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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Showing posts with label Nathaniel Clark Fowler Jr. Show all posts
Showing posts with label Nathaniel Clark Fowler Jr. Show all posts

Friday, May 6, 2022

The Art of Story Writing : Facts and Information about Literary Work of Practical Value of Both Amateur and Professional Writers by Nathaniel Clark Fowler Jr.

The Art of Story Writing : Facts and Information about Literary Work of Practical Value of Both Amateur and Professional Writers by Nathaniel Clark Fowler
 

 The Art of Story Writing : Facts and Information about Literary Work of Practical Value of Both Amateur and Professional Writers


by Nathaniel Clark Fowler Jr.


A WORD AT THE START

The writing of stories of every class and of any length, and of every kind of literature, whether or not published in book form, is a distinct art or profession, may be considered as a trade, and cannot be accurately weighed or measured unless subject to both ethical and commercial consideration.

To refuse to discuss the making of literature commercially, or from a business point of view, would be unfair and unprofitable.

It is obvious that the majority of writers con- sider their pens as remunerative tools, and that they produce literature, or what resembles it, not wholly for fame and for the good that they may do, but because of the money received, or expected, from their work.

The making and marketing of literature, then, are not removed wholly from the rules or laws which govern the manufacture of a commodity. If literature was not a commodity, in some sense, at least, it would not have a market and be paid for. Any analysis of it, therefore, must take into account its commercial or trade value.

In this country, many thousands of men and women depend entirely upon their pens for a livelihood, and ten times as many thousand write wholly for fame or for the good they can do, with or without expectation of receiving a financial return.

Several books have been written claiming to contain rules, regulations, or instructions for the writing of every class of literature. While none of these books are valueless, I think that most of them are altogether too technical, and that some of them pretend to do the impossible.

One may receive specific instructions in stenography, typewriting, book-keeping, and other concrete work, depending upon experience for proficiency ; but it is difiicult, if not impossible, to tell any one how to write so that he may become proficient in this art largely from the instructions given.

I do not believe that it is possible for any one, not even an experienced writer, to impart an actual working knowledge of composition, which will be of more than preliminary benefit to the reader.

Instead of loading this book with instructions, and attempting to tell the would-be writer what to do and what not to do, or to build a frame which he may use as a model, I have devoted many of my pages to the giving of information which I hope will not fail to assist the reader.

I am entirely unbiased, and have no ax to grind at the reader's expense. I am telling him the truth as I see it, and am using the eyes of others as well as my own.

Personal opinion, even if given by an expert, has little value, unless it is based upon the composite.

What I have said, then, is of the little I know, combined with the much which I think I know about what others know.

I have attempted neither to skim the surface, nor to bore into the depths. Rather, I have chosen to present typographical pictures of literary fact, starting at the beginning and ending at the result.



CONTENTS

A WORD AT THE START

CHAPTER I
Entering a Literary Career   1

CHAPTER II
The Writing of Novels 6

CHAPTER III
The Writing of a Short Story   20

CHAPTER IV
The Story of Adventure 28

CHAPTER V
The Mystery Story 31

CHAPTER VI
The Detective Story 33

CHAPTER VII
Stories for Children 35

CHAPTER VIII
Humorous Writing 39

CHAPTER IX
Special Stories or Articles 45

CHAPTER X
The Writing of Poetry  47

CHAPTER XI
Play Writing 58

CHAPTER XII
Motion-Picture Plays. 84

CHAPTER XIII
The Name of a Book or Story.  87

CHAPTER XIV
Literary Schools 91

CHAPTER XV
Literary Agencies or Bureaus  94

CHAPTER XVI
The Preparation of a Manuscript  98

CHAPTER XVII
Manuscript Paper 108

CHAPTER XVIII
Copying Manuscripts 110

CHAPTER XVIII:
The Number of Words in a Manuscript  118

CHAPTER XX
Revising Manuscripts 115

CHAPTER XXI
How To Send a Manuscript 120
 
CHAPTER XXII

Rejected Manuscripts 126

CHAPTER XXIII
The Size of a Book 129

CHAPTER XXIV
The Number of Words in a Book  188

CHAPTER XXV

How A Manuscript is Received and Handled
By a Book Publisher 186

CHAPTER XXVI
Terms for the Publication of Books  148

CHAPTER XXVII
Contracts with Book Publishers  149

CHAPTER XXVIII
Disreputable Publishers  168

CHAPTER XXIX
Copyrighting   172

CHAPTER XXX
Quoting from Copyrighted Matter   177

CHAPTER XXXI
The Danger of Libel 179

CHAPTER XXXII
The Price of a Book  182

CHAPTER XXXIII
Illustrations  185
 
CHAPTER XXXIV

Thb Reading of Proofs 195

CHAPTER XXXV
Books Published at the Author's Expense 204

CHAPTER XXXVI
Complimentary Copies of Books   206

CHAPTER XXXVII
Books in Libraries 208

CHAPTER XXXVIII

The Advance Publication or Republication
Of Books Stories and Articles  210

CHAPTER XXXIX

The Linotype, Monotype, and Typesetting
Machines 213

CHAPTER XL
Electrotyping and Stereotyping    215

CHAPTER XLI
The Value of Experience and Timeliness . 217

CHAPTER XLII
Syndicate Writers 225

CHAPTER XLIII
Paper-Covered Books 282

CHAPTER XLIV
The Selling Value of Reputation  286
 
CHAPTER XLV

The Incomes of Book Workers 

CHAPTER XLVI

The Income of Magazine and Newspaper
Writers 244

CHAPTER XLVII

The Remuneration Received by the Favorite
Few 247

CHAPTER XLVIII
Records of Manuscripts  251

 
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