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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Friday, December 9, 2022

The Gift of the Magi by O. Henry

The Gift of the Magi by O. Henry

 

The Gift of the Magi

by O. Henry



One dollar and eighty-seven cents. That was all. And sixty cents of it was in pennies. Pennies saved one and two at a time by bulldozing the grocer and the vegetable man and the butcher until one's cheeks burned with the silent imputation of parsimony that such close dealing implied. Three times Della counted it. One dollar and eighty-seven cents. And the next day would be Christmas.

There was clearly nothing left to do but flop down on the shabby little couch and howl. So Della did it. Which instigates the moral reflection that life is made up of sobs, sniffles, and smiles, with sniffles predominating.

While the mistress of the home is gradually subsiding from the first stage to the second, take a look at the home. A furnished flat at $8 per week. It did not exactly beggar description, but it certainly had that word on the look-out for the mendicancy squad.

In the vestibule below was a letter-box into which no letter would go, and an electric button from which no mortal finger could coax a ring. Also appertaining thereunto was a card bearing the name "Mr. James Dillingham Young."

The "Dillingham" had been flung to the breeze during a former period of prosperity when its possessor was being paid $30 per week. Now, when the income was shrunk to $20, the letters of "Dillingham" looked blurred, as though they were thinking seriously of contracting to a modest and unassuming D. But whenever Mr. James Dillingham Young came home and reached his flat above he was called "Jim" and greatly hugged by Mrs. James Dillingham Young, already introduced to you as Della. Which is all very good.

Della finished her cry and attended to her cheeks with the powder rag. She stood by the window and looked out dully at a grey cat walking a grey fence in a grey backyard. To-morrow would be Christmas Day, and she had only $1.87 with which to buy Jim a present. She had been saving every penny she could for months, with this result. Twenty dollars a week doesn't go far. Expenses had been greater than she had calculated. They always are. Only $1.87 to buy a present for Jim. Her Jim. Many a happy hour she had spent planning for something nice for him. Something fine and rare and sterling--something just a little bit near to being worthy of the honour of being owned by Jim.

There was a pier-glass between the windows of the room. Perhaps you have seen a pier-glass in an $8 Bat. A very thin and very agile person may, by observing his reflection in a rapid sequence of longitudinal strips, obtain a fairly accurate conception of his looks. Della, being slender, had mastered the art.

Suddenly she whirled from the window and stood before the glass. Her eyes were shining brilliantly, but her face had lost its colour within twenty seconds. Rapidly she pulled down her hair and let it fall to its full length.

Now, there were two possessions of the James Dillingham Youngs in which they both took a mighty pride. One was Jim's gold watch that had been his father's and his grandfather's. The other was Della's hair. Had the Queen of Sheba lived in the flat across the airshaft, Della would have let her hair hang out of the window some day to dry just to depreciate Her Majesty's jewels and gifts. Had King Solomon been the janitor, with all his treasures piled up in the basement, Jim would have pulled out his watch every time he passed, just to see him pluck at his beard from envy.

So now Della's beautiful hair fell about her, rippling and shining like a cascade of brown waters. It reached below her knee and made itself almost a garment for her. And then she did it up again nervously and quickly. Once she faltered for a minute and stood still while a tear or two splashed on the worn red carpet.

On went her old brown jacket; on went her old brown hat. With a whirl of skirts and with the brilliant sparkle still in her eyes, she cluttered out of the door and down the stairs to the street.

Where she stopped the sign read: "Mme Sofronie. Hair Goods of All Kinds." One Eight up Della ran, and collected herself, panting. Madame, large, too white, chilly, hardly looked the "Sofronie."

"Will you buy my hair?" asked Della.

"I buy hair," said Madame. "Take yer hat off and let's have a sight at the looks of it."

Down rippled the brown cascade.

"Twenty dollars," said Madame, lifting the mass with a practised hand.

"Give it to me quick" said Della.

Oh, and the next two hours tripped by on rosy wings. Forget the hashed metaphor. She was ransacking the stores for Jim's present.

She found it at last. It surely had been made for Jim and no one else. There was no other like it in any of the stores, and she had turned all of them inside out. It was a platinum fob chain simple and chaste in design, properly proclaiming its value by substance alone and not by meretricious ornamentation--as all good things should do. It was even worthy of The Watch. As soon as she saw it she knew that it must be Jim's. It was like him. Quietness and value--the description applied to both. Twenty-one dollars they took from her for it, and she hurried home with the 78 cents. With that chain on his watch Jim might be properly anxious about the time in any company. Grand as the watch was, he sometimes looked at it on the sly on account of the old leather strap that he used in place of a chain.

