Novelsmithing, The Structural Foundation of Plot, Character, and Narration by David Sheppard (Free eBook)

 

 Novelsmithing, The Structural Foundation of Plot, Character, and Narration 

 

by

 

David Sheppard

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Description

Novelsmithing, The Structural Foundation of Plot, Character, and Narration provides the beginning novelist, or perhaps even the experienced novelist who has lost his way, with a discussion of the underlying structure and methods of novel writing. Nowhere else can the aspiring author learn the skills necessary to achieve the organic unity of the novelist's divine trinity: character, conflict and theme, so necessary to a fine work of literature. He will also learn the art of narration, how to lock the conflict, resolve the conflict, all the while, laying out the integral chapter structure. This approach to novel writing is not about the art of creative writing. It's about the craft, the novelsmithing, of making a story into a novel. The aspiring screenwriter will also find most of the chapters useful. Completing the first nine chapters of Novelsmithing will provide the author with a rough draft for his novel.

 

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About the Author

David Sheppard is the author of the recently published non-fiction work Oedipus on a Pale Horse and The Mysteries, A Novel of Ancient Eleusis, which will appear in bookstores later in 2009. He has a bachelor's from Arizona State University, a master's from Stanford University and also studied American literature at the University of Colorado. His poetry has appeared in The Paris Review, and in The Arvon International Poetry Competition Anthology (Ted Hughes and Seamus Heaney, editors). A veteran of many writing groups and conferences, he is a past member of the Rocky Mountain Writers Guild, having chaired its Literary Society and participated in its Live Poets Society and Advanced Novel Workshop. He taught astronomy, novel writing and Greek mythology at New Mexico State University - Carlsbad. He has traveled throughout Western Europe and is an amateur photographer and astronomer.

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Fiction Writing Tips Article Index Page

The Most Important Element of a Novel

The Art of Fiction A Guide for Writers and Readers

“The most important element of a novel,” according to Rand, “is plot.” A plot is not the same thing as a story. Good Naturalistic novels, Rand says, have a series of events that add up to a story. But a “plot is a purposeful progression of events. Such events must be logically connected, each being the outgrowth of the preceding and all leading up to a final climax.”

Ayn Rand

Alice O'Connor, better known by her pen name Ayn Rand, was a Russian-born American writer and philosopher. She is known for her fiction and for developing a philosophical system she named Objectivism. Born and educated in Russia, she moved to the United States in 1926. She wrote a play that opened on Broadway in 1935. Wikipedia

Born: February 2, 1905, Saint Petersburg, Russia
Died: March 6, 1982, Manhattan, New York, NY
Full name: Alisa Zinov'yevna Rosenbaum
Spouse: Frank O'Connor (m. 1929–1979)

The Art of Fiction offers invaluable lessons, in which Rand analyzes the four essential elements of fiction: theme, plot, characterization, and style. She demonstrates her ideas by dissecting her best-known works, as well as those of other famous authors, such as Thomas Wolfe, Sinclair Lewis, and Victor Hugo. An historic accomplishment, this compendium will be a unique and fascinating resource for both writers and readers of fiction. A Guide for Writers and Readers

 

Fiction Writing Tips Article Index Page

Short Stories in the Making: A Writers' and Students' Introduction to the Technique and Practical Composition of Short Stories, Including an ... Plot to Short Story Writing

Short Stories in the Making: A Writers' and Students' Introduction to the Technique and Practical Composition of Short Stories, Including an ... Plot to Short Story Writing 

By Robert Wilson Neal (1914).

Description

Excerpt from Short Stories in the Making: A Writers' and Students' Introduction to the Technique and Practical Composition of Short Stories, Including an Adaptation of the Principles of the Stage Plot to Short Story Writing

What is wanting in this book, critics, teachers, and students will all too readily discover without my help. Let me rather point out, then, what it is meant to do.

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How to Write a Short Story: An Exposition of the Technique of Short Fiction (1906) by Leslie Quirk

How to Write a Short Story: An Exposition of the Technique of Short Fiction (1906) by Leslie Quirk- The material in the following pages is a series of suggestive talks rather than a scholarly discourse. I leave to others the discussion of polish, atmosphere, and artistic handling; I take for my theme the writing of a short story that will sell.  

