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The cunning craft original essays on detective fiction

No matter what kind of writing you do (fiction, memoir, poetry, essay), this class offers tips, tricks, and exercises designed to make your descriptions come to life.

Secret windows : essays and fiction on the craft of writing

At lunch, we tell our newest stories to our co-workers; at night, we tell fanciful tales to our kids and then consume suspense from our flatscreens. much better than abstract rules, formulas or concepts. Your post or essay will be stronger and more relatable if you include little examples, experiences and comparisons.For example, instead of saying “Spinach is healthy,” you could tell a story about a runner who improved his performance by eating a lot of spinach.

Lovecraft's Poetry, an essay fiction | FictionPress

Jim Shepards Generating Fiction from History and/or Fact craft essay spoke to me

When historians look back on our generation's most prolific writers of fiction, names like Stephen King, Elmore Leonard, and Kurt Vonnegut will be at the top. But another name for that list is our own Chuck Palahniuk. Where I believe Chuck has those other names beat, is in the many different formats of writing he dips his toes into. Besides novels, Chuck has also dabbled in journalism, tour guides, and short stories. Though where he reigns supreme is in the craft essay. Many years ago, Chuck took over this site and its existing writers workshop with the posting of a new craft essay every month. The essays were designed to teach writers his craft, while also handing out a homework assignment. Writers in our workshop utilized the tools Chuck taught and applied them to their own stories. And after years of this, the best of these stories were honed down to an anthology ( due out this August).

Let’s use King’s book Under the Dome as an example. In the book, King creates a detailed and credible environment—a small town in Maine—that is inexplicably covered by an impenetrable dome one day. While the situation of being stuck under a dome is outrageous, and certainly not autobiographical, the world of the small town and its citizens is entirely realistic, a genuine portrait of a typical small Northeastern village. King is able to write authentically about such a town because of his own experience as a Maine resident. Without a doubt, his real experiences informed his fictional town.

Fiction essay english 102 - Silver Moon Gallery

How My Short Fiction Became a Memoir, a craft essay by Andrea Jarrell.

There is one point at which the moral sense and the artistic senselie very near together; that is, in the light of the very obvious truththat the deepest quality of a work of art will always be the quality ofthe mind of the producer. In proportion as that mind is rich and noblewill the novel, the picture, the statue, partake of the substance ofbeauty and truth. To be constituted of such elements is, to my vision,to have purpose enough. No good novel will ever proceed from asuperficial mind; that seems to me an axiom which, for the artist infiction, will cover all needful moral ground; if the youthful aspiranttake it to heart it will illuminate for him many of the mysteries of"purpose." There are many other useful things that might be said tohim, but I have come to the end of my article, and can only touch themas I pass. The critic in the whom I havealready quoted, draws attention to the danger, in speaking of the artof fiction, of generalizing. The danger that he has in mind is rather,I imagine, that of particularizing, for there are some comprehensiveremarks which, in addition to those embodied in Mr. Besant's suggestivelecture, might, without fear of misleading him, be addressed to theingenuous student. I should remind him first of the magnificence of theform that is open to him, which offers to sight so few restrictions andsuch innumerable opportunities. The other arts, in comparison, appearconfined and hampered; the various conditions under which they areexercised are so rigid and definite. But the only condition that I canthink of attaching to the composition of the novel is, as I havealready said, that it be interesting. This freedom is a splendidprivilege, and the first lesson of the young novelist is to learn to beworthy of it. "Enjoy it as it deserves," I should say to him; "takepossession of it, explore it to its utmost extent, reveal it, rejoicein it. All life belongs to you, and don't listen either to those whowould shut you up into corners of it and tell you that it is only hereand there that art inhabits, or to those who would persuade you thatthis heavenly messenger wings her way outside of life altogether,breathing a superfine air and turning away her head from the truth ofthings. There is no impression of life, no manner of seeing it andfeeling it, to which the plan of the novelist may not offer a place;you have only to remember that talents so dissimilar as those ofAlexandre Dumas and Jane Austen, Charles Dickens and Gustave Flaubert,have worked in this field with equal glory. Don't think too much aboutoptimism and pessimism; try and catch the colour of life itself. InFrance to-day we see a prodigious effort (that of Emile Zola, to whosesolid and serious work no explorer of the capacity of the novel canallude without respect), we see an extraordinary effort vitiated by aspirit of pessimism on a narrow basis. M. Zola is magnificent, but hestrikes an English reader as ignorant; he has an air of working in thedark; if he had as much light as energy his results would be of thehighest value. As for the aberrations of a shallow optimism, the ground(of English fiction especially) is strewn with their brittle particlesas with broken glass. If you must indulge in conclusions let them havethe taste of a wide knowledge. Remember that your first duty is to beas complete as possible-to make as perfect a work. Be generous anddelicate, and then, in the vulgar phrase, go in!"

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