When Della reached home her intoxication gave way a little to prudence and reason. She got out her curling irons and lighted the gas and went to work repairing the ravages made by generosity added to love. Which is always a tremendous task dear friends--a mammoth task.


Within forty minutes her head was covered with tiny, close-lying curls that made her look wonderfully like a truant schoolboy. She looked at her reflection in the mirror long, carefully, and critically.

"If Jim doesn't kill me," she said to herself, "before he takes a second look at me, he'll say I look like a Coney Island chorus girl. But what could I do--oh! what could I do with a dollar and eighty-seven cents?"

At 7 o'clock the coffee was made and the frying-pan was on the back of the stove hot and ready to cook the chops.

Jim was never late. Della doubled the fob chain in her hand and sat on the corner of the table near the door that he always entered. Then she heard his step on the stair away down on the first flight, and she turned white for just a moment. She had a habit of saying little silent prayers about the simplest everyday things, and now she whispered: "Please, God, make him think I am still pretty."

The door opened and Jim stepped in and closed it. He looked thin and very serious. Poor fellow, he was only twenty-two--and to be burdened with a family! He needed a new overcoat and he was with out gloves.

Jim stepped inside the door, as immovable as a setter at the scent of quail. His eyes were fixed upon Della, and there was an expression in them that she could not read, and it terrified her. It was not anger, nor surprise, nor disapproval, nor horror, nor any of the sentiments that she had been prepared for. He simply stared at her fixedly with that peculiar expression on his face.

Della wriggled off the table and went for him.

"Jim, darling," she cried, "don't look at me that way. I had my hair cut off and sold it because I couldn't have lived through Christmas without giving you a present. It'll grow out again--you won't mind, will you? I just had to do it. My hair grows awfully fast. Say 'Merry Christmas!' Jim, and let's be happy. You don't know what a nice-what a beautiful, nice gift I've got for you."

"You've cut off your hair?" asked Jim, laboriously, as if he had not arrived at that patent fact yet, even after the hardest mental labour.


"Cut it off and sold it," said Della. "Don't you like me just as well, anyhow? I'm me without my hair, ain't I?"

Jim looked about the room curiously.

"You say your hair is gone?" he said, with an air almost of idiocy.

"You needn't look for it," said Della. "It's sold, I tell you--sold and gone, too. It's Christmas Eve, boy. Be good to me, for it went for you. Maybe the hairs of my head were numbered," she went on with a sudden serious sweetness, "but nobody could ever count my love for you. Shall I put the chops on, Jim?"

Out of his trance Jim seemed quickly to wake. He enfolded his Della. For ten seconds let us regard with discreet scrutiny some inconsequential object in the other direction. Eight dollars a week or a million a year--what is the difference? A mathematician or a wit would give you the wrong answer. The magi brought valuable gifts, but that was not among them. This dark assertion will be illuminated later on.

Jim drew a package from his overcoat pocket and threw it upon the table.

"Don't make any mistake, Dell," he said, "about me. I don't think there's anything in the way of a haircut or a shave or a shampoo that could make me like my girl any less. But if you'll unwrap that package you may see why you had me going a while at first."

White fingers and nimble tore at the string and paper. And then an ecstatic scream of joy; and then, alas! a quick feminine change to hysterical tears and wails, necessitating the immediate employment of all the comforting powers of the lord of the flat.

For there lay The Combs--the set of combs, side and back, that Della had worshipped for long in a Broadway window. Beautiful combs, pure tortoise-shell, with jewelled rims--just the shade to wear in the beautiful vanished hair. They were expensive combs, she knew, and her heart had simply craved and yearned over them without the least hope of possession. And now, they were hers, but the tresses that should have adorned the coveted adornments were gone.

But she hugged them to her bosom, and at length she was able to look up with dim eyes and a smile and say: "My hair grows so fast, Jim!"

And then Della leaped up like a little singed cat and cried, "Oh, oh!"


Jim had not yet seen his beautiful present. She held it out to him eagerly upon her open palm. The dull precious metal seemed to flash with a reflection of her bright and ardent spirit.

