By Peter Selgin
&break;&break;Writing winning fiction is a stability among trusting one's personal instincts and making the perfect wide awake offerings. In By crafty & Craft, award-winning novelist and short-story author Peter Selgin exhibits you ways to mix the instinctive strategy of production with sound technical ingenuity.
&break;&break;With targeted guideline and examples from vintage and best-selling works, this authoritative advisor is helping you grasp the 10 crucial fiction-writing parts: proposal; personality; viewpoint; constitution and plot; subject; discussion; description; scenes, precis, and flashback; voice and elegance; 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 counsel you must outfox universal writing pitfalls and ensure your paintings is not short of in wit - or perfection.
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Extra resources for By Cunning and Craft: Sound Advice and Practical Wisdom for Fiction Writers
George watched them, through the window, pass under the arc light and cross the street. In their tight overcoats and derby hats they looked like a vaudeville team. George went back through the swinging-door into the kitchen and untied Nick and the cook. … Nick went up the street beside the car tracks and turned at the next arc light down a side-street. Three houses up the street was Hirsch’s rooming-house. Nick walked up the two steps and pushed the bell. … Nick opened the door and went into the room.
F. Scott Fitzgerald, The Great Gatsby On a purely abstract level, Gatsby wishes to impress Daisy and thus win her affection. More concretely, he does so by becoming fabulously wealthy by whatever means are possible—namely, by aligning himself with certain underworld elements. But we are still dealing with abstractions. Dramatically, speciﬁcally, what does Jay Gatsby do with his dubiously achieved wealth in order to achieve his goal? For one thing, he buys a plethora of silk shirts and waves them—like ﬂags—in front of Daisy’s susceptible eyes.
If your narrator lays bricks for a living, he should sound more like James Jones or Henry Miller than like Henry James. If (on the other hand) a character’s insights or vocabulary are inadequate to the tale being told, if he can’t do the job, here too you may want to consider ﬁring him and hiring someone who can. Or switch to third person, or to an anonymous omniscient narrator. ” For obvious reasons, we’re much more likely to take the sinner at his word. Céline’s Journey to the End of the Night is narrated in ﬁrst 1.