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 | 947 Days Ago
Teaching Narrative: Write On, Grades 3-5. Providing information to help develop students' sense of narrative and to show them specific test-taking strategies, this publication is helpful to teachers as they ready their students for the North Carolina Fourth Grade Writing Assessment. The publication provides materials on generating ideas for writing, selecting topics, revising, developing children's concept of story, as well as test-taking strategies and information about test scoring. The first part of the publication discusses effective writing instruction and the writing process. The second part discusses narratives and concept of story. The third part addresses preparation for the North Carolina Writing Assessment. A 192-item list of authors and titles of children's books (arranged by topic) and a 39-item professional bibliography on writing are attached.
 | 947 Days Ago
Write On: Teaching Written Communication. Designed primarily for the use of language arts teachers in the secondary schools, this inservice resource booklet provides a consistent emphasis on developing and strengthening skills in functional and creative writing. Following an introduction, the booklet presents a brief guide for the inservice leader, and a self-corrective test for teachers on the components of writing and instruction. The major portion of the booklet is divided into two parts. The first part introduces functional writing and includes sentence and paragraph building, essay tests, and the research paper. The second part introduces creative writing and includes the short story, the novel and drama, biography, and poetry. Each of the components presented in these two sections contains a discussion of its objective, the instructional concept, and suggested application with learners. A section of general review notes contains appropriate responses to the pretest found at the beginning of the booklet. The booklet concludes with appendixes on poetry, a bibliography, and a glossary.
 | 947 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
 | 978 Days Ago
Do's and Dont's of Writing Dialogue: The main job of dialogue is to build characters. As with real people, your characters are revealed by what they do and what they say. Dialogue shows our characters arguing or staging a meltdown, and when dialogue takes place in a scene, the fictional world blooms: the reader slips into the kitchen, bedroom or office and becomes convinced that the characters breathe, cry, worry and steam. Like all fictional techniques, dialogue is artifice. It is not real speech, but a shorter, smarter, tenser, funnier, more poignant version of how we talk.
 | 985 Days Ago
How To Write A Fairy Tale: How to write a good fairy tale? This little book will teach you all the basic techniques, and provide useful examples and background information. You simply have to read this before writing your next wonder tale!
 | 985 Days Ago
Holly Lisle Create A Plot Clinic: You can create a novel, short story, or screenplay plot from beginning to end, even if you don’t know what you want to write about yet. Want to write fiction but don’t know where to start? Do you have a stack of 30-page novels that have stalled? Are you stuck in the vast morass of your novel’s middle? Don’t know how to figure out your ending? Or do you have the whole first draft done, with the sinking feeling that something’s wrong with the story, but you don’t know what, or where? With Holly Lisle’s Create A Plot Clinic, you’ll: Choose and use the right structure for your story. Overflow with story ideas using twenty fun, easy tools. Organize your plot before you write, while still keeping it flexible and exciting. Adapt your story to great ideas you have while you’re writing. Fix problem plotting as you write the book and even when you’re revising it. Deal with late, great ideas and your stubborn Muse without getting bogged down in endless rewriting. And much more.
 | 1556 Days Ago
About twenty years ago, I was accepted into a small mentoring group led by Sol Stein, a famous novelist, playwright, publisher, and writing teacher. It was a great group and I enjoyed hanging out with so many talented novelists. Sol had a recent book out, THE BEST REVENGE, and most of us in the group bought a copy. Sol, knowing that I'm a physicist, autographed mine as follows: "Physics = facts; Fiction = truth" I've often thought of that over the years. A fair number of people think that fiction is the opposite of truth -- it's just something made-up that doesn't mean anything. But Sol was right. Fiction is truth. Good fiction, anyway. It's the truth about people.
