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Wednesday, September 14, 2022

The Elinor Glyn System of Writing, Volume 3

The Elinor Glyn System of Writing, Volume 3

 

Vol. I  - Vol. II - Vol. III - Vol. IV - All

 

Elinor Glyn Books at Amazon


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About the Author

Elinor Glyn
Elinor Glyn, née Sutherland (17 October 1864 – 23 September 1943), was a British novelist and scriptwriter who specialized in romantic fiction which was considered scandalous for its time. She popularized the concept of It. Although her works are relatively tame by modern standards, she had tremendous influence on early 20th century popular culture and perhaps on the careers of notable Hollywood stars such as Rudolph Valentino, Gloria Swanson and Clara Bow in particular. Wikipedia

 

Tuesday, September 13, 2022

The Elinor Glyn System of Writing, Volume 2

The Elinor Glyn System of Writing, Volume 2

 

Vol. I  - Vol. II - Vol. III - Vol. IV - All

 

Elinor Glyn Books at Amazon


The PDF might take a minute to load. Or, click to download PDF.

If your Web browser is not configured to display PDF files. No worries, just click here to download the PDF file.

 

About the Author

Elinor Glyn
Elinor Glyn, née Sutherland (17 October 1864 – 23 September 1943), was a British novelist and scriptwriter who specialized in romantic fiction which was considered scandalous for its time. She popularized the concept of It. Although her works are relatively tame by modern standards, she had tremendous influence on early 20th century popular culture and perhaps on the careers of notable Hollywood stars such as Rudolph Valentino, Gloria Swanson and Clara Bow in particular. Wikipedia

 

Monday, September 12, 2022

The Elinor Glyn's System Of Short Story Writing, Volume 1

 The Elinor Glyn's System Of Short Story Writing, Volume 1

 

Vol. I  - Vol. II - Vol. III - Vol. IV - All

 

  Description


This early work by Elinor Glyn was originally published in 1922 and we are now republishing it with a brand new introductory biography. 'The Elinor Glyn System of Writing - Book I' is an instructional work on the art of short story and photoplay writing. Elinor Glyn began her writing career in 1900 and was a pioneer of the risqué and romantic fiction genre. She went on to write many popular books such as 'Beyond the Rocks' (1906), 'Love's Blindness' (1926), and 'It' (1927), in which she coined the term 'It', meaning the animal magnetism that some individuals possess.

 

( Originally Published 1922 )

This FREE book is in e-book FORMAT.
Page Summary:


  • What Knowledge Must I Have To Succeed?
  • Getting Acquainted With Your Ideas
  • Becoming Interested In Yourself
  • Qualities Of Mind You Should Encourage
  • The Theme Of Your Story
  • Point Of View
  • Characters And Characterization
  • Building The Plot
  • Excercise In Plot Building

    More Articles About Writing


  • Short Stories - What Knowledge Must I Have To Succeed?
  • The Continuity, Or Scenario
  • Characters In The Photoplay
  • Setting In The Photoplay
  • The Photoplay Title
  • The Photoplay Stage
  • What To Write About
  • Things You Should Not Write About
  • Writing Comedy
  • The Writer, His Methods
  • Why Manuscripts Are Rejected
  • How Successful Writers Sell Their Manuscripts
  • How To Merit Success
  •  
    DOWNLOAD OR RUN TO READ
    Elinor Glyn System of Writing (1922) (eText)

    "Every one of the great writers and playwrights you have ever read about or heard of--everyone of them had to begin at a weak starting point. Every one of them was uncertain at the outset. Every one of them had to overcome his or her doubts or misgivings…When they started many didn't really know what they COULD do. The wonderful part about literary ability is that we do not know how much of it we have in us. Then, by persistency, by patient development, by proper guidance, we may some day bloom forth all of a sudden and surprise even ourselves!" ~ Elinor Glyn


    Great for all writers.

      

     

    The PDF might take a minute to load. Or, click to download PDF.

    If your Web browser is not configured to display PDF files. No worries, just click here to download the PDF file.

     

    About the Author

    Elinor Glyn
    Elinor Glyn, née Sutherland (17 October 1864 – 23 September 1943), was a British novelist and scriptwriter who specialized in romantic fiction which was considered scandalous for its time. She popularized the concept of It. Although her works are relatively tame by modern standards, she had tremendous influence on early 20th century popular culture and perhaps on the careers of notable Hollywood stars such as Rudolph Valentino, Gloria Swanson and Clara Bow in particular. Wikipedia

     

    Sunday, September 11, 2022

    Writing Habit is Persistence in Practice | Writing Quote by Octavia E. Butler

     First forget inspiration. Habit is more dependable. Habit will sustain you whether you’re inspired or not. Habit will help you finish and polish your stories. Inspiration won’t. Habit is persistence in practice.