"Isn't it a dandy, Jim? I hunted all over town to find it. You'll have to look at the time a hundred times a day now. Give me your watch. I want to see how it looks on it."

Instead of obeying, Jim tumbled down on the couch and put his hands under the back of his head and smiled.

"Dell," said he, "let's put our Christmas presents away and keep 'em a while. They're too nice to use just at present. I sold the watch to get the money to buy your combs. And now suppose you put the chops on."

The magi, as you know, were wise men--wonderfully wise men-who brought gifts to the Babe in the manger. They invented the art of giving Christmas presents. Being wise, their gifts were no doubt wise ones, possibly bearing the privilege of exchange in case of duplication. And here I have lamely related to you the uneventful chronicle of two foolish children in a flat who most unwisely sacrificed for each other the greatest treasures of their house. But in a last word to the wise of these days let it be said that of all who give gifts these two were the wisest. Of all who give and receive gifts, such as they are wisest. Everywhere they are wisest. They are the magi.

The Gift of the Magi was featured as The Short Story of the Day on Thu, Dec 23, 2021
The Gift of the Magi is featured in our collections: Christmas Stories and Short Stories for Middle School. If you enjoyed it, try Giovanni Boccaccio's Federigo's Falcon, and The Necklace, both employing ironic twists, and great examples for comparative analysis.
Teachers and students may benefit from our The Gift of the Magi Study Guide to more fully enjoy the story.

About the Author 

O. Henry
William Sydney Porter, better known by his pen name O. Henry is an American writer, famous for his short stories. His tales romanticized the commonplace—in particular, the life of ordinary people in New York City. His stories often had surprise endings, a device that became identified with his name and cost him critical favour when its vogue had passed.

Buy O Henry Books at Amazon

 



Thursday, December 8, 2022

The Craft of Fiction by Percy Lubbock (1921) (PDF)

THE CRAFT OF FICTION

 

 

BY PERCY LUBBOCK

 

 

 

 

JONATHAN CAPE

ELEVEN GOWER STREET, LONDON

 

 

First Published 1921.

(eText) 

 

 FOREWORD BY OLIVIA SALTER


The art of storytelling is a timeless phenomenon that has captivated and shaped human civilization for centuries. From ancient myths and epics to modern novels and short stories, the craft of fiction has evolved, adapting to different cultures, societies, and literary movements. It is within this vast tapestry of literary achievement that Percy Lubbock's influential book "The Craft of Fiction" finds its place.

Originally published in 1921, "The Craft of Fiction" stands as an enduring testament to the intricacies and complexities of narrative construction. Percy Lubbock, an esteemed British literary critic and scholar, delves deep into the techniques and nuances of fiction writing, offering invaluable insights to both aspiring and seasoned writers. With profound analytical prowess and meticulous attention to detail, Lubbock dissects the works of master storytellers such as Henry James, Joseph Conrad, and Leo Tolstoy to unravel the secrets behind their narrative brilliance.

Lubbock's exploration of the craft goes beyond mere technicalities; it delves into a profound understanding of the human psyche and the art of creating vivid and authentic characters. Through his perceptive examination of character development, Lubbock guides his readers through the delicate balance between the portrayal of human psychology and the inherent artifice of literary creation. Drawing from a rich tapestry of examples, he demonstrates the interplay between authorial control and the characters' innate autonomy, discussing the crucial factors that contribute to the reader's emotional investment in the story's protagonists.

In addition to character, Lubbock explores the complex terrain of narrative structure and style. He scrutinizes the role of point of view, voice, and perspective, highlighting the strategic choices writers make to shape their stories. By dissecting the narrative techniques employed by the literary masters, Lubbock provides aspiring authors with a blueprint for crafting compelling and engaging stories.

"The Craft of Fiction" is not only a guide for writers; it is also a work that celebrates the beauty and power of storytelling. Lubbock's eloquent prose, seasoned with his profound love for literature, elevates this book from being merely instructional to becoming a work of art in its own right. His keen observations and insightful analysis bring to light the intricate subtleties that lie beneath the surface of great literary works, enriching our appreciation and understanding of the stories we love.

Nearly a century after its initial publication, "The Craft of Fiction" remains a cornerstone of literary criticism and an indispensible resource for writers and scholars alike. Its enduring relevance resonates with the universal appeal of storytelling, reminding us that the art of fiction is a vibrant and ever-evolving tapestry that continues to shape our world.

