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

Header

Liquid Story Binder XE by Black Obelisk Software

Disable Copy Paste

Amazon Quick Linker

Sunday, April 28, 2019

Fiction Writing Tips: Kinds of Description

Kinds of Description

by Lewis Worthington Smith

Description is primarily of two kinds, that which is to give accurate information, and that which is to produce a definite impression not necessarily involving exactness of imagery. The first of these forms is useful simply in the way of explanation, serving the first purpose indicated in paragraph four. The second is useful for other purposes than that of exposition, often appealing incidentally to our sense of the beautiful, and requiring always nice literary skill in its management. It should be borne in mind always that literary description must not usurp the office of representations of the material in the plastic arts. It should not be employed as an end in itself, but only as subsidiary to other ends.
Posted by at
Labels: , ,

No comments:

Post a Comment

Subscribe to: Post Comments (Atom)