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*** indicate sections new to this edition. Preface 1. Whatever Works: The Writing Process Get Started Journal Keeping Freewriting Exercises The Computer The Critic: A Caution Choosing a Subject Keep Going A Word about Theme Reading as Writers*** About the Writing Workshop*** How Workshops Work*** The Writer’s Role*** Writing Exercises 2. Seeing is Believing: Showing and Telling Significant Detail Writing about Emotion Filtering Comparison Types of Metaphor and Simile*** Metaphoric Faults to Avoid*** The Active Voice Prose Rhythm Mechanics “We Didn’t,” Stuart Dybeck*** “Big Me,” Dan Chaon “The Red Fox Fur Coat,” Teolinda Gersao (Translated by Margaret Jull Costa)*** Freewriting Exercises The Computer The Critic: A Caution Choosing a Subject Keep Going A Word about Theme Reading as Writers*** About the Writing Workshop*** How Workshops Work*** The Writer’s Role*** Writing Exercises 2. Seeing is Believing: Showing and Telling Significant Detail Writing about Emotion Filtering Comparison Types of Metaphor and Simile*** Metaphoric Faults to Avoid*** The Active Voice Prose Rhythm Mechanics “We Didn’t,” Stuart Dybeck*** “Big Me,” Dan Chaon “The Red Fox Fur Coat,” Teolinda Gersao (Translated by Margaret Jull Costa)*** Writing Exercises 3. Building Character: Dialogue The Direct Methods of Character Presentation Dialogue Summary, Indirect, and Direct Dialogue Economy in Dialogue Characterizing Dialogue Other Uses of Dialogue Dialogue as Action Text and Subtext “No” Dialogue Specificity Format and Style Vernacular “Fiesta, 1980,” Junot Diaz*** “Every Tongue Shall Confess,” Z.Z. Packer*** “His Hand on my Restless Leg,” Pia Z. Ehrhardt*** Writing Exercises 4. The Flesh Made Word: Characterization, Part II The Direct Methods of Character Presentation Appearance Action Thought The Indirect Methods of Character Presentation Authorial Interpretation Interpretation by Another Character Conflict between Methods of Presentation The Universal Paradox Credibility Purpose Complexity Change The Character Journal “Mule Killers,” Lydia Peelle*** “Bullet in the Brain,” Tobias Wolff “Tandolfo the Great,” Richard Bausch Writing Exercises 5. Far, Far Away: Fictional Place Place and Atmosphere Harmony and Conflict Between Character and Place Place and Character Symbolic and Suggestive Place An Exercise in Place “The Sea Fairies,” Maura Stanton*** “Love and Hydrogen,” Jim Shepard “A Visit of Charity,” Eudora Welty Writing Exercises 6. Long Ago: Fictional Time Summary and Scene Revising Summary and Scene Flashback Slow Motion “Homonoids,” Jill McCorkle*** “Mrs. Dutta Writes a Letter,” Chitra Banerjee Divakaruni “Feelers,” John Gould*** Writing Exercises 7. The Tower and the Net: Story Form, Plot, and Structure Conflict, Crisis, and Resolution The Arc of the Story Patterns of Power Connection and Disconnection Story Form as a Check Mark Story and Plot The Short Story and the Novel “What You Pawn, I Will Redeem,” Sherman Alexie*** “My Kid’s Dog,” Ron Hansen*** “Everything That Rises Must Converge,” Flannery O’Connor Writing Exercises 8. Call Me Ishmael: Point of View Who Speaks? Third Person Second Person First Person To Whom? The Reader Another Character The Self Interior Monologue Stream of Consciousness In What Form? At What Distance? Consistency: A Final Caution “Missing Women,” June Spence*** “Who’s Irish?,” Gish Jen “Reply All,” Robin Hemley*** Writing Exercises 9. Play It Again, Sam: Revision Re-Vision Worry It and Walk Away Criticism and the Story Workshop Asking the Big Question: “What Have I Written” How Fictional Elements Contribute to Theme Revision Questions Further Suggestions for Revision Examples of the Revision Process “Notes on Keith” and early draft of “Keith,” Ron Carlson*** Final Draft of “Keith,” Ron Carlson Writing Exercises Appendix: Kinds of Fiction Credits Index Table of Contents
Reinventing Character
Creating a Group or Crowd
Character: A Summary
Place and Emotion
Alien and Familiar Place
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