| 000 | 00000cam u2200205 a 4500 | |
| 001 | 000045927760 | |
| 005 | 20180124094409 | |
| 008 | 180119s2007 nyu bf 001 0 eng d | |
| 010 | ▼a 2007008030 | |
| 020 | ▼a 9780393061642 (hardcover) | |
| 020 | ▼a 0393061647 (hardcover) | |
| 020 | ▼a 9780393337082 (pbk.) | |
| 035 | ▼a (KERIS)REF000013027509 | |
| 040 | ▼a DLC ▼c DLC ▼d YDX ▼d BAKER ▼d BTCTA ▼d NPL ▼d JED ▼d YDXCP ▼d DLC ▼d 211009 | |
| 050 | 0 0 | ▼a PE1408 ▼b .L31887 2007 |
| 082 | 0 0 | ▼a 808/.042 ▼2 23 |
| 084 | ▼a 808.042 ▼2 DDCK | |
| 090 | ▼a 808.042 ▼b L314m | |
| 100 | 1 | ▼a LaPlante, Alice, ▼d 1958-. |
| 245 | 1 4 | ▼a The making of a story : ▼b a Norton guide to creative writing / ▼c Alice LaPlante. |
| 250 | ▼a 1st ed. | |
| 260 | ▼a New York : ▼b W.W. Norton, ▼c c2007. | |
| 300 | ▼a 677 p. ; ▼c 24 cm. | |
| 504 | ▼a Includes bibliographical references (p. 647-655) and index. | |
| 650 | 0 | ▼a English language ▼x Rhetoric ▼v Handbooks, manuals, etc. |
| 650 | 0 | ▼a English language ▼x Style ▼v Handbooks, manuals, etc. |
| 650 | 0 | ▼a Creative writing ▼v Handbooks, manuals, etc. |
| 650 | 0 | ▼a Report writing ▼v Handbooks, manuals, etc. |
| 945 | ▼a KLPA |
소장정보
| No. | 소장처 | 청구기호 | 등록번호 | 도서상태 | 반납예정일 | 예약 | 서비스 |
|---|---|---|---|---|---|---|---|
| No. 1 | 소장처 중앙도서관/서고7층/ | 청구기호 808.042 L314m | 등록번호 111784691 (2회 대출) | 도서상태 대출가능 | 반납예정일 | 예약 | 서비스 |
컨텐츠정보
책소개
The Making of a Story is a fresh and inspiring guide to the basics of creative writing--both fiction and creative nonfiction. Its hands-on, completely accessible approach walks writers through each stage of the creative process, from the initial triggering idea to the revision of the final manuscript. It is unique in combing the three main aspects of creative writing instruction: process (finding inspiration, getting ideas on the page), craft (specific techniques like characterization), and anthology (learning by reading masters of the form). Succinct, clear definitions of basic terms of fiction are accompanied by examples, including excerpts from masterpieces of short fiction and essays as well as contemporary novels. A special highlight is Alice LaPlante's systematic debunking of many of the so-called rules of creative writing. This book is perfect for writers working alone as well as for creative writing classes, both introductory and advanced.
정보제공 :
목차
Acknowledgments 19 Chapter 1 What Is This Thing Called Creative Writing? 23 Part 1 The Basics 23 Getting Started 23 Reconciling the Method with the Madness 24 Some Basic Definitions 25 Creative Nonfiction: A Working Definition 26 Writing That Is Surprising Yet Convincing 27 Resisting Paraphrase 28 Creative Nonfiction: Capturing What Has Eluded Capture 30 On Sentiment and Sentimentality 31 Our First Job as Writers: To Notice 35 Avoiding the "Writerly" Voice 36 Part 2 Exercises 38 Exercise 1 "I Don''t Know Why I Remember..." 38 Exercise 2 I Am a Camera 39 Part 3 Reading as a Writer 40 "On Keeping a Notebook" Joan Didion; 40 "Emergency" Denis Johnson; 47 Chapter 2 The Splendid Gift of Not Knowing 57 Part 1 Writing as Discovery 57 Getting Started 57 What Do You Know? 58 Creative Nonfiction: Making the Ordinary Extraordinary 61 Writing Down What You Don''t Know (About What You Know) 62 On Rendering, Not Solving, the Mysteries That Surround Us 63 Moving from "Triggering" to Real Subject 65 Surprise Yourself, Interest Others 67 Obsession as a Creative Virtue 68 Part 2 Exercises 69 Exercise 1 Things I Was Taught / Things I Was Not Taught 69 Exercise 2 I Want to Know Why 71 Part 3 Reading as a Writer 72 "Where Are You Going, Where Have You Been?" Joyce Carol Oates; 72 "Welcome to Cancerland" Barbara Ehrenreich; 87 Chapter 3 Details, Details 107 Part 1 Concrete Details as the Basic Building Blocks of Good Creative Writing 107 Getting Started 107 On Thinking Small 108 Defining "Image" within a Literary Context 109 Imagery That Works on Two Levels 111 On Seeing the General in the Particular 113 On Crowding the Reader Out of His Own Space 116 Don''t Lose Any of Your Senses 117 Use of Concrete Details in Creative Nonfiction 119 Use and Abuse of Metaphor 120 When Should You Use Metaphor? 