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 | 708 Days Ago
ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE: Fundamental Literary Terms that Identify Components of Narratives: “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened rnto people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense.
 | 777 Days Ago
The Writing Loft: Explanation of Plot and Conflict
 | 860 Days Ago
Dostoevsky's Crime and Punishment and the Writing of Fiction by Paul Barber, Mary Zirin, Elizabeth Barber (2013). Writers of fiction learn early about the advantages of creating a story with a setting rich in highly differentiated characters. Army barracks have greater possibilities for constant drama than, say, an isolated lighthouse with a single occupant. No matter how exciting the lighthouse keeper, the author needs something more communicative than stone and water in the vicinity of the hero to create a lively story. In fact, it would take some kind of genius to write a lively story about stone and water — but we will get to him in due course.
 | 870 Days Ago
Hints on Writing Short Stories by Charles Joseph Finger (1922). In the first place, there must be Sincerity. Without that nothing can be done. Sincere work will be good work, and sincere work will be original work. With sincerity, you will have honesty and simplicity, both of which are cardinal virtues in the literary man. Also, with sincerity there will be courage. You know, as well as I know, that when you meet an in- sincere man, you detect him at once. Were you ever deceived, for instance, by the rounded periods of some political rhetorician? Perhaps for a moment you may have been carried away in spite of your better sense, but, certainly, the effect was not lasting. Examining yourself, you will certainly remember that before you could persuade others, you had to be thoroughly convinced of the essential right of the thing itself. In the same fashion then, you must be persuaded of the truth of that which you wish to be accepted when writing. I do not speak of controversial matters. I write of fiction. You must have so thoroughly identified yourself with your characters that they are as living creatures to you. Then only shall they be living characters to your readers. If you have read the Pickwick Papers and have learned to know and love Samuel Pickwick, you will know exactly what I mean. In that character, the young Charles Dickens lost himself. In creating Mr. Pickwick he was entirely sincere. He watched the character grow from a somewhat simple-minded old gentleman to a lovable, jolly fellow to meet whom you would walk half round the world. Pick- wick was real to Dickens; therefore he is real to us. Observe this too; he had his faults. Mr. Pickwick would not have been considered rna good or a moral character to many of the “unco guid” of today. He often drank too much. Had there been nation wide prohibition in England in his day, he would certainly have drunk home brew with Ben Allen and Bob Sawyer exactly as he went to prison for conscience sake. He and his companions enjoyed the pleasures of the table too well for latter day tastes. He was obstinate on occasion, just as I am obstinate. Had Dickens been insincere, he might have been tempted to sponge out the bad spots in his character. But then he would have given us something that was not a man. The truth is that we want something of the sensuous and the gross in those about us. None of us want to live with angels and saints. So we reject instinctively as impossible and unpleasant, those perfect, etherealized creations some times found in stories — those returns all compounded of nobility, courage, beauty, generosity and wisdom which insincere writers try to foist upon us. They do not ring true. We detect their hollowness just as we detect the hollowness of the flamboyant boastings of the political orator.
 | 870 Days Ago
A Book of Narratives by Oscar James Campbell, and Richard Ashley Rice (1917). The editors of this book of narratives have one object in view — to lead the reader to see life closely and imaginatively. It is not especially planned as a guide for young writers who want to sell their first attempts to the omnivorous magazines; and we much doubt if anyone will learn from it the temporary tricks for turning out "current fiction." The aim of all great literature is to interpret life, and the special aim of fiction is to see life imaginatively. Emile Zola once said that all a novel can hope to be is a corner of nature seen through a temperament. To inculcate something of this supreme art of seeing life, by the methods of fiction, is the purpose of the present collection. As we understand it, the purpose of writing courses in college, especially while drill in correct usage goes on, is to train the logical powers. We believe that there can be no better training in logic than that which exercises the faculties for close observation of life and for constructive imagination. Our commentary and notes are entirely devoted to defining and illustrating this exercise. We hope that the book will also be of help in the general study of fiction.
