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• W1480494712 abstract "*** indicate sections new to this edition. Preface 1. Whatever Works: Writing Process Get Started Journal Keeping Freewriting Exercises Computer Critic: Caution Choosing a Subject Keep Going Word about Theme Reading as Writers*** About the Writing Workshop*** How Workshops Work*** Writer's Role*** Writing Exercises 2. Seeing is Believing: Showing and Telling Significant Detail Writing about Emotion Filtering Comparison Types of Metaphor and Simile*** Metaphoric Faults to Avoid*** Active Voice Prose Rhythm Mechanics We Didn't, Stuart Dybeck*** Me, Dan Chaon The Red Fox Fur Coat, Teolinda Gersao (Translated by Margaret Jull Costa)*** Freewriting Exercises Computer Critic: Caution Choosing a Subject Keep Going Word about Theme Reading as Writers*** About the Writing Workshop*** How Workshops Work*** Writer's Role*** Writing Exercises 2. Seeing is Believing: Showing and Telling Significant Detail Writing about Emotion Filtering Comparison Types of Metaphor and Simile*** Metaphoric Faults to Avoid*** Active Voice Prose Rhythm Mechanics We Didn't, Stuart Dybeck*** Me, Dan Chaon The Red Fox Fur Coat, Teolinda Gersao (Translated by Margaret Jull Costa)*** Writing Exercises 3. Building Character: Dialogue Direct Methods of Character Presentation Dialogue Summary, Indirect, and Direct Dialogue Economy in Dialogue Characterizing Dialogue Other Uses of Dialogue Dialogue as Action Text and Subtext No Dialogue Specificity Format and Style Vernacular Fiesta, 1980, Junot Diaz*** Every Tongue Shall Confess, Z.Z. Packer*** His Hand on my Restless Leg, Pia Z. Erhardt*** Writing Exercises 4. Flesh Made Word: Characterization, Part II Direct Methods of Character Presentation Appearance Action Thought Indirect Methods of Character Presentation Authorial Interpretation Interpretation by Another Character Conflict between Methods of Presentation Universal Paradox Credibility Purpose Complexity Change Reinventing Character Creating a Group or Crowd Character Journal Character: Summary Mule Killers, Lydia Peelle*** Bullet in the Brain, Tobias Wolff Tandolfo the Great, Richard Bausch Writing Exercises 5. Far, Far Away: Fictional Place Place and Atmosphere Harmony and Conflict Between Character and Place Place and Character Place and Emotion Symbolic and Suggestive Place Alien and Familiar Place An Exercise in Place The Sea Fairies, Maura Stanton*** Love and Hydrogen, Jim Shepard A Visit of Charity, Eudora Welty Writing Exercises 6. Long Ago: Fictional Time Summary and Scene Revising Summary and Scene Flashback Slow Motion Homonoids, Jill McCorkle*** Mrs. Dutta Writes a Letter, Chitra Banerjee Divakaruni Feelers, John Gould*** Writing Exercises 7. Tower and the Net: Story Form, Plot, and Structure Conflict, Crisis, and Resolution Arc of the Story Patterns of Power Connection and Disconnection Story Form as a Check Mark Story and Plot Short Story and the Novel You Pawn, I Will Redeem, Sherman Alexie*** My Kid's Dog, Ron Hansen*** Everything That Rises Must Converge, Flannery O'Connor Writing Exercises 8. Call Me Ishmael: Point of View Who Speaks? Third Person Second Person First Person To Whom? Reader Another Character Self Interior Monologue Stream of Consciousness In What Form? At What Distance? Consistency: Final Caution Missing Women, June Spence*** Who's Irish?, Gish Jen Reply All, Robin Hemley*** Writing Exercises 9. Play It Again, Sam: Revision Re-Vision Worry It and Walk Away Criticism and the Story Workshop Asking the Big Question: Have I Written How Fictional Elements Contribute to Theme Revision Questions Further Suggestions for Revision Examples of the Revision Process Notes on Keith and early draft of Keith, Ron Carlson*** Final Draft of Keith, Ron Carlson Writing Exercises Appendix: Kinds of Fiction Credits Index" @default.
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• W1480494712 title "Writing Fiction: A Guide to Narrative Craft" @default.
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