Advanced Writing: Fiction and Film
| Author | : | |
| Rating | : | 4.79 (532 Votes) |
| Asin | : | 059528311X |
| Format Type | : | paperback |
| Number of Pages | : | 306 Pages |
| Publish Date | : | 2014-06-12 |
| Language | : | English |
DESCRIPTION:
So many pages, so few insights The basic premise here is as sound as it is obvious: You must hook the reader/viewer from the outset, and then keep him/her hooked. The book is thus about the tricks of the trade in reader/viewer hooking. The author disparages "devices," but in fact offers nothing but. His views are offered as dogma, usually in a way that. The Book on Writing a story Jeffrey L. Armbruster What is the 1st commandment for every story writer? Keep the reader turning the pages. That's it! All other advice is architectual gingerbread. This book gives you many techniques to help keep readers reading your story. If that isn't enough information to make you realize this is the key book that will help you become a . "author dislikes elitists, yet is an elitist himself" according to E. Lee. Good grief, this fellow is bitter against "literary fiction." And yet his condescending tone makes you feel as though he's talking down to you, just like the academics and NY editors he complains aboutWriting the Breakout Novel by Donald Maas is much more helpful AND fun to read!
-- Script Magazine, September, 2004. Advanced Writing stands among the most important contributions to the screenwriter's bookshelf in the past decade
. Wells Earl Draughon is the author of the novels Always, Heather, Traci, Lies, and Last Things, First Things. He lives in the Boston area. He has also published the companion volume to this, A Book Worth Reading
Discusses such topics as originality, credibility, contrivance, crudeness, monotony, repetition. Titles. Threat, hope, need to know, tension and pace. Character realization, character identification, character appeal, repellant characters, character change, character and dynamics, a group as a character. Story appeal, story impact. Point of view. Comedy.. Architecture, design, types of structure, sequential structuring, story steps, the set-up, openings, endings. Reader and audience appeal, global constraints, large-scale desiderata, dynamics, consummation scenes, characters, relationships, structure, embodiment, voice, the line level. The reality of relationships, the identity of relationships, the appeal of relationships, relationships and dynamics. Voice. Showing, telling and doing. Embodiment, scene appeal, scene impact. Developing and testing a theory of writing. Setting. Micro-dynamics