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 | 1469 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.
 | 1621 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.
 | 1631 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.
 | 1634 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.
 | 1634 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.
 | 1641 Days Ago
Learning to Write by Robert Louis Stevenson, (1920). Robert Louis Stevenson (1850-1894) was a novelist, poet, short-story writer, and essayist. In 1883, while bedridden with tuberculosis, he wrote what would become one of the best known and most beloved collections of children's poetry in the English language, A Child's Garden of Verses. Block City is taken from that collection. Stevenson is also the author of such classics as Treasure Island, Kidnapped, and The Strange Case of Dr. Jekyll and Mr. Hyde. http://amzn.to/18OAvKo
 | 1643 Days Ago
From Fact to Fiction by Edmund Ware Smith, (1946). This book is a collaboration between a writer and a teacher of writing. Its plan developed in the seminar room, to which the teacher had invited the writer to talk to students about the composition of stories. For the subject of his talk, the writer chose one of his own stories, described its origin and development, explained the problems it posed and the devices he used to overcome them or to gain certain effects. Then he read the story aloud. In the concluding period of the seminar, the teacher discussed the wider generalities implied in the writer's preface and in the story itself. The method may be likened to a sandwich — a story between two slices of comment. Students tell us that the method is good. We think, therefore, that the book may be helpful to people who wish to write professional fiction, and that it may offer teachers a fresh and effective means of presenting some of the techniques in the writing of short stories. We do not believe that emphasis on "formula," as such, is of much use to the beginning writer. On the other hand, we do strongly believe that learning to write stories, like learning any other highly skilled craft, requires close and painstaking attention to technique. The long quotation in Chapter III explains more fully our attitude toward the writing of magazine fiction. Great thoughts and delicate perceptions are not enough unless one learns to fashion something from them.
 | 1643 Days Ago
Story Composition by Sherwin Cody (1897). CONTENTS. Introduction. I. Story Writing as an Exercise in Composition. II. The Practical Construction of a Snake Story. III. The Art of Description. IV. Plot-Construction. Imagination. V. Dialogue. VI. Characterization. VII. Sentiment. VIII. The Love Story. IX. Fancy and Invention. X. The Complete Story.
 | 1644 Days Ago
Art In Short Story Narration: A Searching Analysis of the Qualifications of Fiction in General, and of the Short Story in Particular, with Copious Examples, Making the Work A PRACTICAL TREATISE. By Henry Albert Phillips, (1913). Many books have been written bearing chiefly upon the technical side of fiction construction, but few — indeed, if any — have taken a step further and undertaken to analyze and reconstruct the artistic qualifications essential to fiction literature. Sometimes it is easier to tell how to do a thing, than it is to do it or to define intelligently the nature of the thing to be done. The literary craft has been informed so often how it should do its work, that it seems refreshing to be told in definite terms just what that work is." Art in Short Story Narration," then, is a book of unusual timeliness. Never before, have so many short stories been written — and published; never before has there been such a vast army of tyros — and such a great company of successful authors. In like proportion, the field for technical lore and critical discussion has advanced and widened apace.
 | 1649 Days Ago
Some Observations On The Art Of Narrative by Phyllis Eleanor Bentley (1947)
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