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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Tuesday, April 26, 2022

The House on the Borderland, by William Hope Hodgson

The House on the Borderland, by William Hope Hodgson

The House on the Borderland 

 

by William Hope Hodgson

 

From the Manuscript discovered in 1877 by Messrs. Tonnison and Berreggnog in the Ruins that lie to the South of the Village of Kraighten, in the West of Ireland. Set out here, with Notes.


CONTENTS


I    THE FINDING OF THE MANUSCRIPT
II    THE PLAIN OF SILENCE
III    THE HOUSE IN THE ARENA
IV    THE EARTH
V    THE THING IN THE PIT
VI    THE SWINE-THINGS
VII    THE ATTACK
VIII    AFTER THE ATTACK
IX    IN THE CELLARS
X    THE TIME OF WAITING
XI    THE SEARCHING OF THE GARDENS
XII    THE SUBTERRANEAN PIT
XIII    THE TRAP IN THE GREAT CELLAR
XIV    THE SEA OF SLEEP
XV    THE NOISE IN THE NIGHT
XVI    THE AWAKENING
XVII    THE SLOWING ROTATION
XVIII    THE GREEN STAR
XIX    THE END OF THE SOLAR SYSTEM
XX    THE CELESTIAL GLOBES
XXI    THE DARK SUN
XXII    THE DARK NEBULA
XXIII    PEPPER
XXIV    THE FOOTSTEPS IN THE GARDEN
XXV    THE THING FROM THE ARENA
XXVI    THE LUMINOUS SPECK
XXVII    CONCLUSION


TO MY FATHER

(Whose feet tread the lost aeons)
Open the door,
  And listen!
Only the wind's muffled roar,
  And the glisten
Of tears 'round the moon.
  And, in fancy, the tread
Of vanishing shoon—
  Out in the night with the Dead.
 
"Hush! And hark
  To the sorrowful cry
Of the wind in the dark.
  Hush and hark, without murmur or sigh,
    To shoon that tread the lost aeons:
  To the sound that bids you to die.
Hush and hark! Hush and Hark!"
Shoon of the Dead

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About the Author 

 

William Hope Hodgson was an English author. He produced a large body of work, consisting of essays, short fiction, and novels, spanning several overlapping genres including horror, fantastic fiction, and science fiction. Wikipedia Born: November 15, 1877, Blackmore End, United Kingdom Died: April 19, 1918, Ypres, Belgium Spouse: Betty Farnworth (m. 1912–1918) Movies: Matango Parents: Lissie Sarah Brown, Samuel Hodgson
William Hope Hodgson was an English author. He produced a large body of work, consisting of essays, short fiction, and novels, spanning several overlapping genres including horror, fantastic fiction, and science fiction. Wikipedia
 

Born: November 15, 1877, Blackmore End, United Kingdom
Died: April 19, 1918, Ypres, Belgium
Spouse: Betty Farnworth (m. 1912–1918)
Movies: Matango
Parents: Lissie Sarah Brown, Samuel Hodgson

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