 

 

Description

This handy and brief guide will take you by the hand through the process of writing a novel or short story, from its conception and the choice of method, passing through different phases and aspects to their placement on the market and public distribution. Some illustrations have been added to the original to make it more vivid and interesting to read.

 

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Writer's Digest: How to Write Short Stories (1921)

 

Chapter I. Common Sense in Viewing One's Work. 

Chapter II. The Necessary Mental Equipment. 

Chapter III. Finding Time and Material. 

Chapter IV. Hints for Equipping The Shop. 

Chapter V. Common Business Sense in Meeting the Market. 

Chapter. VI. The Great Art of Story Writing: Construction. 

Chapter VII. The Great Art of Story Writing : Style. 

Chapter VIII. The Great Art of Story Writing: Adaption of Style to Material. 

Chapter IX. The Great Art of Story Writing: The Element of Suspense — Viewpoint. 

Chapter X. The Great Art of Story Writing: Characterization. 

Chapter XI. The Great Art of Story Writing : Plots. 

Chapter XII. Using Acquaintance as Material. 

Chapter XIII. The Author's Personal Responsibility. 

Chapter XIV. The Editors. 

 Chapter XV. Criticism. 

Chapter XVI. Help from Other Writers. 

Chapter XVII. When You're Tempted to Shut Up Shop.

Chapter XVIII. The Business of Writing — A Summing Up.

Download PDF to read the book >>  Writer's Digest: How to Write Short Stories (1921)  

  

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Also see:

• Writer's Digest Magazine at Amazon
• Writer's Digest Books at Amazon
  

 Fiction Writing Tips Article Index Page

A Manual of the Short Story Art by Glenn Clark

 

A Manual of the Short Story Art 

by 

Glenn Clark

 

 Overview

This 1922 how-to textbook, intended for teachers and students, includes exercises to get a writer started; lessons in visualization, dialogue, and theme; a list of thirty-six plot situations; and, as examples, short stories by Anthony Hope, Gertrude Hamilton, Edna Ferber, O. Henry, Beatrice Walker, and Wilbur Daniel Steele.

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The Contemporary Short Story: A Practical Manual by Harry Baker Turner

The Contemporary Short Story: A Practical Manual

 

by Harry Baker Turner

 

 

 FOREWORD BY OLIVIA SALTER

In an era where attention spans are dwindling and time is a precious commodity, the art of storytelling has found a natural home in the realm of the short story. These concise yet powerful narratives have the ability to captivate readers, immersing them in a world of imagination within a limited space.

Harry Baker Turner's The Contemporary Short Story: A Practical Manual serves as an indispensable guide for both aspiring and seasoned writers, providing a comprehensive toolkit to craft compelling short stories that resonate with readers. With a wealth of knowledge gained from his vast experience as a writer and educator, Turner deftly navigates the intricacies and nuances of the short story form, offering valuable insights and practical advice at every turn.

This manual is not merely a theoretical exploration of the short story but a hands-on, practical resource that empowers writers to develop their skills and master the craft. Turner's approach is both rigorous and accessible, as he imparts indispensable wisdom on various aspects, from generating ideas and creating well-rounded characters to refining dialogue and crafting effective plot arcs. Through clear and concise examples, he demonstrates how each technique can be harnessed to produce impactful and thought-provoking stories.

What sets The Contemporary Short Story apart is Turner's keen understanding of the evolving literary landscape. He acknowledges the changing tastes and preferences of modern readers, addressing contemporary themes and pushing the boundaries of traditional storytelling. Turner's emphasis on diversity and inclusivity is commendable, encouraging writers to explore a multitude of perspectives and voices, opening up a rich tapestry of narratives that reflect our multifaceted world.

Furthermore, Turner recognizes that writing is not a solitary endeavor. He offers valuable advice on seeking feedback, collaborating with editors, and navigating the publishing industry, providing invaluable guidance for writers looking to take their work to the next level. His encouragement for writers to cultivate resilience and perseverance serves as a reminder that the journey of crafting a short story is one of constant learning and growth.

As I delved into the pages of The Contemporary Short Story: A Practical Manual, I found myself immersed in a treasure trove of knowledge and inspiration. Turner's passion for storytelling is evident in every chapter, urging writers to push their boundaries and embrace the limitless possibilities of the short story form.

