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
Sunday, January 3, 2016
Concerning Chambermaids by Mark Twain
Against all chambermaids, of whatsoever age or nationality, I launch the curse of bachelordom! Because:
They always put the pillows at the opposite end of the bed from the gas- burner, so that while you read and smoke before sleeping (as is the ancient and honored custom of bachelors), you have to hold your book aloft, in an uncomfortable position, to keep the light from dazzling your eyes.
When they find the pillows removed to the other end of the bed in the morning, they receive not the suggestion in a friendly spirit; but, glorying in their absolute sovereignty, and unpitying your helplessness, they make the bed just as it was originally, and gloat in secret over the pang their tyranny will cause you.
Always after that, when they find you have transposed the pillows, they undo your work, and thus defy and seek to embitter the life that God has given you.
If they cannot get the light in an inconvenient position any other way, they move the bed.
If you pull your trunk out six inches from the wall, so that the lid will stay up when you open it, they always shove that trunk back again. They do it on purpose.
If you want the spittoon in a certain spot, where it will be handy, they don't, and so they move it.
They always put your other boots into inaccessible places. They chiefly enjoy depositing them as far under the bed as the wall will permit. It is because this compels you to get down in an undignified attitude and make wild sweeps for them in the dark with the bootjack, and swear.
They always put the matchbox in some other place. They hunt up a new place for it every day, and put up a bottle, or other perishable glass thing, where the box stood before. This is to cause you to break that glass thing, groping in the dark, and get yourself into trouble.
They are for ever and ever moving the furniture. When you come in in the night you can calculate on finding the bureau where the wardrobe was in the morning. And when you go out in the morning, if you leave the slop- bucket by the door and rocking-chair by the window, when you come in at midnight or thereabout, you will fall over that rocking-chair, and you will proceed toward the window and sit down in that slop-tub. This will disgust you. They like that.
No matter where you put anything, they are not going to let it stay there. They will take it and move it the first chance they get. It is their nature. And, besides, it gives them pleasure to be mean and contrary this way. They would die if they couldn't be villains.
They always save up all the old scraps of printed rubbish you throw on the floor, and stack them up carefully on the table, and start the fire with your valuable manuscripts. If there is any one particular old scrap that you are more down on than any other, and which you are gradually wearing your life out trying to get rid of, you may take all the pains you possibly can in that direction, but it won't be of any use, because they will always fetch that old scrap back and put it in the same old place again every time. It does them good.
And they use up more hair-oil than any six men. If charged with purloining the same, they lie about it. What do they care about a hereafter? Absolutely nothing.
If you leave the key in the door for convenience' sake, they will carry it down to the office and give it to the clerk. They do this under the vile pretense of trying to protect your property from thieves; but actually they do it because they want to make you tramp back down-stairs after it when you come home tired, or put you to the trouble of sending a waiter for it, which waiter will expect you to pay him something. In which case I suppose the degraded creatures divide.
They keep always trying to make your bed before you get up, thus destroying your rest and inflicting agony upon you; but after you get up, they don't come any more till next day.
They do all the mean things they can think of, and they do them just out of pure cussedness, and nothing else.
Chambermaids are dead to every human instinct.
If I can get a bill through the legislature abolishing chambermaids, I mean to do it.
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