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
Monday, January 4, 2016
A Fashion Item by Mark Twain
At General G----'s reception the other night, the most fashionably dressed lady was Mrs. G. C. She wore a pink satin dress, plain in front but with a good deal of rake to it--to the train, I mean; it was said to be two or three yards long. One could see it creeping along the floor some little time after the woman was gone. Mrs. C. wore also a white bodice, cut bias, with Pompadour sleeves, flounced with ruches; low neck, with the inside handkerchief not visible, with white kid gloves. She had on a pearl necklace, which glinted lonely, high up the midst of that barren waste of neck and shoulders. Her hair was frizzled into a tangled chaparral, forward of her ears, aft it was drawn together, and compactly bound and plaited into a stump like a pony's tail, and furthermore was canted upward at a sharp angle, and ingeniously supported by a red velvet crupper, whose forward extremity was made fast with a half-hitch around a hairpin on the top of her head. Her whole top hamper was neat and becoming. She had a beautiful complexion when she first came, but it faded out by degrees in an unaccountable way. However, it is not lost for good. I found the most of it on my shoulder afterward. (I stood near the door when she squeezed out with the throng.) There were other ladies present, but I only took notes of one as a specimen. I would gladly enlarge upon the subject were I able to do it justice.
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