By Peter Selgin
&break;&break;Writing winning fiction is a stability among trusting one's personal instincts and making the best awake offerings. In By crafty & Craft, award-winning novelist and short-story author Peter Selgin exhibits you ways to mix the instinctive technique of construction with sound technical ingenuity.
&break;&break;With unique guideline and examples from vintage and best-selling works, this authoritative advisor is helping you grasp the 10 crucial fiction-writing components: notion; personality; standpoint; constitution and plot; subject matter; discussion; description; scenes, precis, and flashback; voice and magnificence; and revision.
&break;&break;Whether you are dealing with the clean pages of a primary draft or attempting to revise a accomplished manuscript, By crafty & Craft will give you the assistance you must outfox universal writing pitfalls and ensure your paintings is not short of in wit - or perfection.
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Fiction is our way into experiences that we’ll never have, and into people we’ll never know or never meet—or want to, necessarily. Malcolm Lowry’s drunken Consul (Under the Volcano) as a houseguest? No thank you. Between cloth or paper covers, though, I’ll gladly have him over to dinner. I’ll even take him to bed with me. 2. ” To the extent that people want something, they exist. This is especially true of ﬁctional characters. Begin with a character who wants 21 chapter i something, and you’re off to a good start.
There are others. My father is eighty-six years old and in bed. His heart, that bloody motor, is equally old and will not do certain jobs any more. It still floods his head with brainy light. But it won’t let his legs carry the weight of his body around the house. —Grace Paley, “A Conversation With My Father” Here, we’re still in a ﬁrst-person narrative, since a character in the story is telling the story. But the narrator is no longer the focus of the story; her father is. We call this type of narrator a peripheral narrator.
Scott Fitzgerald, “The Rich Boy” 19 chapter i 1. Fiction Is About People On the oak-paneled wall of his den, my father-in-law keeps a varnished wooden plaque. ” In ﬁction writing, the hierarchy is reversed. What readers of ﬁction most want to learn about is people. Not ideas, opinions, or philosophy; not The Communist Manifesto, Robert’s Rules of Order, The Merck Manual, or lore about nuclear submarines. ” That’s what ﬁction does best, why it gets written and read. Call it an enlightened form of gossip.
By Cunning and Craft: Sound Advice and Practical Wisdom for Fiction Writers by Peter Selgin