    -- Octavia E. Butler

     

    Buy Octavia E Butler Books at Amazon

     

     About the Author 


    Octavia Estelle Butler
    Octavia Estelle Butler
    was an American science fiction author and a multiple recipient of the Hugo and Nebula awards. In 1995, Butler became the first science-fiction writer to receive a MacArthur Fellowship. Born in Pasadena, California, Butler was raised by her widowed mother. Wikipedia
     

    Born: June 22, 1947, Pasadena, CA
    Died: February 24, 2006, Lake Forest Park, WA
    Place of burial: Mountain View Mortuary & Cemetery, Altadena, CA
    Education: Pasadena City College (1968), John Muir High School Early College Magnet, More
    Parents: Octavia Margaret Guy Butler, Laurice James Butler


    Buy Octavia E Butler Books at Amazon

     

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    Saturday, September 10, 2022

    Characteristics of the Medieval Romance by Loyola University New Orleans

     

    Medieval Romance

    Characteristics of the Medieval Romance

    by Loyola University New Orleans


    A tale of High Adventure. Can be a religious crusade, a conquest for the knight's leige lord, or the rescue of a captive lady or any combination.

    Characterized by:

    1. Medieval romance usually idealizes chivalry
    2. Medieval romance Idealizes the hero-knight and his noble deeds
    3. An important element of the medieval romance is the knight's love for his lady.
    4. The settings of medieval romance tend to be imaginary and vague.
    5. Medieval romance derives mystery and suspense from supernatural elements.
    6. Medieval romance uses concealed or disguised identity.
    7. Repetition of the mystical number "3." (Repetitions of the number or multiples of 3)

    Characteristics of the Hero-Knight

    1. Birth of a great hero is shrouded in mystery
    2. He is reared away from his true home in ignorance of his real parents.
    3. For a time his true identity is unknown
    4. After meeting an extraordinary challenge, he claims his right
    5. His triumph benefits his nation or group.

    Point out to the students that Arthur himself is a Hero Knight and the events surrounding his rise to power as King is a Medieval Romance. "The Tale of Sir Gareth" is an excellent example of the Medieval Romance because it contains all elements. (Some romances do not contain all elements).

    Also point out that this genre is still exciting for people today. The new interest in Stars Wars is wonderful because the first trilogy (Episodes 4-6) is a perfect contemporary Medieval romance. George Lucas explains how and why he chose this form in TLC's Great Book Series film, "Le Morte D'Arthur: The Legend of the King." That video is an excellent resource. Also there is room for a great discussion about other film, comic book or literary figures (Superman, Batman, Conan and with a stretch-- Indiana Jones). The students really enjoy this discussion because they see the tales in a different light and enjoy understanding another connection between people in the Middle Ages and now. People are people and a terrific adventure is always going to be welcomed.
     

    Friday, September 9, 2022

    The Appeal Of The Bad Boy Hero by Alice Gaines Chambers

    The Appeal Of The Bad Boy Hero by Alice Gaines Chambers

    The Appeal Of The Bad Boy Hero
     

    by Alice Gaines Chambers


    You’ve read him. You’ve loved him. Most of all, you’ve lusted after him. He’s the bad boy hero – a fixture in romance novels, especially ultra-sensual and/or erotic romances. What makes him so irresistible to readers?

    For one thing, a bad boy knows how to make a woman feel good. He learned at an early age to question authority, especially when authority seemed bent on convincing him that whatever felt good had to be bad. This applied equally to fast cars, tall drinks, and long, slow lovemaking. As a result, when the well-behaved kids were at Student Council meetings, our bad boy hero was out behind the bleachers trying to persuade the captain of the cheerleading squad to say “yes.” In order to get what he wanted, he taught himself every little trick to winning female compliance. All those years of experience – from the moment he discovered the pleasures of the flesh right up until he encounters the heroine in the boardroom or the crowded roadhouse – makes him the consummate lover. The kind of man who can melt a woman with a look and then take her to heaven with his hands.

    A lover of such super-human ability allows the heroine – and by extension, the reader – to relinquish personal responsibility for her own sexual behavior. After all, who could blame a woman for surrendering to the sweet persuasion of such a man? For me, this escape from responsibility is an important element in the fantasy necessary for ultra-sensual romance. No amount of reality should intrude to dampen the reader’s excitement, even in a contemporary story set in the “real” world. The bad boy hero not only allows the heroine to take a walk on the wild side; he compels her to.

    We should note at this point that the bad boy hero is still a romantic hero. He does have a code of ethics, but it’s his own, not a set of rules imposed by the society around him. He very often has experienced injustice in his personal life, which led him to find his own path to right and wrong. Usually, his personal moral code includes protecting the less powerful around him, all the while stubbornly insisting he cares for nothing and no one. As Willie Nelson put it in a song, “his pride won’t let him do things to make you think he’s right.”

    Much has been made in the past (let’s hope it’s not as true now) of women’s supposed rape fantasies. According to this thinking, women want to imagine themselves being forced to have sex. Critics of the romance genre, who normally don’t take the time to read a romance, have opined that our books foster fantasies of rape and submission. I believe it’s true that our fantasy life is enriched by some surrender of responsibility (see above). But readers don’t enjoy graphic depictions of violence and humiliation. Women’s so-called rape fantasies run more along the lines of the most delicious man in the world not taking “no” for an answer.