As you embark on this journey into the craft of fiction alongside Percy Lubbock, may you be inspired, enlightened, and ultimately empowered to craft your own narratives and leave an indelible mark on the literary landscape.

Olivia Salter

12/08/2022 


 Percy Lubbock’s 1921 volume was one of the first major works of literary criticism to focus on the novel as a form. Literary criticism itself was in its infancy, but more importantly the novel seemed a less notable subject for criticism at the time than poetry and drama. Lubbock’s book is not just an argument about fiction, but for fiction—an attempt to provide a rationale for the novel as a high art form.

 

INDEX


    Ambassadors, The, 145 ff., 156 ff., 189.
    Anna Karenina, 15, 52, 236 ff.
    Austen, Jane, 272.
    Awkward Age, The, 189 ff.

    Balzac, 48, 119, 203 ff., 220 ff., 241, 250.
    Barry Lyndon, 145.
    Bleak House, 129, 212 ff.
    Brontë, Charlotte, 145.

    Clarissa Harlowe, 7, 152 ff.
    Crime and Punishment, 144.
    Curé de Village, Le, 205.

    David Copperfield, 128 ff., 133 ff., 151.
    Defoe, 62.
    Denis Duval, 97.
    Dickens, Charles, 48, 128 ff., 133 ff., 151, 212 ff., 272.
    Dombey and Son, 214.
    Dostoevsky, 46, 47, 119, 144, 151.

    Eliot, George, 119, 273.
    Esmond, 97, 107 ff., 126 ff., 135, 188, 218.
    Eugénie Grandet, 205, 221 ff.

    Fielding, Henry, 49, 119.
    Flaubert, Gustave, 60 ff., 117, 118, 189, 269. [276]

    Harry Richmond, 130 ff.

    Illusions Perdues, 212.

    James, Henry, 110, 111, 145 ff., 156 ff., 172 ff., 189 ff.
    Jane Eyre, 145.

    Little Dorrit, 129, 214.

    Madame Bovary, 60 ff., 117, 118, 189, 269.
    Marius the Epicurean, 195, 196.
    Master of Ballantrae, The, 218.
    Maupassant, Guy de, 48, 112, 113.
    Meredith, George, 48, 130 ff.

    Newcomes, The, 107, 108, 125, 188.

    Our Mutual Friend, 129, 214.

    Pater, Walter, 195, 196.
    Pendennis, 97, 107, 117.
    Père Goriot, 205 ff.
    Princesse de Clèves, La, 202.

    Recherche de l'Absolu, La, 205, 232 ff.
    Resurrection, 249, 250.
    Richardson, Samuel, 7, 152 ff.

    Scott, Sir Walter, 49.
    Sir Charles Grandison, 155.
    Splendeurs et Misères des Courtisanes, 211.
    Stendhal, 48.
    Stevenson, R. L., 129, 212, 217. [277]

    Thackeray, W. M., 49, 87, 88, 93 ff., 110 ff., 124 ff., 145, 188.
    Tolstoy, 15 ff., 26 ff., 43 ff., 119, 236 ff.
    Turgenev, 121, 122.

    Vanity Fair, 94 ff., 124, 125.
    Virginians, The, 188.

    War and Peace, 26 ff., 43 ff.
    Wings of the Dove, The, 174 ff.
    Wrecker, The, 217.



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About the Author 

Percy Lubbock, CBE (4 June 1879 – 1 August 1965) was an English man of letters, known as an essayist, critic and biographer. His controversial book The Craft of Fiction gained influence in the 1920s.
Percy Lubbock, CBE (4 June 1879 – 1 August 1965) was an English man of letters, known as an essayist, critic and biographer. His controversial book The Craft of Fiction gained influence in the 1920s. Wikipedia

Percy Lubbock Books at Amazon

Wednesday, December 7, 2022

Liquid Story Binder Writer's Word Processor

 Liquid Story Binder Writer's Word Processor

Aspiring and accomplished writers alike know that disorganized thoughts can be a maddening hindrance to creativity. Especially when all of those disorganized thoughts are spread across a maelstrom of notebooks, Word files, post-it's, emails, magazine margins, storyboard sketches, and whatever else.

