Read Like A Writer

There are two ways to learn how to write fiction: by reading it and by writing it. Yes, you can learn lots about writing stories in workshops, in writing classes and writing groups, at writers' conferences. You can learn technique and process by reading the dozens of books like this one on fiction writing and by reading articles in writers' magazines. But the best teachers of fiction are the great works of fiction themselves. You can learn more about the structure of a short story by reading Anton Chekhov's 'Heartache' than you can in a semester of Creative Writing 101. If you read like a writer, that is, which means you have to read everything twice, at least. When you read a story or novel the first time, just let it happen. Enjoy the journey. When you've finished, you know where the story took you, and now you can go back and reread, and this time notice how the writer reached that destination. Notice the choices he made at each chapter, each sentence, each word. (Every word is a choice.) You see now how the transitions work, how a character gets across a room. All this time you're learning. You loved the central character in the story, and now you can see how the writer presented the character and rendered her worthy of your love and attention. The first reading is creative—you collaborate with the writer in making the story. The second reading is critical.


John Dufresne, from his book, The Lie That Tells A Truth: A Guide to Writing Fiction

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Tuesday, December 8, 2015

An Arrest by Ambrose Bierce

Word Count:  596

Having murdered his brother-in-law, Orrin Brower of Kentucky was a fugitive from justice. From the county jail where he had been confined to await his trial he had escaped by knocking down his jailer with an iron bar, robbing him of his keys and, opening the outer door, walking out into the night. The jailer being unarmed, Brower got no weapon with which to defend his recovered liberty. As soon as he was out of the town he had the folly to enter a forest; this was many years ago, when that region was wilder than it is now.

The night was pretty dark, with neither moon nor stars visible, and as Brower had never dwelt thereabout, and knew nothing of the lay of the land, he was, naturally, not long in losing himself. He could not have said if he were getting farther away from the town or going back to it--a most important matter to Orrin Brower. He knew that in either case a posse of citizens with a pack of bloodhounds would soon be on his track and his chance of escape was very slender; but he did not wish to assist in his own pursuit. Even an added hour of freedom was worth having.

Suddenly he emerged from the forest into an old road, and there before him saw, indistinctly, the figure of a man, motionless in the gloom. It was too late to retreat: the fugitive felt that at the first movement back toward the wood he would be, as he afterward explained, "filled with buckshot." So the two stood there like trees, Brower nearly suffocated by the activity of his own heart; the other--the emotions of the other are not recorded.

A moment later--it may have been an hour--the moon sailed into a patch of unclouded sky and the hunted man saw that visible embodiment of Law lift an arm and point significantly toward and beyond him. He understood. Turning his back to his captor, he walked submissively away in the direction indicated, looking to neither the right nor the left; hardly daring to breathe, his head and back actually aching with a prophecy of buckshot.

Brower was as courageous a criminal as ever lived to be hanged; that was shown by the conditions of awful personal peril in which he had coolly killed his brother-in-law. It is needless to relate them here; they came out at his trial, and the revelation of his calmness in confronting them came near to saving his neck. But what would you have?--when a brave man is beaten, he submits.

So they pursued their journey jailward along the old road through the woods. Only once did Brower venture a turn of the head: just once, when he was in deep shadow and he knew that the other was in moonlight, he looked backward. His captor was Burton Duff, the jailer, as white as death and bearing upon his brow the livid mark of the iron bar. Orrin Brower had no further curiosity.

Eventually they entered the town, which was all alight, but deserted; only the women and children remained, and they were off the streets. Straight toward the jail the criminal held his way. Straight up to the main entrance he walked, laid his hand upon the knob of the heavy iron door, pushed it open without command, entered and found himself in the presence of a half-dozen armed men. Then he turned. Nobody else entered.

On a table in the corridor lay the dead body of Burton Duff.

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