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, February 7, 2022

The Scarlet Letter by Nathaniel Hawthorne

 

THE

SCARLET LETTER.

BY

NATHANIEL HAWTHORNE


Illustrated.


 

PREFACE TO THE SECOND EDITION.

MUCH to the author’s surprise, and (if he may say so without additional offence) considerably to his amusement, he finds that his sketch of official life, introductory to The Scarlet Letter, has created an unprecedented excitement in the respectable community immediately around him. It could hardly have been more violent, indeed, had he burned down the Custom-House, and quenched its last smoking ember in the blood of a certain venerable personage, against whom he is supposed to cherish a peculiar malevolence. As the public disapprobation would weigh very heavily on him, were he conscious of deserving it, the author begs leave to say, that he has carefully read over the introductory pages, with a purpose to alter or expunge whatever might be found amiss, and to make the best reparation in his power for the atrocities of which he has been adjudged guilty. But it appears to him, that the only remarkable features of the sketch are its frank and genuine good-humor, and the general accuracy with which he has conveyed his sincere impressions of the characters therein described. As to enmity, or ill-feeling of any kind, personal or political, he utterly disclaims such motives. The sketch might, perhaps, have been wholly omitted, without loss to the public, or detriment to the book; but, having undertaken to write it, he conceives that it could not have been done in a better or a kindlier spirit, nor, so far as his abilities availed, with a livelier effect of truth.

The author is constrained, therefore, to republish his introductory sketch without the change of a word.

Salem, March 30, 1850.

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