123 Avoiding the "S" Word: Banishing Conscious Symbols from Your Writing 124 Imagery as Creative Source 124 Part 2 Exercises 127 Exercise 1 Harper''s Index on a Personal Level 127 Exercise 2 Render a Tree, Capture the Forest 130 Part 3 Reading as a Writer 131 "The Things They Carried" Tim O''Brien; 131 "Nebraska" Ron Hansen; 147 Chapter 4 The Shapely Story 152 Part 1 Defining the Short Story 152 Getting Started 152 Some Basic Definitions 152 The Conflict-Crisis-Resolution Model 155 Linear vs. Modular Stories 157 To Epiphany or Not to Epiphany? 159 Is Change Necessary? (The Debate Continues) 161 On Not Becoming Slaves to Theory 162 Part 2 Exercises 165 Exercise 1 False Epiphanies I Have Had 165 Exercise 2 Opportunities Not Taken 166 Part 3 Reading as a Writer 167 "What Makes a Short Story?" Francine Prose; 167 "Helping" Robert Stone; 178 Chapter 5 Why You Need to Show and Tell 204 Part 1 The Importance of Narration 204 Getting Started 204 Some Basic Definitions 204 Why "Show, Don''t Tell" Is Such Common Advice 206 The Show-and-Tell Balancing Act 210 Traditional Uses of Narration (Telling) 213 Why Narration Is Such an Important Creative Tool 214 How Showing and Telling Complement Each Other 216 Good Intentions, Bad Advice 216 The Showing-Telling Continuum 218 Showing and Telling in Creative Nonfiction 223 Part 2 Exercises 224 Exercise 1 Tell Me a Story 224 Exercise 2 What Everyone Knows / What I Know 226 Part 3 Reading as a Writer 227 "Brownies" ZZ Packer; 227 "Winner Take Nothing" Bernard Cooper; 245 Chapter 6 Who''s Telling This Story, Anyway? 258 Part 1 Introduction to Point of View 258 Getting Started 258 Some Basic Definitions 259 First Person 259 Whose Story Is It? 261 Second Person 265 Third Person 267 A Word about Attitude 272 Distance and Point of View 272 Shifts in Narrative Distance 275 Choosing a Point of View for Your Creative Work 276 Point of View and Creative Nonfiction 278 Common Point of View Problems 280 Part 2 Exercises 282 Exercise 1 Change Point of View and Dance 282 Exercise 2 Using Point of View as a Way "In" to Difficult Material 283 Part 3 Reading as a Writer 284 "The Lady with the Little Dog" Anton Chekhov; 284 "Moonrise" Penny Wolfson; 299 Chapter 7 How Reliable Is This Narrator? 318 Part 1 How Point of View Affects our Understanding of a Story 318 Getting Started 318 How We Judge the Integrity of the Stories We Hear and Read 318 First Person Point of View and Reliability 319 Third Person Point of View and Reliability 324 Part 2 Exercises 328 Exercise 1 He Said, She Said 328 Exercise 2 See What I See, Hear What I Hear 329 Part 3 Reading as a Writer 330 "The Swimmer" John Cheever; 330 Chapter 8 You Talking to Me? 341 Part 1 Crafting Effective Dialogue 341 Getting Started 341 What Dialogue Is Good For 342 What Dialogue Is Not 343 A Word about Attribution 344 Five Important Tips on Dialogue 345 On Subtext 350 A Word about Dialect 351 Using Placeholders 353 Dialogue in Creative Nonfiction Writing 354 Part 2 Exercises 355 Exercise 1 Nonverbal Communication 355 Exercise 2 Them''s Fighting Words 355 Part 3 Reading as a Writer 356 "Hills Like White Elephants" Ernest Hemingway; 356 "Inside the Bunker" John Sack; 360 Chapter 9 The Plot Thickens 375 Part 1 Figuring Out What Happens Next 375 Getting Started 375 Story vs. Plot: Some Basic Definitions 375 A Word about Causality 377 Render How-Don''t Try to Answer Why 379 On Metafiction 380 Character-Based Plotting 380 On Conflict 381 Analyzing Plot Points 384 Avoiding Scenes a Faire: Recognizing Cliched Plot Twists 386 Part 2 Exercises 388 Exercise 1 What''s Behind the Door of Room 101? 