This book is not intended to persuade you to take up writing novels or short stories – “It’s going to be a lot of work,” Jack Hodgins warns. Nor will it tell you how to market your stories. But it will take you through the problems facing any fiction writer and show you how some of the best writers in English have solved them. The chapters are clear and comprehensive: Finding Your Own Stories; One Good Sentence After Another – on the skills of writing well; Setting; Character – how to make your characters come alive; Plot; Structure – “The Architecture of Story”; Point of View and Voice; Metaphors, Symbols and Allusions; Revising – an all-important chapter that also deals with the impact of writing on a computer; The Story of a Story – where Jack Hodgins talks of his own experience with one of his most famous stories; and the final chapter, And Now What? – Creating Your Own Workshop, which builds on the fact that every chapter in the book contains writing exercises to help you work away at home at “the mysterious business of writing fiction.” As an award-winning novelist and short-story writer Jack Hodgins is uniquely qualified to preach what he practises. As a trained teacher, he has been giving creative lessons for thirty years, at high schools and universities and to writers’ summer schools. In recent years his creative writing courses at the University of Victoria have become discreetly famous. Now, anyone who buys this book can share in the experience of learning fiction-writing from a master. With its scores of examples of first-class writing this lively, truly fascinating book will almost certainly make you be atter writer; it is guaranteed to make you a better reader.
Long before there were creative-writing workshops and degrees, how did aspiring writers learn to write? By reading the work of their predecessors and contemporaries, says Francine Prose. In Reading Like a Writer, Prose invites you to sit by her side and take a guided tour of the tools and the tricks of the masters. She reads the work of the very best writers—Dostoyevsky, Flaubert, Kafka, Austen, Dickens, Woolf, Chekhov—and discovers why their work has endured. She takes pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; she is deeply moved by the brilliant characterization in George Eliot's Middlemarch. She looks to John Le Carré for a lesson in how to advance plot through dialogue, to Flannery O'Connor for the cunning use of the telling detail, and to James Joyce and Katherine Mansfield for clever examples of how to employ gesture to create character. She cautions readers to slow down and pay attention to words, the raw material out of which literature is crafted. Written with passion, humor, and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart.
The Secret to Good Writing When asked by the Paris Review what compelled him to rewrite the ending of A Farewell to Arms 39 times, Ernest Hemingway replied, "Getting the words right." His answer echoes what every successful writer knows: The secret to all good writing is revision. For more than twenty years, Getting the Words Right has helped writers from all professions rewrite, revise, and refine their writing. In this new edition, author Theodore Cheney offers 39 targeted ways you can improve your writing, including how to: create smooth transitions between paragraphs correct the invisible faults of inconsistency, incoherence, and imbalance overcome problems of shifting point of view and style express your ideas clearly by trimming away weak or extra words You'll strengthen existing pieces and every future work by applying the three simple principles—reduce, rearrange, and reword. Once the secrets of revision are yours, you'll be able to follow Hemingway's lead—and get the words right!
The articles with which David Lodge entertained and enlightened readers of the Independent on Sunday and The Washington Post are now revised, expanded and collected together in book form. The art of fiction is considered under a wide range of headings, such as the Intrusive Author, Suspense, the Epistolary Novel, Time-shift, Magical Realism and Symbolism, and each topic is illustrated by a passage or two taken from classic or modern fiction. Drawing on writers as diverse as Henry James and Martin Amis, Jane Austen and Fay Weldon and Henry Fielding and James Joyce, David Lodge makes accessible to the general reader the richness and variety of British and American fiction. Technical terms, such as Interior Monologue, Metafiction, Intertextuality and the Unreliable Narrator, are lucidly explained and their application demonstrated. Bringing to criticism the verve and humour of his own novels, David Lodge has provided essential reading for students of literature, aspirant writers, and anyone who wishes to understand how literature works.
One of America's most influential writing teachers offers a toolbox from which writers of all kinds can draw practical inspiration. "Writing is a craft you can learn," says Roy Peter Clark. "You need tools, not rules." His book distills decades of experience into 50 tools that will help any writer become more fluent and effective. WRITING TOOLS covers everything from the most basic ("Tool 5: Watch those adverbs") to the more complex ("Tool 34: Turn your notebook into a camera") and provides more than 200 examples from literature and journalism to illustrate the concepts. For students, aspiring novelists, and writers of memos, e-mails, PowerPoint presentations, and love letters, here are 50 indispensable, memorable, and usable tools. "Pull out a favorite novel or short story, and read it with the guidance of Clark's ideas. . . . Readers will find new worlds in familiar places. And writers will be inspired to pick up their pens." -Boston Globe "For all the aspiring writers out there-whether you're writing a novel or a technical report-a respected scholar pulls back the curtain on the art." -Atlanta Journal-Constitution "This is a useful tool for writers at all levels of experience, and it's entertainingly written, with plenty of helpful examples." -Booklist
Do you want to take your fiction writing to the next level? LEARN FROM THE MASTERS "Adam Sexton taught me how to read like a writer--and, in a way, how to write like a reader. For without first considering the experience of reading stories--seriously, thoroughly, the way Sexton does--you can't possibly write one worth reading." --Tara McCarthy, author of Love Will Tear Us Apart Many writers believe that if they just find the right teacher or workshop, their writing will reach new heights of skill. But why not learn from the best? In his popular workshops in New York City, creative writing instructor Adam Sexton has found that the most effective way for any writer to grasp on the elements of fiction is to study the great masters. Master Class in Fiction Writing is your personal crash course in creative writing, with the world's most accomplished fiction writers as your guides. You will learn: The art of characterization from Jane Austen Style and voice from Ernest Hemingway Dialogue from Iris Murdoch Description from Vladimir Nabokov The timeless techniques of plotting in the work of Joseph Conrad The ingenious structure of James Joyce Point of view from Toni Morrison Over the course of just ten chapters you can master all the components of great short story and novel writing. These are the most important lessons any writer can learn--a truly "novel" approach to writing that will enrich, inform, and inspire.