 | 1894 Days Ago
**Members must log-in to download** On The Art Of Writing - By recasting these lectures I might with pains have turned them into a smooth treatise. But I prefer to leave them (bating a very few corrections and additions) as they were delivered. If, as the reader will all too easily detect, they abound no less in repetitions than in arguments dropped and left at loose ends—the whole bewraying a man called unexpectedly to a post where in the act of adapting himself, of learning that he might teach, he had often to adjourn his main purpose and skirmish with difficulties—they will be the truer to life; and so may experimentally enforce their preaching, that the Art of Writing is a living business. Bearing this in mind, the reader will perhaps excuse certain small vivacities, sallies that meet fools with their folly, masking the main attack. That, we will see, is serious enough; and others will carry it on, though my effort come to naught. It amounts to this—Literature is not a mere Science, to be studied; but an Art, to be practised. Great as is our own literature, we must consider it as a legacy to be improved. Any nation that potters with any glory of its past, as a thing dead and done for, is to that extent renegade. If that be granted, not all our pride in a Shakespeare can excuse the relaxation of an effort—however vain and hopeless—to better him, or some part of him. If, with all our native exemplars to give us courage, we persist in striving to write well, we can easily resign to other nations all the secondary fame to be picked up by commentators.
 | 1895 Days Ago
**Members must log-in to download** The Technique of Fiction Writing: Many books have been written on fiction technique, and the chief excuse for the present addition to the number is the complexity of the subject. Its range is so wide, it calls for so many and so different capacities in one attempting to discuss it, that a new work has more than a chance to meet at least two or three deficiencies in all other treatments. I believe that the chief deficiency in most works on fiction technique is that the author unconsciously has slipped from the viewpoint of a writer of a story to that of a reader. Now a reader without intention to try his own hand at the game is not playing fair in studying technique, and a book on technique has no business to entertain him. Accordingly, I have striven to keep to the viewpoint of one who seeks to learn how to write stories, and have made no attempt to analyze the work of masters of fiction for the sake of the analysis alone. Such analysis is interesting to make, and also interesting to read, but it is not directly profitable to the writer. It is indirectly profitable, of course, but it will give very little direct aid to one who has a definite story idea and wishes to be told the things he must consider in developing it and writing the story, or to one who wishes to be told roughly how he should go about the business of finding real stories. In fact, I believe that discussion and analysis of perfect work has a tendency to chill the enthusiasm of the beginning writer. What he chiefly needs is to be told the considerations he must hold in mind in conceiving, developing, and writing a story. The rest lies with his own abilities and capacities to work intelligently and to take pains. Therefore the first part of this book takes up the problems of technique in the order in which they present themselves to the writer. Beginning with matters of conception, the discussion passes to matters of construction and development, and finally to matters of execution, or rather the writing of a story considered as a bare chain of events. Then the matters of description, dialogue, the portrayal of character, and the precipitation of atmosphere are discussed, and lastly the short story and novel, as distinct forms, are taken up. Usually the propositions necessary to be laid down require no demonstration; they are self-evident. That is why a book on technique for the writer need not indulge in fine-spun analysis of perfect work. Where analysis will lend point to the abstract statement, I have made it, but my constant aim has been not to depart from the viewpoint that the reader has in mind some idea of his own and wishes to be told how to handle it. Unquestionably literary dissection is useful in that it gives the beginning writer familiarity with the terminology and processes of the art, but the main object of a book on technique is to place the results of analysis, directly stated, in logical sequence. I will note one other matter. A great part of the technique of fiction writing concerns matters of conception and development which are preliminary to actual writing. In fact they are essentially and peculiarly the technique of fiction. The story that is not a justly ordered whole, with each part in its due place and no part omitted, cannot have full effect, however great the strictly executive powers of its writer. Verbally faultless telling will not save a story which is not logically built up and developed, either before writing or in the process of writing. The art of telling a story is largely the art of justly manipulating its elements. The art of telling it with verbal perfection is not so much a part of the strict technique of fiction writing as it is of the general technique of writing. Therefore I have made little attempt to discuss the general art of using words. For assistance in studying the art of expression the reader should turn to a work on rhetoric. The subject is too inclusive for adequate treatment here. Moreover, it is debatable whether the art of verbal expression can be studied objectively with any great profit. But the art of putting a story together can be studied objectively with profit, and its principles are subject to direct statement.
 | 1898 Days Ago
The Authors Craft by Arnold Bennett - PART I. SEEING LIFE - PART II. WRITING NOVELS - PART III. WRITING PLAYS - PART IV. THE ARTIST AND THE PUBLIC


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