Whether you are an aspiring writer seeking to embark on this captivating journey or an established author looking to refine your skills, Harry Baker Turner's manual is a must-have resource in your literary arsenal. So dive in, explore the magic of the short story, and let Turner's guidance illuminate your path towards crafting stories that will linger in the hearts and minds of readers for years to come.

Olivia Salter

03/11/2022

 

CONTENTS

CHAPTER PAGE

I. Originality: Kinds and Methods 1

II. Common Faults 43

III. Structure 84

IV. Character vs. Plot 140

V. Style and the Classics 176

VI. How Magazines Differ 203

VII. A Magazine Office from the Inside 233

Appendix 249

Suggestions for Beginners 249

Test Questions 253

A List of American Fiction Magazines 255

A Few Books on the Short Story  257

A List of Representative Short Stories 258

Index 265

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The Short Story a Technical and Literary Study

by 

Cross, E. A. (Ethan Allen), b. 1875

 

Description

Excerpt from The Short Story: A Technical and Literary Study

The technic of the Short Story, as it is written today by the best of its masters, is quite definite ln its essential features and yet so flexible in the non-essentials as to give to the careless reader the impression of lawlessness. The purpose of the book, then, to be a little more specific, is to point out those technical features of the Short Story which are generally recognized by the best writers, and to prepare the reader for the variations in form which the flexibility in the non-essential parts admits, and yet to make clear the fact that there is such a thing as The Technic of the Short Story, the understanding of which opens up the possibilities of comprehension and enjoy ment just as the perception of the technical elements of other forms of literary art, of architecture, or of music increases the sweep of one 's appreciation of an ode, a public building, or a symphony.

In the preparation of this book there has been no effort made to get together a manual for the beginner in the writing of short stories. A number of these already exist. But it is possible that the analysis of the structure of the short story from the reader's point of view may be helpful to the beginner in writing by clarifying his no tions about the handling of plot, theme, suspense, and the other elements of technic.

The historical development of this form of art has been touched only superficially. The author's purpose has been to exhibit the story as it is now. We all recog nize in these days of exact biological calculation that heredity has much to do with the living youth who flour ishes among us; and so, to a certain extent, it is with a literary form. In an attempt to keep the peace with the literary scientists and at the same time to avoid any long delay in getting at the serious business of the book a short paragraph has been devoted to each of the more important branches of the family tree of the Short Story.
 

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Short Story: its Principles and Structure by Evelyn May Albright

 

The Short-Story, its Principles and Structure    

 by Evelyn May Albright , 1880-1942       

 

FOREWORD BY OLIVIA SALTER

The art of storytelling has captivated and enchanted humanity since time immemorial. In its many forms and genres, the power of narrative has the ability to transport readers to different worlds, evoke emotions, and offer profound insights into the human experience. Among the diverse literary forms, the short story holds a unique position, capable of delivering a potent impact within a concise narrative framework.

Evelyn May Albright's insightful work "The Short Story: Principles and Structure examines the intricacies of this captivating literary form, offering a comprehensive and insightful exploration into its principles and structure. With a deep ardor for the craft, Albright delves into the essence of the short story, unraveling its secrets and illuminating the techniques that bring these narratives to life.

Albright's dedication to understanding the short story as a distinct art form is apparent throughout the pages of this remarkable book. Drawing upon her extensive knowledge and experience, she expertly analyzes the fundamental components of a short story, from its plot and characters to its narrative structure and thematic implications. Through Albright's masterful exploration, aspiring writers and literature enthusiasts alike will gain valuable insights that can enhance their appreciation and understanding of this captivating genre.

"The Short Story: Principles and Structure" serves as an invaluable guide for both aspiring and seasoned writers, providing a roadmap to craft compelling narratives within the constraints of brevity. Albright's lucid explanations and practical advice enable writers to grasp the essential techniques needed to create captivating short stories that resonate with readers on a profound level. With her guidance, writers can learn to harness the power of concise storytelling and evoke lasting emotions in their audience.

Beyond its utility to aspiring writers, Albright’s work also appeals to readers who seek a deeper understanding and appreciation of the short story. By dissecting the principles and structure that underpin these narratives, readers can uncover the intricate craftsmanship that lies beneath the surface. Albright's exploration of different literary styles, themes, and character development offers readers a fresh lens through which they can analyze and interpret the stories they encounter, enriching their own reading experiences.

