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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Thursday, April 14, 2022

No Living Voice by Thomas Street Millington, Version 2, (eBook)

No Living Voice by Thomas Street Millington, Version 2, (eBook)

 

No Living Voice

by Thomas Street Millington

 

Version 2, (eBook)

 

How do you account for it?’

‘I don’t account for it at all. I don’t pretend to understand it.’

‘You think, then, that it was really supernatural?’

‘We know so little what Nature comprehends–what are its powers and limits–that we can scarcely speak of anything that happens as beyond it or above it.’

‘And you are certain that this did happen?’

‘Quite certain; of that I have no doubt whatever.’

These sentences passed between two gentlemen in the drawing-room of a country house, where a small family party was assembled after dinner; and in consequence of a lull in the conversation occurring at the moment they were distinctly heard by nearly everybody present. Curiosity was excited, and enquiries were eagerly pressed as to the nature or supernature of the event under discussion. ‘A ghost story!’ cried one; ‘oh! delightful! we must and will hear it.’ ‘Oh! please, no,’ said another; ‘I should not sleep all night–and yet I am dying with curiosity.’

 

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