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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Monday, December 14, 2015

Constructing The Supernatural or Horror Story by Elinor Glyn (1922)

The Supernatural, or Horror Story. In constructing a story of the supernatural, a device is involved which, if it be not taken into account, will leave the author's "ghost" story lusterless. This device is that of making all the mystery, the causation of the horror, an "unknown" quantity, a thing of Doubt. The reader must not be allowed to catch a view of the thing from which springs the horror of the story, else all suspense will collapse. Unless the author is very clever indeed he will not be able to explain away an anachronism of Nature which he might unheedingly allow to appear before the eyes of several people. Rather he must leave his ghosts, his strange noises, his weird wailing, and the gnashing of teeth, to dark, empty chambers, to dank, winding cellars and underground chambers, whispering forests, eerie moors, or to mysterious deserted battlements of partly dismantled castles, their proper breeding places. The illusion of suspense and horror is broken immediately the reader knows just what it is that causes the furori of terrible emotion on the part of the characters, and, incidentally, the reader himself. The reader may know eventually just what the mystery is, but that is the end of the story; after he does know, he is no longer interested in that particular story, for his curiosity has been fully quenched.




Elinor Glyn
Author


Elinor Glyn, née Sutherland (17 October 1864 – 23 September 1943), was a English-born journalist, novelist, screenwriter, and actress who pioneered mass-market women’s erotic fiction. Born Elinor Sutherland, she coined the use of 'It' as a euphemism for sex appeal. Novelist and scriptwriter who specialised in romantic fiction which was considered scandalous for its time. She popularized the concept of It. Although her works are relatively tame by modern standards, she had tremendous influence on early 20th century popular culture and perhaps on the careers of notable Hollywood stars such as Rudolph Valentino, Gloria Swanson and Clara Bow in particular.

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