Liquid Story Binder is designed for authors, poets, writers, novelists, anyone writing a book or anything at all really! No matter what your ability level, Liquid Story Binder is the ideal program for writing, and will provide you with all the tools you need to create, outline, organize, timeline, revise, storyboard, conceive, diagram, and format your work.

It even includes a built-in audio recorder in case you want to listen to the pacing and phrasing of a particular section, paragraph, or sentence!

Liquid Story Binder is completely customizable. Choose a color scheme that suits you, save window positions and open files, create workspaces, open dozens of windows simultaneously or just a simple textbox centered in the screen... it's up to you, your comfort zone, and your writing style!

Can't remember where you wrote that important paragraph? A Universal Search feature makes finding it a snap. Search every Chapter, Note, Builder, Timeline, Storyboard, Outline, Dossier, Sequence and Backup for a single lost word or phrase. Plus, the Repetition Visualizer helps you to find and weed out repetitive words and phrases, at-a-glance!

Extremely adaptable, Liquid Story Binder utilizes common TXT, RTF, and ZIP file formats, guaranteeing future access. It can be stored and executed off of a portable USB drive, and automatically creates an easy-to-access backup file with an entry for each day's changes. Liquid Story Binder is the ultimate software for writing.⁸

 

 

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[Liquid Story Binder XE ]

 

 A Portable Text Editor that Keeps You Organized

 

Liquid Story Binder XE is a uniquely designed word processor for professional and aspiring authors, poets, and novelists. Writing software for those who require the editing ability of a commercial text editor as well as a document tracking system. It is for those who want the freedom to create, outline and revise but are tired of losing track of their work.

Dossiers

Create Dossiers for major characters and settings.

Timelines

Plot your novel by organizing cards along colored timelines.

Storyboards

Combine images and text to create a visual reference board.

Journals

Create a writing journal, or even fictional journals for each one of your characters.

Outlines

Create a collapsible tree of plot ideas.

Mindmaps

Link ideas together using lines and text.

Image Galleries

Organize your reference images into galleries.

Checklists

A list of titles and captions with checkmarks.

Contrasts

A two-columned list for direct comparisons.

Builders

Organize complex scenes using titles, descriptions, and color indexing.

Position Memory

Liquid Story Binder XE remembers just where you left off.

Manuscript Building

Combine multiple chapters into a single manuscript automatically.

Printing

Preserve your font and paragraph editing with Format Printing.

Workspaces

Preserve your favorite window layouts for quick access.

Project Goals

Words per day, words left to write, days remaining, multi-document word counts.

Color Schemes

Create the perfect writing environment with your favorite window colors.

Recordings

Record yourself reading your own novel. Test for pacing and time.

File Listings

Organize all your files into easy-access file trees.

Backups

Every Chapter has its own backup repository. Never lose a single word with automatic version and session backups. Compress your whole archive into a single ZIP file.

Shortcuts

Quickly access your favorite external software and documents.

Statistics

Times, Word Counts, Goals, Sessions, Versions, Days.

Reader

Read over your work in a easy to view columned window, free of editing distractions.

Music Playlists

Add your MP3s and sort them into playlists. Set the mood for writing.

External Editing

Open your work outside of Liquid Story Binder.

 

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Tuesday, December 6, 2022

How to Write a Novel: A Practical Guide to the Art of Fiction by Anonymous (PDF)

How to Write a Novel: A Practical Guide to the Art of Fiction by Anonymous (PDF)

How to Write a Novel: A Practical Guide to the Art of Fiction

by Anonymous

(PDF)

 PDF - Audio - eText


CONTENTS

CHAPTER I
THE OBJECT IN VIEW

An Inevitable Comparison    3
A Model Lesson in Novel-Writing    5
The Teachable and the Unteachable    9
 
CHAPTER II
A GOOD STORY TO TELL 

Where do Novelists get their Stories from?    12
Is there a Deeper Question?    14
What about the Newspapers?    17
 
CHAPTER III
HOW TO BEGIN 

Formation of the Plot    25
The Agonies and Joys of "Plot-Construction"    28
[viii]Care in the Use of Actual Events    31
The Natural History of a Plot    35
Sir Walter Besant on the Evolution of a Plot    40
Plot-Formation in Earnest    43
Characters first: Plot afterwards    45
The Natural Background    47
 
CHAPTER IV
CHARACTERS AND CHARACTERISATION

The Chief Character    50
How to Portray Character    52
Methods of Characterisation    55
The Trick of "Idiosyncrasies"    58
 
