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Beloved, implicit promise in, 7-8 villain in, 89
144
Index
145
Clan of the Cave Bear, beginning and end of, Destructors, The, opening line of, 13
129 Details
Clarity, through straight chronological advantages of, 14-15
structure, 74 characterizing through, 44-46
"Clean, Well-Lighted Place, A" Dialogue
final paragraph in, 128 predominance of, as narrative mode,
resonance of, 121-122 53-54
symbolism in ending of, 125 revealing character through, 42
Clichés, avoiding, 17 as sole method of characterization,
Climax 44-45
criteria for successful, 108-109 telling "Cinderella" by focusing on,
defined, 107 54-55
including denouement in, 124 Diction, achieving credibility through
length of, 111 proper, 16-17
planning for, 71-73 Dillard, Annie, 101
Closure, in denouement, 113 Direction, wrong turn in, 96-97
Colwin, Laurie, 44 Dispossessed, The, parallel running scenes
Conflict, 12-14 in, 77
in beginning of "Lily Red," 22-23 Dramatization, in denouement, 114
and character, coexistence of, 40
controlling, in second scene, 35-36
E
of motives, 84-85
Editing. See Revision, Rewriting
See also Action Editor
Connell, Richard, 13, 61
capturing attention of, 6-7
Contemporary literary short story,
writer as, 137-138
121-124
"Egg, The," sentence variety in, 19
ending of, 125-127 Emotion, in climax, 108
Corman, Avery, 33
End, of story
Craft, learning about, 2
climax at, 71
Credibility, 15-21
final paragraph, 127-130
using details to achieve, 15 fulfilling promise of story with, 9
Crichton, Michael, 27-28, 72, 112
help with, 3
Critic, finding a sensitive, 134
of novel, vs. short story, 120
Criticism, learning through, 2
of opening scene, 26-27
rewriting, 130
D
satisfying, 104-107
Dann, Jack, 99
with series book, 115-117
Deadlines, self-imposed, 95, 101
successful, checklist for, 117-118
Death Committee, The, multiviewpoint
of traditional plotted story, 124-125
chronological sections in, 76
tying, to protagonist's nature, 109-111
Denouement, 112-114
writing exercises for, 118-119, 130-131,
in climax, 124 142-143
defined, 72 See also Climax, Denouement
epilogue as, 114-115 Ender's Game, planning of, 70
Denton, Bradley, 75 Epilogue, 114-115
Description, telling "Cinderella" by Event, vs. scene, 68-69
focusing on, 55-56 "Everything That Rises Must Converge,"
third character in, 49
See also Details
146 BEGINNINGS, MIDDLES AND ENDS
Exercises. See Writing exercises H
Exposition Handmaid's Tale, The, epilogue in, 115
avoiding, in introducing characters, 47 "Hard to Be Good," denouement in,
backfill as, 33 112-113
telling "Cinderella" through, 54 Hemingway, Ernest, 121-122
vs. dramatic action, 24-27 Hilton, James, 128
Hoffman, Alice, 26-27
Expository scene, defined, 24-25
F
I
Failure, fear of, 93-94
"I'm a Fool," opening line of, 14
"Fat"
Imagery, revisions of, 139-140
Inferno, The, vision of middle in, 60
character change in, 84
climax in, 72-73
J
conflict in, 13
Jackson, Shirley, 12, 13
opening of, 10-11
Jakes, John, series books of, 116
Faulkner, William, 17, 65
Japanese Quince, The, opening line of, 14
Fiction. See Genre fiction, Novel, Short
Jurassic Park
story, Story
climax of, 72
First draft, finding critic for, 134
denouement in, 112-113
Fitzgerald, F. Scott, 71
epilogue in, 114
Flashback, 34-35
final paragraph of, 128
"Flowers for Algernon"
prologue in, 27-28
end of, 124-125
final paragraph of, 127
K
implicit promise in, 8-9
Kent Chronicles, as series, 116
Foreshadowing, of character change, 86
Kessel, John, 99
Formal structural design, 73-78
Keyes, Daniel, 8-9
Foundation, as series, 116
Kramer vs. Kramer, backfill in, 33
Fowler, Karen Joy, 21-24
L
G
Le Guin, Ursula K., 77
Galsworthy, John, 14
"Lily Red," opening of, 21-24
Genre, implicit promise of, 7-8
Literary fogginess, 95-96
Genre fiction, villains in, 89-90
Little magazines, contemporary literary
"Giving Blood," imagery in, 140
short stories in, 123
Godwin, Gail, 57
London, Jack, 48
Gone With the Wind
Lost Horizon, final paragraph of, 128
denouement in, 113-114
"Lottery, The"
end of, 105-106
conflict in, 13
middle of, 61
final paragraph in, 127-128
Gordimer, Nadine, 89
presentation of character in, 12
Gordon, Noah, 76 traditional plot of, 121
Grafton, Sue, series books of, 115
Grapes of Wrath, The, character M
introduction in, 12 Magazines, types of stories in, 123-124
Great Gatsby, The, climax vs. ending, 71 Maugham, W. Somerset, 80
Greene, Graham, 13 McInerney, Jay, 129
Index 147
development of, 24-27
McKenna, Richard, 99
end of, 26-27
Middle, of story
decisions to make in, 60-61 four crucial elements of, 9-21
importance of, 6-7
defined, 61-62
limiting number of characters in, 47
help with, 3
rewriting, 28-30
importance of, 90
varying, depending on point-of-view
reasons for getting stuck in, 92-93
character, 56-57
setting up character changes in, 81
writing exercises for, 30-31
using, to plan climax, 71-72
"Out of All Them Bright Stars," as "gift
writing exercises for, 78-79, 90-91, 102
story," 142
Minot, Stephen, 123, 126, 139-140
Outline, 70
Mitchell, Margaret, 105
Morrison, Toni, 7-8
P
"Most Dangerous Game, The"
Paragraph, final, 127-130
opening line of, 13
Parallel running scenes, 77-78
scene breaks in, 61
Pattern, establishing, for credible
Motivation
changes in, 88 character change, 86-87
for character change, 80-81 Perspective. See Point-of-view character
conflicting, 84-85 Plot
two types of, 82-83 advancing, and developing character, in
Multiviewpoint chronological section, short story, 85
76-77 and character, development of, 40
"My Mistress," character's appearance in, logical climax for, 108-109
44 unresolved, for series book, 116-117
vs. scenes, 67-68
N See also Throughline
Narrative mode Pohl, Frederik, 98
types of, 53 Point of entry, altering, 56-57
Point of view, limits to, from straight
varying, in "Cinderella," 54-56
Nouns, and verbs, using strong, 20 chronological structure, 75
Novel Point-of-view character
change of motivation in, 88 deciding on, 64-66
conflict established in beginnings of, 14 effect of, on opening scene, 56-57
formal structural design of, 74-78
thoughts of, 42-43
managing size of, 100-102 Point-of-view characters, multiple,
reasons for getting stuck in middle of, achieving clarity with, 75-77
92-93 Popke, Steven, 19
Novel, vs. short story, 71-73 "Price of Oranges, The," imagery in, 14C
ends of, 120 Pride and Prejudice
character change in, 80
O
foreshadowing, 86
O'Connor, Flannery, 49, 98
Prologue, 27-28
Of Human Bondage, character change in, Prose
80-81 credible, in beginning of "Lily Red,"
"On Working Method," 94 23-24
Opening scene economical, achieving credibility
altering, 56-57 through, 17
148
BEGINNINGS, MIDDLES AND ENDS
polishing, 141 Sentence construction, 18-19
Protagonist, 63-64 Sentences
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