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 | 737 Days Ago
Write Good or Die: Survival tips for 21st century writers, from best-selling authors Kevin J. Anderson, M.J. Rose, Heather Graham, J.A. Konrath, Gayle Lynds, Alexandra Sokoloff, Jonathan Maberry, and more. How to develop your craft, improve your writing, get an agent, promote your work, embrace the digital age, and prepare yourself for the coming changes in the publishing industry. Edited by Scott Nicholson.
 | 737 Days Ago
Elements of Fiction: What every writer must know and use to write truly compelling fiction. The elements of fiction are the basic principles. These are the basic and most important concepts to be learned in order to write good compelling fiction.
 | 1315 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.
 | 1654 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.
 | 1655 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.
 | 1658 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
 | 1660 Days Ago
The Character Building Workshop is an independent study of your characters using these online questionnaires. The process of filling out the forms will help you, the writer, learn about your characters on a more in-depth level. Once the questions have been answered, you will know more about the roles your characters play in your story. No longer will they be names on a page; they will become living, breathing beings as you continue writing your story.
 | 1662 Days Ago
The Writing Of The Short Story: Elements of the Story. - This little volume is meant to be a discussion of but one of the various forms that literature takes, and it will be first in order to see what are the elements that go to the making of a narrative having literary quality. A story may be true or false, but we shall here be concerned primarily with fiction, and with fiction of no great length. In writing of this sort the first essential is that something shall happen; a story without a succession of incidents of some kind is inconceivable. We may then settle upon incident as a first element. As a mere matter of possibility a story may be written without any interest other than that of incident, but a story dealing with men will not have much interest for thoughtful readers unless it also includes some showing of character. Further, as the lives of all men and women are more or less conditioned by their surroundings and circumstance, any story will require more or less description. Incidents are of but little moment, character showing may have but slight interest, description is purposeless, unless the happenings of the story develop in the characters feelings toward which we assume some attitude of sympathy or opposition. Including this fourth element of the story, we shall then have[2] incident, description, character, mood, as the first elements of the narrative form. @merelyawriter download the file from here: http://socialpolitan.org/fiction-writing-craft/share-files/The-Writing-Of-The-Short-Story.exe
 | 1664 Days Ago
Writers Conferences & Workshops guide offers writing programs and comprehensive worldwide guides to educational travel and creative career workshops and programs. Keywords: educational, creative, program, programs, language, writing, author, story, poet, poem, poetry, writer, sonnet, story writer, book, books, writers, publish, workshop
 | 1665 Days Ago
Advice on Novel Writing - Altogether there is 17 separate “handouts” from Crawford Kilian's commercial fiction course. They range from good work habits to the reading of contracts. Please--don't read them as divine revelation. They come out of my experience, which may not be anything like yours or that of other writers.


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