"The Short Story: Principles and Structure" is not merely an academic treatise but a passionate testament to the beauty and power of the short story. Evelyn May Albright's eloquent prose and profound insights make this book an engrossing read for anyone who appreciates the written word. Whether you are a writer looking to hone your skills or a reader seeking a deeper connection with this rich and nuanced genre, this book is an indispensable resource that will both educate and inspire.

As we embark on this journey through the world of the short story, let us be guided by Albright's expertise and artistry. May her words ignite our creative spirits and kindle our love for the enchanting realm of the short story.

Olivia Salter 

03/11/2022

Short Story: its Principles and Structure by Evelyn May Albright, (1907). The aim of this book is not to trace the origin or the development of the short-story, but to set forth some standards of appreciation of what is good in storywriting, illustrating by the practice of the masters as contrasted with amateurish failures : this with the view of rousing the student to a more lively interest in his eading, and of awakening such a wholesome spirit of self-criticism as shall enable him to improve his own workmanship, should he feel called to write. It is expected that one who undertakes to study or to write short-stories will become acquainted at first hand with the masterpieces of this art. With this in view, a reading-list has been appended, roughly classified in parallel arrangement with the topics studied in the text. The list includes, besides a number of stories generally recognized as great, a fairly representative selection from recent magazines. It is the author's belief that not only the masterpiece but the story which is moderately good can be made a profitable study in construction for the beginner. But it has been the aim to lay due stress, within the text, on those elements of greatness which distinguish the masterpiece from the average short-story. I. Introductory - II. Gathering Material - III. The Motive as the Source op Plot - IV. Plot - V. Mechanism - VI. Unity of Impression - VII. The Title - VIII. Characterization - IX. Dialogue - X. The Setting - XI. The Realistic Movement - XII. The Element of Fantasy - XIII. The Emotional Element - XIV. The Spirit of the Author      

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The Elements of the Short Story 

Edited by Edward Everett Hale (Jr.), Fredrick Thomas Dawson

The Elements of the Short Story by
Edward Everett Hale and Fredrick Thomas Dawson, (1915). The legend of Sleepy Hollow, by W. Irving.--Rip Van Winkle, by W. Irving.--Irving as a story writer.--The great stone face, by N. Hawthorne.--Ethan Brand, by N. Hawthorne.--Hawthorne as a story writer.--The fall of the house of Usher, by E. A. Poe.--The murders in the Rue Morgue, by E. A. Poe.--Poe as a story writer.--The diamond lens, by F.-J. O'Brien.--The man without a country, by E. E. Hale.--The outcasts of Poker Flat, by F. B. Harte.--Some recent stories. 

I. The Legend of Sleepy Hollow. .
.Washington Irving - 

II. Rip Van Winkle Washington Irving - 

III. Irving
as a Story Writer - 

IV. The Great Stone Face. . .Nathaniel Hawthorne 

V.  Ethan Brand . . .Nathaniel Hawthorne - 

VI. Hawthorne as a Story Writer -
 

VII. The Fall oe the House of Usher .Edgar Allan Poe - 

VIII. The
Murders in the Rue Morgue. Edgar Allan Poe - 

IX. Poe as a Story Writer -

X. The Diamond Lens - Fitz-James O'Brien - 

XI. The Man Without A Country . . . Edward Everett Hale - 

XII. The Outcasts of Poker Flat. .
.Francis Bret Harte. - XIII. Some Recent Stories
 

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Hints on writing short stories by Charles Joseph Finger

