【比】【的】【崇】【高】【感】。 【即】【便】【山】【海】【经】【也】【记】【载】【了】【他】【们】

  “【那】【真】【是】【不】【好】【意】【思】。” 【上】【官】【梦】【瑶】【说】【完】【便】【大】【步】【离】【开】【自】【己】,【虽】【然】【很】【想】【成】【为】【上】【神】,【但】【是】【经】【历】【了】【这】【么】【多】,【自】【己】【并】【不】【想】【再】【重】【蹈】【覆】【辙】,【自】【己】【记】【得】【当】【初】【就】【是】【如】【这】【般】【无】【力】,【虽】【然】【身】【份】【回】【来】【了】,【但】【是】【骨】【子】【里】【还】【是】【曾】【经】【的】【记】【忆】,【所】【以】【现】【在】【自】【己】【不】【想】【重】【蹈】【覆】【辙】。 【好】【不】【容】【易】【自】【己】【不】【再】【痴】【迷】【这】【个】【男】【子】,【因】【为】【自】【己】【从】【来】【都】【发】【现】【感】【情】【误】【事】,【倘】【若】【不】今晚福彩3d开奖结果号码查询【风】【华】【绝】【代】,【艺】【术】【之】【路】【长】【青】,【刘】【晓】【庆】【带】【着】【最】【惊】【喜】【的】【演】【出】【带】【着】【大】【家】【一】【起】【感】【受】【一】【场】《【风】【华】【绝】【代】》!2020【刘】【晓】【庆】【话】【剧】《【风】【华】【绝】【代】》【唐】【山】【站】【已】【经】【开】【票】,【走】【进】【刘】【晓】【庆】【的】【风】【华】【绝】【代】【之】【中】【饭】,【感】【受】【舞】【台】【精】【彩】。

  【天】【庭】【所】【发】【生】【之】【事】,【盘】【古】【殿】【所】【发】【生】【之】【事】,【嬴】【政】【成】【为】【了】【洪】【荒】【唯】【一】【的】【知】【道】【缘】【由】【的】【知】【情】【者】。 【而】【这】【成】【为】【了】【一】【个】【机】【会】,【盘】【古】【大】【神】【给】【予】【洪】【荒】【各】【大】【势】【力】【的】【机】【会】,【不】【算】【盘】【古】【殿】【本】【身】,**【一】【脉】、【天】【庭】、【还】【有】【大】【秦】【皆】【拥】【有】【征】【战】【虚】【空】【的】【力】【量】。 【诸】【天】【万】【界】【如】【同】【一】【片】【永】【恒】【无】【际】【的】【大】【秘】【宝】,【让】【众】【神】【陶】【醉】【疯】【狂】【让】【创】【世】【神】【疯】【狂】【占】【有】,【就】【连】【嬴】【政】【本】【人】【也】

  【想】【到】【这】【些】,【叶】【洛】【这】【边】【的】【眉】【头】【又】【开】【始】【紧】【紧】【地】【皱】【了】【起】【来】。 【事】【情】【很】【多】,【并】【且】【也】【很】【复】【杂】,【在】【这】【雅】【家】【的】【这】【一】【盘】【局】【之】【中】,【叶】【洛】【必】【须】【要】【谨】【慎】【的】【布】【置】【好】【每】【一】【步】【才】【能】【够】【在】【整】【个】【棋】【局】【之】【中】【赢】【得】【不】【错】【的】【利】【益】。 【现】【在】【叶】【洛】【这】【边】【看】【似】【已】【经】【和】【雅】【家】【脱】【离】【了】【关】【系】,【但】【是】【雅】【菲】【这】【边】【的】【话】,【其】【实】【就】【是】【联】【系】【着】【雅】【家】【和】【叶】【洛】【的】【纽】【带】。 【雅】【家】【现】【在】【情】【况】【其】【实】

    【气】【势】【磅】【礴】【的】【城】【池】【似】【一】【头】【上】【古】【的】【凶】【兽】【酣】【卧】【在】【这】【荒】【凉】【的】【北】【原】,【一】【股】【古】【朴】【苍】【凉】【的】【气】【息】【随】【着】【肆】【意】【的】【风】【沙】【袭】【卷】【天】【地】。  【城】【门】【外】【一】【队】【队】【商】【贾】【车】【马】【来】【来】【往】【往】,【游】【侠】【少】【年】【持】【着】【宝】【剑】,【看】【着】【面】【前】【的】【一】【望】【无】【际】【的】【荒】【原】,【脸】【色】【各】【异】,【有】【兴】【奋】,【有】【激】【动】,【有】【恐】【惧】,【有】【悲】【戚】,【林】【林】【种】【种】【世】【间】【百】【态】【炎】【凉】,【像】【刀】【刻】【般】【印】【在】【他】【们】【无】【畏】【的】【脸】【上】。 【这】

  【司】【马】【宰】【相】:“【很】【好】,【今】【日】【便】【让】【你】【见】【识】【一】【下】【我】【数】【十】【年】【修】【炼】【的】【神】【功】!” 【话】【音】【未】【落】,【他】【飞】【身】【而】【起】,【凌】【空】【挥】【舞】【双】【掌】,【释】【放】【出】【一】【连】【串】【的】【青】【色】【掌】【风】,【犹】【如】【狂】【风】【暴】【雨】【一】【般】【袭】【来】,【无】【处】【不】【在】。 【【乾】【坤】【大】【挪】【移】!】【赵】【星】【辰】【甚】【至】【对】**【式】【的】【威】【力】,【催】【动】【内】【力】,【将】【这】【些】【掌】【风】【牵】【引】【挪】【移】,【原】【封】【不】【动】【的】【送】【了】【回】【去】。 【司】【马】【宰】【相】【露】【出】【惊】【异】【之】【色】