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 | 947 Days Ago
How to write a book in 30 days: Worksheets. Worksheet l: Character sketch - Worksheet 2A: General setting sketch - Worksheet 2B: Character setting sketch - Worksheet 3: Research list - Worksheet 4: Plot sketch - Worksheet 5: Summary outline - Worksheet 6: Miscellaneous scene notes - Worksheet 7: Closing scene notes - Worksheet 8: Interview questions - Worksheet 9: Dialogue sheet - Worksheet l0: Fact sheet - Worksheet ll: Background timeline - Worksheet 12: Miscellaneous timeline - Worksheet 13: Story evolution - Worksheet 14: Formatted outline capsule - Worksheet 15: Day sheet. The worksheets for download are from "Writer's Digest Write Your Novel in 30 Days." Get a complete copy of the magazine @ http://amzn.to/2dURHnB or http://socialpolitan.org/fiction-writing-craft/blogs/entry/Write-Your-Novel-in-30-Days-NaNoWriMo
 | 949 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.
 | 949 Days Ago
A Manual of the Short Story Art by Glenn Clark (1922). This book was written with an eye on the student, not on the rules of composition and rhetoric. It conceives of the student as a creature who loves to use his eyes and ears, and who takes delight in playing the amateur detective and in raveling and unravelling plots. It assumes that a young man or a young woman is filled to overflowing with warm, living interests and desires and aspirations which, taken together, constitute a greater driving force toward success in writing than anything which the textbooks and teachers can give him. By taking advantage of these natural desires and instincts and not working against them it is believed that the teacher may best "draw out" the student to the fullest self-expression. One of these deep-seated instincts of the student is to see things in the concrete. For that reason the method of presenting exercises commonly used in this book is the so-called "projective method." Instead of being asked to describe a city street, the student is asked to read a sentence that helps him to visualize a street and then to write down what he sees.
 | 949 Days Ago
The American Slang Dictionary (1891), by James Maitland
 | 949 Days Ago
Synonyms and Antonyms: an alphabetical list of words in common use, grouped with others of similar and opposite meaning. Edith B. Ordway (Edith Bertha) (1913).
 | 949 Days Ago
The Universal Plot Catalog: an examination of the elements of plot material and construction, combined with a complete index and a progressive category in which the source, life and end of all dramatic conflict and plot matter are classified. By Henry Albert Phillips, (1916). A very great editor once told me something that has always stuck in my mind. It was just after I had come to New York from a small western town and, although I recognized the truth of what he said, I did not appreciate its depth. "A writer sells his first story on account of plot — after that technique has to pull him through. I knew that he had said something, but it took me a long time fighting away at writing to realize the truth of his remark. Every person who has the cosmic urge in him that makes him put himself on paper in narrative form has a big story in him before he touches his pen. The author seizes his pen and what is in him flows out. He sends it out and it sells.
 | 950 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.
 | 950 Days Ago
The Art of Versification: A Practical Handbook of the Structure of Verse Together with Chapters on the Origin Nature and Forms of Poetry. y J. Berg Esenwein (Joseph Berg), (1913). This little treatise does not aim to create poets — Heaven must do that; but it does seek to furnish those who have poetic inspirations with the knowledge of how to master the forms of expression. Poetry is first a gift, then an rnart — both the gift and the art demand cultivation.
 | 950 Days Ago
Studying the Short Story: sixteen short-story classics, with introductions, notes and a new laboratory study method for individual reading and use in colleges and schools. By J. Berg Esenwein (Joseph Berg), (1918). Fiction as an art has made more progress during the last hundred years than any other literary type. The first half of the nineteenth century especially developed a consciousness of subject matter and form in both the novel and the short story which has created an epoch as notable in the history of fiction as was the age of Shakespeare in the progress of the drama. In Great Britain, France, Russia, Germany, and America arose fictional artists of distinguished ability, while in other nations writers of scarcely less merit soon followed.
 | 950 Days Ago
The Art of Story Writing by J. Berg Esenwein (Joseph Berg), (1919). In early times, the professional bards and story-tellers were the only historians, passing from martial camp to palace, from public squares to any gathering of people, and weaving the mythical or the genuine deeds of gods and heroes into "histories" for the entertainment of listeners. Gradually, fact was separated from Action, until now there is a great gulf fixed between history and fictive story. True, the gulf is not impassable, for while history now deals solely with fact, or what it believes to be fact, it often adopts the story form; and while most stories are fictitious, some are woven chiefly of history, and all stories are sure to contain fact in greater or lesser degree. The truth remains, however, that story and history are now distinct. The term "story" includes a wide variety of narrative terms, but broadly it may be defined as the narration of a real or a fictitious action, dealing with thoughts, or motives, or feelings.


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