Hints on Writing Short Stories

by Charles Joseph Finger

Hints on Writing Short Stories by Charles Joseph Finger (1922). In the first place, there must be Sincerity. Without that nothing can be done. Sincere work will be good work, and sincere work will be original work. With sincerity, you will have honesty and simplicity, both of which are cardinal virtues in the literary man. Also, with sincerity there will be courage. You know, as well as I know, that when you meet an in- sincere man, you detect him at once. Were you ever deceived, for instance, by the rounded periods of some political rhetorician? Perhaps for a moment you may have been carried away in spite of your better sense, but, certainly, the effect was not lasting. Examining yourself, you will certainly remember that before you could persuade others, you had to be thoroughly convinced of the essential right of the thing itself. In the same fashion then, you must be persuaded of the truth of that which you wish to be accepted when writing. I do not speak of controversial matters. I write of fiction. You must have so thoroughly identified yourself with your characters that they are as living creatures to you. Then only shall they be living characters to your readers. If you have read the Pickwick Papers and have learned to know and love Samuel Pickwick, you will know exactly what I mean. In that character, the young Charles Dickens lost himself. In creating Mr. Pickwick he was entirely sincere. He watched the character grow from a somewhat simple-minded old gentleman to a lovable, jolly fellow to meet whom you would walk half round the world. Pick- wick was real to Dickens; therefore he is real to us. Observe this too; he had his faults. Mr. Pickwick would not have been considered rna good or a moral character to many of the “unco guid” of today. He often drank too much. Had there been nation wide prohibition in England in his day, he would certainly have drunk home brew with Ben Allen and Bob Sawyer exactly as he went to prison for conscience sake. He and his companions enjoyed the pleasures of the table too well for latter day tastes. He was obstinate on occasion, just as I am obstinate. Had Dickens been insincere, he might have been tempted to sponge out the bad spots in his character. But then he would have given us something that was not a man. The truth is that we want something of the sensuous and the gross in those about us. None of us want to live with angels and saints. So we reject instinctively as impossible and unpleasant, those perfect, etherealized creations some times found in stories — those returns all compounded of nobility, courage, beauty, generosity and wisdom which insincere writers try to foist upon us. They do not ring true. We detect their hollowness just as we detect the hollowness of the flamboyant boastings of the political orator.

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Fiction Writing Tips Article Index Page

Short Story Writing; a Practical Treatise on the Art of the Short Story by Charles Raymond Barrett

Short Story Writing; a Practical Treatise on the Art of the Short Story 

by Charles Raymond Barrett 

FOREWORD BY OLIVIA SALTER

Short Story Writing: A Practical Treatise on the Art of the Short Story by Charles Raymond Barrett is a timeless guide that delves into the craft of short story writing. Aspiring writers and seasoned authors alike will find this book to be an invaluable resource as they embark on their literary journey.

In today's fast-paced world, short stories have gained immense popularity. They provide a brief escape, capturing the essence of human experiences within a concise narrative. Crafting a compelling short story is no easy feat, requiring a delicate balance of concise storytelling, vivid characterization, and evocative imagery. Charles Raymond Barrett, in his astute and insightful writing style, provides a practical approach to mastering this art form.

One of the remarkable aspects of short story writing is Barrett's ability to cover a breadth of topics catering to the needs of budding writers while also delving into the nuances that experienced authors strive to refine. The book explores the essential elements of a short story, from developing captivating plots and characters to constructing effective dialogue and exploring various narrative techniques.

Barrett's guidance is rooted in both theory and practice, providing aspiring writers with a solid foundation while simultaneously inspiring them to experiment and push the boundaries of their creativity. He illuminates the intricacies of storytelling, elucidating how to create a story that captivates readers from the very first sentence.

Moreover, Barrett skillfully illustrates the power of brevity in storytelling. He emphasizes the necessity of the economy of language, encouraging writers to carefully choose every word and sentence to convey maximum impact. Through numerous examples and exercises, he guides writers in honing their skills and cultivating concise and potent narratives.

Furthermore, Barrett delves into the emotional resonance that exists within short stories, highlighting the importance of evoking strong and authentic emotions in readers. He explores various techniques, such as sensory descriptions and subtext, that empower writers to create narratives that resonate deeply with their audiences.

Short Story Writing is not only a comprehensive guide but also an encouragement for writers to embrace their unique voice and find their own distinct style. Barrett emphasizes the importance of originality and authenticity, emphasizing that every writer has a story to tell that is uniquely their own.

In an era where attention spans are dwindling, short stories continue to hold a special place in the literary landscape. With his expertise and passion, Barrett instills a renewed appreciation for this art form and equips writers with the necessary tools to craft compelling stories of their own.

Whether you are an aspiring writer seeking guidance or an experienced author looking to refine your skills in short story writing, a Practical Treatise on the Art of the Short Story is an indispensable resource. It is a book that will inspire, inform, and guide you on your quest to become a master of the short story.

Let Charles Raymond Barrett be your mentor as you navigate the intricate world of short story writing. Embrace the power of brevity, evoke emotions, and unleash your creativity. This book will undoubtedly ignite the writer within you and help you embark on a captivating journey through the art of the short story.

