Over the hill and across the ford and down by the meadow gate
A girl is asleep in the long, cool grass.
The soft winds blow and the soft winds pass;
The birds call: "awake!" but they do not stay
While the maid is dreaming the time away
By the meadow gate
Over the hill and across the ford and down by the meadow gate
A youth with the light of the boundless skies
A glow in his soul and a flame in his eyes,
Follows a voice that is never still,
Trading the path to the distant hill
By the meadow gate
Over the hill and across the ford and down by the meadow gate
The voice and the dream are near — so near,
That if he but listened his heart might hear.
Now he may follow the years and afar,
He may walk from the world to the evening star
Past the meadow gate.
Over the hill and across the ford and down by the meadow gate
May her days be many, her days be few,
The dream of the maiden will never come true.
For the soft wind carried the moment away,
And the birds they sang, but they would not stay
By the meadow gate.
Welcome to the Writer's Library, dedicated to the classic short stories, novels, poetry and books on writing. Learn to write by studying the classics. The collection provides readers with a perspective of the world from some of the 18th and 19th century's most talented writers. "You learn by writing short stories. Keep writing short stories. The money’s in novels, but writing short stories keeps your writing lean and pointed." – Larry Niven
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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