CHAPTER V
STUDIES IN LITERARY TECHNIQUE

Narrative Art    63
Movement    66
Aids to Description: The Point of View    67
[ix]Selecting the Main Features    70
Description by Suggestion    73
Facts to Remember    75
 
CHAPTER VI
STUDIES IN LITERARY TECHNIQUE—CONTINUED

Colour: Local and Otherwise    79
What about Dialect?    84
On Dialogue    86
Points in Conversation    91
"Atmosphere"    94
 
CHAPTER VII
PITFALLS

Items of General Knowledge    96
Specific Subjects    98
Topography and Geography    100
Scientific Facts    101
Grammar    103
 
[x]CHAPTER VIII
THE SECRET OF STYLE

Communicable Elements    105
Incommunicable Elements    110
 
CHAPTER IX
HOW AUTHORS WORK

Quick and Slow    116
How many Words a Day?    119
Charles Reade and Anthony Trollope    122
The Mission of Fancy    127
Fancies of another Type    129
Some of our Younger Writers: Mr Zangwill, Mr Coulson Kernahan, Mr Robert Barr, Mr H. G. Wells    132
Curious Methods    134
 
CHAPTER X
IS THE SUBJECT-MATTER OF NOVELS EXHAUSTED?

The Question Stated    138
"Change" not "Exhaustion"    142
Why we talk about Exhaustion    145
 
[xi]CHAPTER XI
THE NOVEL v. THE SHORT STORY

Practise the Short Story    154
Short Story Writers on their Art    159
 
CHAPTER XII
SUCCESS: AND SOME OF ITS MINOR CONDITIONS 

The Truth about Success    164
Minor Conditions of Success    169
 
APPENDIX I
The Philosophy of Composition. By Edgar Allan Poe    175
 
APPENDIX II
Books Worth Reading    201
 
APPENDIX III
Magazine Article on Writing Fiction    205

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Monday, December 5, 2022

When You Learn the Secrets of Literature

When You Learn the Secrets of Literature

When You Learn the Secrets of Literature

 A truly educated man never labours to speak correctly; being educated, grammatical language follows as a necessary consequence. The same is true of the artist: when he has learned the secrets of literature, he puts away all thoughts of rule and law, in time, his very ideas assume artistic form.

 Except from "How to Write a Novel"

Sunday, December 4, 2022

The Anatomy of Genres: How Story Forms Explain the Way the World Works | #WritingBookoftheDay

The Anatomy of Genres: How Story Forms Explain the Way the World Works

is finally in stores and I couldn’t be more excited about it. 

 

Genres have more to do with how your story works than any other element — any other idea, plot device, character archetype, beat sheet, methodology, or prescribed structure — by far.

 

Whether you're writing for movies, TV, or novels, the game is won or lost in genres.

 

This book tells you exactly how to write the 14 major genres from which 99% of stories are made. 

 

They are: Horror, Action, Myth, Memoir and Coming-of-Age, Science Fiction, Crime, Comedy, Western, Gangster, Fantasy, Detective, Thriller, and Love Story.  

 

The first half of each chapter tells you how to execute the 15-20 specialized genre plot beats that must be in your story if you are to compete successfully with everyone else writing in your form. 

 

The second half tells you how to transcend your form and really separate yourself from the crowd by expressing the deep life philosophy found in that genre’s theme

 

Here’s what advanced readers are saying:

 

“Essential storytelling guidance... we're given the tools and techniques to make certain that our own specific stories can include the depth and beats necessary to illuminate advanced themes and complex plot in the most effective (but not formulaic) ways.” Christine Toy Johnson

 

“During my first pass, I stopped several times to capture thoughts and notes for my current work. This is perhaps the highest compliment I can offer - when a book prompts you to act immediately, the author has achieved something remarkable.” Michael Maloof

 

Get your copy of The Anatomy of Genres: How Story Forms Explain the Way the World Works

 

 


Saturday, December 3, 2022

Poetic Justice, in Literature

Poetic Justice, in Literature

Poetic Justice, in literature, an outcome in which vice is punished and virtue rewarded, usually in a manner peculiarly or ironically appropriate. The term was coined by the English literary critic Thomas Rymer in the 17th century, when it was believed that a work of literature should uphold moral principles and instruct the reader in correct moral behaviour.