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, August 8, 2022

The Supernatural in Modern English Fiction, by Dorothy Scarborough (PDF)

The Supernatural in Modern English Fiction, by  Dorothy Scarborough (PDF)

(eText)


The
Supernatural in Modern
English Fiction

By

Dorothy Scarborough, Ph.D.
Instructor in English in Extension, Columbia University

G. P. Putnam’s Sons
New York and London
The Knickerbocker Press
1917


Copyright, 1917
by

G. P. PUTNAM’S SONS

The Knickerbocker Press, New York


To
GEORGE AND ANNE SCARBOROUGH


PREFACE

The subject of the supernatural in modern English fiction has been found difficult to deal with because of its wealth of material. While there has been no previous book on the topic, and none related to it, save Mr. C. E. Whitmore’s work on The Supernatural in Tragedy, the mass of fiction itself introducing ghostly or psychic motifs is simply enormous. It is manifestly impossible to discuss, or even to mention, all of it. Even in my bibliography which numbers over three thousand titles, I have made no effort to list all the available examples of the type. The bibliography, which I at first intended to publish in connection with this volume, is far too voluminous to be included here, so will probably be brought out later by itself.

It would have been impossible for me to prosecute the research work or to write the book save for the assistance generously given by many persons. I am indebted to the various officials of the libraries of Columbia University and of New York City, particularly to Miss Isadore Mudge, Reference Librarian of Columbia, and to the authorities of the New York Society Library for permission to use their priceless out-of-print novels in the Kennedy Collection. My interest in English fiction was increased during my attendance on some courses in the history of the English novel, given by Dr. A. J. Carlyle, in Oxford University, England, several years ago. I have received helpful bibliographical suggestions from Professor Blanche Colton Williams, Dr. Dorothy Brewster, Professor Nelson Glenn McCrea, Professor John Cunliffe, and Dean Talcott Williams, of Columbia, and Professor G. L. Kittredge, of Harvard. Professors William P. Trent, George Philip Krapp, and Ernest Hunter Wright very kindly read the book in manuscript and gave valuable advice concerning it, Professor Wright going over the material with me in detail. But my chief debt of gratitude is to Professor Ashley H. Thorndike, Head of the Department of English and Comparative Literature in Columbia, whose stimulating criticism and kindly encouragement have made the book possible. To all of these—and others—who have aided me, I am deeply grateful, and I only wish that the published volume were more worthy of their assistance.

D. S.

Columbia University,
April, 1917.


CONTENTS

     
      Introduction     1
CHAPTER      
I.—     The Gothic Romance     6
II.—     Later Influences     54
III.—     Modern Ghosts     81
IV.—     The Devil and His Allies     130
V.—     Supernatural Life     174
VI.—     The Supernatural in Folk-Tales     242
VII.—     Supernatural Science     251
VIII.—     Conclusion     281


 

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About the Author 


Emily Dorothy Scarborough
Emily Dorothy Scarborough
was an American writer who wrote about Texas, folk culture, cotton farming, ghost stories and women's life in the Southwesoilt. Wikipedia
 
Born: January 27, 1878, Smith County, TX
Died: November 7, 1935, New York, NY
Education: Baylor University
Movies: The Wind

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