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, March 28, 2022

The World's Best Poetry, Volume 10: Poetical Quotations (eBook)

 

The World's Best Poetry, Volume 10: Poetical Quotations (eBook)

The World's Best Poetry, Volume 10: Poetical Quotations (eBook)

 

 THE WORLD'S BEST POETRY

    I Home: Friendship
    II Love
   III Sorrow and Consolation
    IV The Higher Life
     V Nature
    VI Fancy: Sentiment
   VII Descriptive: Narrative
  VIII National Spirit
    IX Tragedy: Humor
     X Poetical Quotations

 

 The World's Best Poetry, Volume 10 Poetical Quotations By Bliss Carman "Poetry," says Shelley, "is the record of the best and happiest moments of the happiest and best minds." But how can this include that genuine poetic genius, Byron, who gloried in being neither good nor happy? Lord Jeffrey, one of the keenest of critics, says that the term may properly be applied to "every metrical composition from which we derive pleasure without any laborious exercise of the understanding." In this category, what becomes of Browning, whom Sharp characterizes "the most profoundly subtle mind that has exercised itself in poetry since Shakespeare"? Wordsworth, who has influenced all the poets since his day, declares poetry to be "the breath and finer spirit of all knowledge; it is the impassioned expression which is the countenance of all science." Matthew Arnold accepts this dictum, and uses it to further his own idea of the great future of poetry as that to which mankind will yet turn, "to interpret life for us, to console us, to sustain us,"-even in place of religion and philosophy. And yet, some of the highest and finest of known poetic flights have been in the expression of religious and philosophical truth; while on the other hand Wordsworth's characterization of poetry turns the cold shoulder to that which is neither knowledge nor science, the all-powerful passion of Love-probably the most universal fount and origin of poetry since the human race began to express its thoughts and feelings at all. Coleridge enlarges Wordsworth's phrase, and makes poetry "the blossom and fragrance of all human knowledge, human thought, human passions, emotions, language." This is fine; yet it is but a figure, denoting the themes and ignoring the form of poetic production. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.

 

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