 | 870 Days Ago
The Philosophy of the Short Story by Brander Matthews (1901). If it chance that artists fall to talking about their art, it is the critic's place to listen, that he may pick up a little knowledge. Of late, certain of the novelists of Great Britain and the United States have been discussing the principles and the practice of the art of writing stories. The discussion took a wide range. With more or less fullness, it covered the proper aim and intent of the novelist, his material and his methods, his success, his rewards, social and pecuniary, and the morality of his work and of his art. But, with all its extension, the discussion did not include one important branch of the art of fiction.
 | 872 Days Ago
A Study of Prose Fiction by Bliss Perry (1902). The aim of this little book is to discuss the outlines of the art of fiction. In writing it I have followed more or less closely the notes prepared, a few years ago, for a course of lectures on Prose Fiction at Princeton University. These lectures were repeated with several classes and many teachers who have had occasion to examine the syllabus of the lectures^ and the topical work assigned in connection with them, have asked me to print a book that would be adapted to effective use in the classroom. I have confidence in the general method of fiction study which is here outlined, although the kindly cooperation of my former pupils may have then given the study a certain ardor which the book will fail to impart.
 | 872 Days Ago
The Technique of the Mystery Story By Carolyn Wells (1913). All the world loves a mystery; perhaps that is why Emerson declared the same to be true of a lover. Since time out of mind, a dear and open page has ever lacked the fascination of the veiled meaning, and when some touch of the strange, the weird, and even the gruesome, has been added to the mysterious, its challenge has been the more alluring. Just wherein lies this universal charm, is itself a puzzle. Maybe it lies in our natures, born out of an uncharted past and tending toward an unknown future; maybe it is because of man's disposition to triumph over difficulties — sending him in quest of fabled treasures, on perilous hunts in unknown lands, and bidding him struggle with his last ounce of energy to attain goals hitherto unattained; or maybe it is the expression of his dual make-up — flesh and spirit — and when the mysterious is set before him he instinctively feels a call to match his discernment against the problem, seem it never so insoluble.
 | 878 Days Ago
The Elements of the Short Story by Edward Everett Hale and Fredrick Thomas Dawson, (1915). The legend of Sleepy Hollow, by W. Irving.--Rip Van Winkle, by W. Irving.--Irving as a story writer.--The great stone face, by N. Hawthorne.--Ethan Brand, by N. Hawthorne.--Hawthorne as a story writer.--The fall of the house of Usher, by E. A. Poe.--The murders in the Rue Morgue, by E. A. Poe.--Poe as a story writer.--The diamond lens, by F.-J. O'Brien.--The man without a country, by E. E. Hale.--The outcasts of Poker Flat, by F. B. Harte.--Some recent stories. I. The Legend of Sleepy Hollow. . .Washington Irving - II. Rip Van Winkle Washington Irving - III. Irving as a Story Writer - IV. The Great Stone Face. . .Nathaniel Hawthorne V. Ethan Brand . . .Nathaniel Hawthorne - VI. Hawthorne as a Story Writer - VII. The Fall oe the House of Usher .Edgar Allan Poe - VIII. The Murders in the Rue Morgue. Edgar Allan Poe - IX. Poe as a Story Writer - X. The Diamond Lens - Fitz-James O'Brien - XI. The Man Without A Country . . . Edward Everett Hale - XII. The Outcasts of Poker Flat. . .Francis Bret Harte. - XIII. Some Recent Stories rn
 | 878 Days Ago
The Short Story by William Patterson Atkinson, (1916). Bibliography: p. xxv. Contains references. Washington Irving: Rip Van Winkle.--Edgar Allan Poe: The gold bug, The purloined letter.--Nathaniel Hawthorne: Howe's masquerade, The birthmark.--Francis Bret Harte: The outcasts of Poker Flat.--Robert Louis Stevenson: The Sire de Malétroit's door, Markheim.--Rudyard Kipling: Wee Willie Winkie. I. Definition and Development rnII. Forms - III. The Short-story as Narration - IV. Representative Short-stories


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