388 Exercise 2 "By the Time You Read This..." 389 Part 3 Reading as a Writer 390 "Sonny''s Blues" James Baldwin; 390 Chapter 10 Recognizable People 418 Part 1 Creating Surprising-Yet-Convincing Characters 418 Getting Started 418 Flat vs. Round Characters 419 Eschewing the General in Favor of the Particular 420 Consistency as the Hobgoblin of Characters 422 Ways of Defining Character 423 Character and Plot 427 Wants and Needs 431 Characters in Relationships 433 Character in Creative Nonfiction 434 Part 2 Exercises 435 Exercise 1 Emptying Pockets 435 Exercise 2 Sins of Commission, Sins of Omission 437 Exercise 3 Seven or Eight Things I Know about Him/Her 438 Part 3 Reading as a Writer 441 "Surrounded by Sleep" Akhil Sharma; 441 "No Name Woman" Maxine Hong Kingston; 453 Chapter 11 Raising the Curtain 465 Part 1 Beginning Your Story, Novel, or Nonfiction Piece 465 Getting Started 465 Your Contract with the Reader 465 Characteristics of a Good Opening 467 Unbalancing Acts 468 Starting in the Middle 469 Beginning with Action 471 On the Nature of Suspense 473 Beginning Your Creative Nonfiction Piece 474 Part 2 Exercises 475 Exercise 1 Give It Your Best Shot 475 Exercise 2 Start in the Middle 477 Exercise 3 Make Them Squirm 478 Part 3 Reading as a Writer 479 "People Like That Are the Only People Here: Canonical Babbling in Peed Onk" Lorrie Moore; 479 Chapter 12 What''s This Creative Work Really About? 507 Part 1 The Art of Transferring True Emotions Onto Sensory Events 507 Getting Started 507 Many Different Answers to the Same Question 508 Writing about What Matters 508 Transference: Borrowing from Freud 509 We Are Made of Dust 510 The Road to Universality 511 But It''s the Truth! And Other Common Pleas for Clemency 512 Creative Nonfiction: On Being True as Well as Factual 513 Making Things Carry More Emotional Weight than They Logically Should 513 Transference and Creative Nonfiction 516 Part 2 Exercises 518 Exercise 1 Getting an Image to Spill Its Secrets 518 Exercise 2 What I Lost 519 Part 3 Reading as a Writer 521 "Ralph the Duck" Frederick Busch; 521 "The Knife" Richard Selzer; 533 Chapter 13 Learning to Fail Better 542 Part 1 On Revision 542 Getting Started 542 Advice for Writers from Writers 543 Perfection Is Our Enemy 544 The Workshop Method 544 Undue Influence: A Cautionary Tale 548 The Developmental Stages of a Creative Work 549 "Hot Spots" and Other Noteworthy Aspects of an Early Draft 550 An Exercise-Based Approach to Deep Revision 551 A Word about Constraints 552 Part 2 Exercises 553 Analytical/Mechanical Exercises 553 Creative Exercises 554 Research-Based Exercises 555 Chance-Based Exercises 556 Revision Example: "The Company of Men" Jan Ellison; 556 Part 3 Reading as a Writer 574 "Shitty First Drafts" Anne Lamott; 574 "The Carver Chronicles" D. T. Max; 578 "The Bath" Raymond Carver; 591 "A Small, Good Thing" Raymond Carver; 597 Chapter 14 Getting beyond Facts to Truth 619 Part 1 Some Final Thoughts on Creative Nonfiction 619 Getting Started 619 Just the Facts, Ma''am 620 Recollections and Re-creations 621 Ethical Considerations 624 Subjectivity vs. Objectivity 626 A Trip of Self-Discovery 628 To Be In or Out of the Story? 630 Part 2 Reading as a Writer 633 "Learning to Drive" Katha Pollitt; 633 Glossary 643 Bibliography 647 List of Stories 657 Permissions 659 Index 665