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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Thursday, December 10, 2015

Doctor Chevalier's Lie by Kate Chopin

Word Count:  385

The quick report of a pistol rang through the quiet autumn night. It was no unusual sound in the unsavory quarter where Dr. Chevalier had his office. Screams commonly went with it. This time there had been none.

Midnight had already rung in the old cathedral tower.

The doctor closed the book over which he had lingered so late, and awaited the summons that was almost sure to come.

As he entered the house to which he had been called he could not but note the ghastly sameness of detail that accompanied these oft-recurring events. The same scurrying; the same groups of tawdry, frightened women bending over banisters--hysterical, some of them; morbidly curious, others; and not a few shedding womanly tears; with a dead girl stretched somewhere, as this one was.

And yet it was not the same. Certainly she was dead: there was the hole in the temple where she had sent the bullet through. Yet it was different. Other such faces had been unfamiliar to him, except so far as they bore the common stamp of death. This one was not.

Like a flash he saw it again amid other surroundings. The time was little more than a year ago. The place, a homely cabin down in Arkansas, in which he and a friend had found shelter and hospitality during a hunting expedition.

There were others beside. A little sister or two; a father and mother--coarse, and bent with toil, but proud as archangels of their handsome girl, who was too clever to stay in an Arkansas cabin, and who was going away to seek her fortune in the big city.

"The girl is dead," said Doctor Chevalier. "I knew her well, and charge myself with her remains and decent burial."

The following day he wrote a letter. One, doubtless, to carry sorrow, but no shame to the cabin down there in the forest.

It told that the girl had sickened and died. A lock of hair was sent and other trifles with it. Tender last words were even invented.

Of course it was noised about that Doctor Chevalier had cared for the remains of a woman of doubtful repute.

Shoulders were shrugged. Society thought of cutting him. Society did not, for some reason or other, so the affair blew over.

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