Olivia Salter

 03/11/2022

TABLE OF CONTENTS

Preface     7
Introduction     11
I     The Short Story     15
II     Short Stories Classified     26
III     The Plot     45
IV     Titles Good and Bad     64
V     The Use of Facts     78
VI     The Characters     94
VII     Methods of Narration     119
VIII     The Beginning     132
IX     The Story Proper     149
X     Climax and Conclusion     171
XI     The Style     189
XII     The Labor of Authorship     209
XIII     The Quest of a Market     222
Appendix     "The Ambitious s"     234
Index       

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Fiction Writing Tips Article Index Page

Short Story Writing And Free Lance Journalism by Sydney A Moseley

 

Short Story Writing And Free Lance Journalism  

by  Sydney A Moseley

 

PART 2
SHORT STORY WRITING

CHAPTER I

WHIT is a short story "The jolly art" A complete work Novelettes Sketches 113

CHAPTER II

STYLE : Three hints Short story anatomy Plot finding Three great themes Classes of story Specialization Dangers of models
What to read 121

CHAPTER III

EtaADXNO and observation Danger of plagiarism Plot construction
Blank road mystery Question and answer . . . , 133

CHAPTER IV

HAOKNBTBD situations A French example The forced situation
Don't be lazy Too bad to be true ,147


CHAPTER V 

WHAT makes a good title Openings Endings . . . . ,169

CHAPTER VI

FIRST and third person methods Cultivate your own style Colour
Local colour Use your environment Imagination . . . 168

CHAPTER VII

UNNECESSARY characters Dialogue Heroes and heroines Reality
Minor characters 180

CHAPTER VIII

LOVE scenes Some classic love scenes Strength with restraint
Avoid " piling it on " Humorous relief The pitfall of pathos
The definite aim Revising and retouching The inexorable blue
pencil Rejections and their lessons The editor's reason Fiction
fashions How to reshape old manuscripts . . .190

CHAPTER IX

SHOET story lengths Novels and novelettes How to sell manuscripts
More hints Serial short stories Serial novels Novels in book
form The commercial side of authorship Copyright American
and English rights Prices Proof correcting Letters to the editor
Literary agents A word in farewell 209

INDEX . 231
 

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 Short Story Writing And Free Lance Journalism by Sydney A Moseley

 

Writer's Digest 1922-07: Vol 2

THE WRITER’S DIGEST 

 Formerly "Successful Writing" A Monthly Journal on Writing Photoplays, Short Stories, Poems, Popular Songs, Etc. 

VOLUME II. JULY, 1922. NUMBER 8.

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A Handbook on Story Writing by Williams, Blanche Colton, 1879-1944

 

A Handbook on Story Writing 

by Williams, Blanche Colton, 1879-1944

 

 

FOREWORD

 

In the vast world of literature, stories hold a special place. They have the power to transport us to different realms, evoke a wide range of emotions, and challenge our perceptions of reality. Within the realm of storytelling, the art of crafting a compelling and engaging narrative is a true craft. It requires a delicate balance of imagination, creativity, and technical prowess.

It is with great pleasure that I introduce "A Handbook on Story Writing" by Blanche Colton Williams. This insightful and comprehensive guide is an invaluable tool for both aspiring and seasoned writers looking to master the art of storytelling. Drawing from her vast experience as a teacher, author, and literary critic, Williams offers a wealth of knowledge that will inspire and guide writers of all levels.

The beauty of this handbook lies in its ability to provide practical and actionable advice while also celebrating the boundless possibilities of storytelling. Williams begins by delving into the fundamental elements of storytelling, emphasizing the importance of plot, character development, and setting. She then proceeds to delve into the nuances of crafting dialogue utilizing symbolism and creating vivid descriptions that captivate readers' imaginations.

Throughout the manual, Williams skillfully interweaves examples from renowned works of literature, offering insightful analysis and shedding light on the techniques employed by successful storytellers. Her ability to dissect and explain the intricacies of storytelling not only educates but also sparks the writer's imagination, encouraging them to explore new avenues within their own creative process.

One notable aspect of this handbook is the attention given to the different genres and the distinct requirements each presents. Williams provides valuable advice on how to develop mystery, romance, science fiction, and other popular genres, ensuring that writers can confidently navigate the diverse landscape of storytelling.

