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The Art & Craft of the Short Story explores every key element of short fiction, including story structure and form; creative and believable characters; how to begin and where to end; and the generation of ideas; as well as technical aspects such as point of view; plot; description and imagery; and theme. Examples from the work of a wide variety are used. The author includes five of his own stories to demonstrate these topics.
This classic guide, from the renowned novelist and professor, has helped transform generations of aspiring writers into masterful writers—and will continue to do so for many years to come. John Gardner was almost as famous as a teacher of creative writing as he was for his own works. In this practical, instructive handbook, based on the courses and seminars that he gave, he explains, simply and cogently, the principles and techniques of good writing. Gardner’s lessons, exemplified with detailed excerpts from classic works of literature, sweep across a complete range of topics—from the nature of aesthetics to the shape of a refined sentence. Written with passion, precision, and a deep respect for the art of writing, Gardner’s book serves by turns as a critic, mentor, and friend. Anyone who has ever thought of taking the step from reader to writer should begin here.
Brief, practical, and affordable, The Art and Craft of Fiction gives aspiring writers all they need, in a friendly voice that students love. Michael Kardos focuses on technique and presents fiction writing as a teachable (and learnable) art. With an organization built on methods and process rather than traditional literary elements, Kardos helps students begin their stories, write strong scenes, use images and research detail, revise for aesthetics and mechanics, and finish and polish their own stories. Instructors trust The Art and Craft of Fiction to help structure their course, and reinforce and complement their teaching points with examples and exercises. A brief fiction anthology at the back of the book includes 15 selections that instructors praise for their usefulness in the creative writing classroom.
Wise advice on plot, character, and style from a legendary Esquire editor: “Every aspiring fiction writer ought to read this.” —Writer’s Digest Over the course of his long and colorful career as fiction editor for Esquire magazine, L. Rust Hills championed the early work of literary luminaries such as Norman Mailer, John Cheever, Don DeLillo, Raymond Carver, and E. Annie Proulx. His skill at identifying talent and understanding story made him a legend within the industry as an unparalleled editor of short fiction. Writing in General and the Short Story in Particular is a master class in writing—especially short story writing—from the master himself. Drawing on a lifetime of experience and success, this practical guide explains essential techniques of writing fiction—from developing character to crafting plots to effectively employing literary techniques. Clear and concise enough for any beginner but wise and powerful enough for any pro, Writing in General is a classic to be savored by both aspiring and seasoned writers.
"52 great authors, their best short fiction, and their insights on writing"--Cover.
In Art Matters, Robert Paul Lamb provides the definitive study of Ernest Hemingway's short story aesthetics. Lamb locates Hemingway's art in literary historical contexts and explains what he learned from earlier artists, including Edgar Allan Poe, Paul Cézanne, Henry James, Guy de Maupassant, Anton Chekhov, Stephen Crane, Gertrude Stein, James Joyce, and Ezra Pound. Examining how Hemingway developed this inheritance, Lamb insightfully charts the evolution of the unique style and innovative techniques that would forever change the nature of short fiction. Art Matters opens with an analysis of the authorial effacement Hemingway learned from Maupassant and Chekhov, followed by fresh perspectives on the author's famous use of concision and omission. Redefining literary impressionism and expressionism as alternative modes for depicting modern consciousness, Lamb demonstrates how Hemingway and Willa Cather learned these techniques from Crane and made them the foundation of their respective aesthetics. After examining the development of Hemingway's art of focalization, he clarifies what Hemingway really learned from Stein and delineates their different uses of repetition. Turning from techniques to formal elements, Art Matters anatomizes Hemingway's story openings and endings, analyzes how he created an entirely unprecedented role for fictional dialogue, explores his methods of characterization, and categorizes his settings in the fifty-three stories that comprise his most important work in the genre. A major contribution to Hemingway scholarship and to the study of modernist fiction, Art Matters shows exactly how Hemingway's craft functions and argues persuasively for the importance of studies of articulated technique to any meaningful understanding of fiction and literary history. The book also develops vital new ways of understanding the short story genre as Lamb constructs a critical apparatus for analyzing the short story, introduces to a larger audience ideas taken from practicing storywriters, theorists, and critics, and coins new terms and concepts that enrich our understanding of the field.
Comprising new work by leading scholars, this book traces the history of American short fiction and provides original avenues for research.
Phillips (creative writing, U. of Wisconsin, Eau Claire) has designed a text for undergraduate creative writing courses that provides step- by-step instruction in beginning to write, setting up a journal, and beginning to write a short story. Four short stories by students are included with an interview of each writer to show the relationship of truth to fiction. Annotation copyrighted by Book News, Inc., Portland, OR.
The British and Irish Short Story Handbook guides readers through the development of the short story and the unique critical issues involved in discussions of short fiction. It includes a wide-ranging analysis of non-canonical and non-realist writers as well as the major authors and their works, providing a comprehensive and much-needed appraisal of this area. Guides readers through the development of the short story and critical issues involved in discussions of short fiction Offers a detailed discussion of the range of genres in the British and Irish short story Includes extensive analysis of non-canonical writers, such as Hubert Crackanthorpe, Ella D’Arcy, T.F. Powys, A.E. Coppard, Julian Maclaren-Ross, Mollie Panter-Downes, Denton Welch, and Sylvia Townsend Warner Provide a wide-ranging discussion of non-realist and experimental short stories Includes a large section on the British short story in the Second World War
This book proposes a study of a new postmodern prose fiction genre, the short-short story. Considerations of generic classifications and boundaries are followed by an historical overview and analysis of short fiction from the nineteenth to twenty-first centuries, especially under the influence of the Russian Anton Chekhov, who is regarded as the father of the modern short story. The postmodern short-short story is seen as emerging from this trend, a hybrid genre with characteristics of the narrative language of her prose genres such as the short story and the journalistic writing. The cluster of features, such as condensation, lack of character development, surprise endings, etc., which is seen as characteristic of the short-short story, are discussed, and ten examples are summarized and analyzed, including two traditional short stories for contrast. It is seen that the short-short story may be further broken into what is called “the new sudden fiction” and the even shorter and more radical “flash fiction.”