    The bad boy hero can fill all these fantasies. Far from forcing sex on the heroine, his expertise allows him to arouse her to the point where refusal of her own pleasure isn’t an option. He can allow her to experience the forbidden but within a context where she’s not going to be brutalized or degraded.

    There is real danger for the heroine, of course – that she’ll lose her heart to an uncontrollable man. But a truly strong woman is willing to take that chance in order to enjoy a larger-than-life sensual experience. And the reader is happy to take that dangerous journey with her.


    © Alice Gaines Chambers , All Rights Reserved.

     

    Bad Boy Romance Books at Amazon


    About the Author


    Alice Gaines Chambers writes humorous historical romance for Leisure and ultrasensual romance for Red Sage. She's the author of four full-length books and two novellas. A University of California, Berkeley Ph.D., Alice lives in Oakland, California with her husband of 22 years. When she's not caring for her garage-door-full of mounted orchids, she can be found in her garden with her best friend, pulling weeds and killing snails.




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    Thursday, September 8, 2022

    Concentrate On Conflict By Deborah S. Rossman

    Concentrate On Conflict

    Concentrate On Conflict

    By Deborah S. Rossman


    The development of conflict is perhaps the single most difficult task of the writer. It is also the most important.

    Action in a story is defined by characters talking or moving, much like actors on a stage, but in order to feel written words come to life, a reader needs more. In a time when mass telecommunications have brought information to our fingertips with the flick of a switch, a reader expects excitement and entertainment in everything she reads. The conflict of the story is the avenue by which a writer can hook the reader and keep her turning pages.

    A scene should always portray a struggle. It is used to reveal something interesting, important, or exciting that is happening, something which advances the plot of the story, usually by adding to the character's problems. It follows that the conflict of each scene is shown, not told, to the reader in a moment by moment sequence that imitates real life. (No summary allowed.)

    The answer to writing conflict begins with the invention of characters. A good rule of thumb to follow is the old adage, opposites attract. When hero and heroine come from separate ends of the spectrum, struggle results from their differences.

    The progression of each scene into conflict can be categorized into three steps.

    Identify the character's goal: Just as a book should start by stating a character's goal, so should each scene begin by showing what the character wants to accomplish and why. There are several ways to do this. Direct dialogue is an excellent approach to introduce character, while at the same time showing his motivation and intent. Well written dialogue makes writing flow and brings a realism that simulates life's experiences. Another way to reveal goal is through character internalization. Using a single point of view, delve into the character's thoughts and show how he sees his world. The nature of the character enlightens the reader. This includes revealing prejudices, ignorance, and fears, and most importantly the character's purpose. The third and last way to reveal goal is to paraphrase in the opening line of the story. This brings the character's intent into the reader's mind immediately. Whichever method you choose, be sure that the goal is stated as soon as possible in a clear and concise form.

    Present conflict: After the reader knows what the character wants to accomplish, drop the brick with the all important struggle. Provide conflict by placing an obstacle in the character's path. He can't reach his goal. So, creates the problem. And voila`, a scene is born. A word of caution here. Conflict is not to be confused with sexual tension. Rather, the struggle is intrinsic to the goal of the character, not just a hero trying to sleep with the heroine. Real conflict is further categorized into two kinds. Internal conflict is described as the inner struggle and usually deals with the character's emotions. It must be serious and deep. Examples include a heroine pining for the husband who never came home from the war, a heroine hiding the fact that the son she had born out of wedlock belongs to her brother's best friend. External conflict, on the other hand, is visible. It is defined as the influence from an outside force which threatens the character's life. Examples: a fire that destroys the heroine's home and subsequent threats on her life, a villain trying to kill the hero or heroine, a ghost held captive in an inn. Both types of conflict work together. A word of advice, however. Beware of trivial or unconvincing misunderstandings. Conflict must be believable and strong.

    Culminate the action with a catastrophe: Once you have developed the struggle and brought the character into the depth of the conflict, pull out all the stops and impact the confrontation with a disaster. In other words, make things worse. The story moves forward by shoving the main character farther and farther away from his purpose. Like the black moment at the climax of a novel, each scene should present a major crisis, and that crisis must be directly related to the character's struggle within the scene. Equally important, remember that all conflict in a novel is tied in a progression to the character's ultimate goal. There's a reason for everything. How does the novel end? The poor hero gets a break and finally meets his goal. The conflict is resolved.

    In any well-written novel, the struggle is what makes the writing exceptional. Tension brews while the character tries in vain to achieve his goal. And as tension builds, the pacing flows. The reader identifies with the character and feels sorry for her. Emotion is tapped, drawing the reader into the scene until the conclusion, keeping the book in her hand until the very last word.

    Writing is anything but easy. An author puts her blood and sweat into her work, her time, her very soul. Perhaps, she might compare the well constructed conflict in a scene to her life as a writer. Good writing is the intent, getting there is the struggle, and there are always disasters along the road. But in the end, the writer who concentrates on creating conflict, studies the craft of writing, and works with diligence and without relent will meet her final goal.



    © Deborah S. Rossman, All Rights Reserved.