As readers, we often find solace in stories that allow us to escape the confines of our daily lives and embark on thrilling adventures. With "A Handbook on Story Writing, Williams offers writers the tools to create these transformative experiences for their readers. Whether one aspires to pen an epic fantasy, a thought-provoking literary masterpiece, or a heartwarming children's tale, this handbook serves as a compass guiding writers towards their storytelling goals.

Blanche Colton Williams has dedicated her life to the study and appreciation of literature, and her passion radiates through these pages. Her deep understanding of the craft, coupled with her ability to convey complex concepts in an approachable manner, makes "A Handbook on Story Writing" an essential companion for any writer seeking to hone their skills and make their mark in the literary world.

It is my sincere belief that this handbook will serve as a beacon of guidance and inspiration to writers of all backgrounds. May it empower you to embark on your storytelling journey with confidence, and may your words find their rightful place in the hearts of readers around the world.

Olivia Salter 

03/07/2022

PREFACE

WHEN in 1910 I undertook the "teaching" of the short-story to a class of undergraduates at Hunter College, I found a dearth of books on the theory of story writing. There were Poe's examples and his body of criticism, from which help might be deduced; there was the pioneer "Philosophy" of Professor Matthews, and there were two or three texts whose chief valye lay in their exposition of the genre. After no great length of time a growing suspicion asserted itself that although my students could write unusually well, frequently with suggestion of charm and power, yet they were not always writing stories. They fell short of modern narrative requirement. , As first aid they needed some formulation of the laws of structure. By a frankly academic and deductive process, that is to say, by study of the classic stories and the best current examples, I found obvious underlying principles, so obvious, my first reaction was that nobody had written them down because of their obviousness. But I gave them to my students, with happy results in improvement of manuscripts. The writers learned to direct their energies, with a diminution of diffuseness, to the accomplishment of stronger stories. 

 CONTENTS 

I Definitions and Characterisations 

II The Inception of the Story 

III Plot: Preliminaries

IV Plot: Struggle and Complication 
 

V Plot: Composition 

VI Plot: Story Types Dependent on Plot Order 

VII The Point of View

VIII The Scenario

IX Characterisation

X Characterisation, continued

XI Dialogue

XII The Emotional Element 

XIII Local Colour and Atmosphere 

XIV Problems of Composition: Beginning, Body, and End

XV A Short-Story Type: The Ghost Story 

XVI Popularity and Longevity

Index



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A Handbook on Story Writing by Williams, Blanche Colton, 1879-1944 

 

 

 

Writer's Digest 1943-04: Vol 22

WAR TIME STORIES THAT SELL
EXPERT ADVICE $1

As the war drama reaches a climax, the problems of the fiction writer (who is doing his bit ith propaganda) become more intricate. All the obvious war-time plot ideas have been
used up. Where are the new ideas? How much military action should be used? How to
handle propaganda? How to use the life of your own community? How to organize your
material? What to avoid? Answers to these questions will be found in our professional talk
to writers entitled "Plots for War Times.”

This memorandum has just been revised and brought up to date. Send for it and pick our
brains on the topics of utmost importance to you today if you are writing for publication.
In it you will find analyses of current trends, sample plots, advice on slanting, on the non-war
escape story, on pulp needs and requirements for novels. Why perform in the dark? Here
is illumination. One dollar by return mail!


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The Writer by Luce, Robert, 1862 -1946, Hills, William Henry, 1859-

 

The Writer 

by Luce, Robert, 1862 -1946, Hills, William Henry, 1859-

Founded in 1887, The Writer instructs, informs, and inspires writers, providing practical coverage of the craft of writing and publishing.

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The Writer by Luce, Robert, 1862 -1946, Hills, William Henry, 1859-

Writer's Digest 1930-02: Vol 10

Writer's Digest is the No.1 Resource for Writers, Celebrating the Writing Life and What it Means to be a Writer in Today's Publishing Environment.

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How to Write a Short Story: An Exposition of the Technique of Short Fiction by Leslie W. Quirk

How to Write a Short Story: An Exposition of the Technique of Short Fiction (1906) by Leslie Quirk- The material in the following pages is a series of suggestive talks rather than a scholarly discourse. I leave to others the discussion of polish, atmosphere, and artistic handling; I take for my theme the writing of a short story that will sell. 

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