Just as pilots gain practice with flight simulators, people might acquire social experience by reading fiction.
Raymond A. MarTag: reading on-fiction fiction
Good fiction’s job is to comfort the disturbed and disturb the comfortable.
David Foster WallaceTag: on-fiction fiction
Neither novels or their readers benefit from any attempts to divine whether any facts hide inside a story. Such efforts attack the very idea that made-up stories can matter, which is sort of the foundational assumption of our species.
John GreenTag: books on-fiction fiction author-s-note
There were no absolutes in fiction, no certain way to deliver what was needed. So it was no surprise most technical writers considered novel-writing a gateway to madness.
S.A. ReidTag: writing on-fiction fiction technical-writers
A related question is where in time to begin. Should you begin far back in a character's past and move forward, or should you begin in the present and make use of flashbacks only where necessary? ... If the material with which you want to open the story is from the character's deep past, then there has to be an important relationship between what has happened in the past and what is about to happen. In other words, is the material with which you open the story an arrow pointing toward the unified effect?
Julie CheckowayTag: on-fiction fiction fiction-writing fiction-novel
All writers struggle at some point with the problem of balance between authority and involvement, seduction and revelation. Specifically, beginning writers wonder how much description to employ, and more advanced writers ask how much plot is too much or too little. And there is no better place to find answers than in the Victoria's Secret catalogue--or in any ad for lingerie--where the arts of seduction and revelation are so successfully practiced. After all, the secret of the effective lingerie ad is the secret of effective storytelling--to provide, moment by moment, the illusion of imminent expose, to give the viewer (read: reader) the uncanny sense that something fundamentally compelling is always just about to be revealed. Lingerie ads and storytelling balance the veiled and the unveiled, the seen and the unseen, the shown and the about-to-be-shown. In short, it is the art of the tease, the craft of selective 'coverage,' that, not just in lingerie but in storytelling, works to enthrall.
Julie CheckowayTag: on-fiction fiction fiction-writing novel-writing
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