She does, however, cover what makes good telling in a wholly different chapter under a different name: summary. Also, she covers some topic and doesn't tell us any rule of thumb for knowing when it's good to use it.
For example, she says filtering should be avoided. But a lot of stories--even those included in the book--use filtering at some point.
When is it okay to use any technique she cautions us against? I have to tell myself, Life can be good, and I can get through this. This will pass.
The wonderful thing about being a writer is that you value the whole experience. A lot of people think they should be happy all the time. But the writer understands you need both.
You need the whole piano, the richness of the whole human experience. Depression, suffering and anger are all part of being human. It will be of value. I think artists expose themselves more. Some people just have less of a skin, they feel more and are willing to take more risks. But as a writer, you have to decide where on that continuum you want to be. I do not economize on the number of readings—even for a novel. As you point out, I give many bits of advice, and you could end up correcting your piece to death.
CS: So do you revise a great deal as you write? In the process, I will inevitably make corrections I also waste a lot of paper, frequently printing out corrected text , and then begin. Tomorrow I may read all the same pages plus what I write today. In that case, sometime in the future, I will probably end up scrapping it. But many Shop Talk readers are copyeditors, and many copyeditors are also creative writers.
What would you guess are some advantages and disadvantages that copyeditors have as creative writers? Editing the copy is what writing is. JB: Yes, yes, absolutely. The reason that the first draft is exhausting is that you are spinning it out of nothing, in anxious uncertainty. I guess the reason I reread so often and so much of my own work is precisely that a good writer must be a good copyeditor.
CS: Editing and revising call for a lot of attention to detail. In Writing Fiction, you mostly talk about big-picture development of a theme, some of it not entirely conscious. Do you think in terms of theme while you write as an aid to refining the details? JB: Oh, wow. Few writers have not experienced difficulties with their work.
I have a million tricks. I do self-hypnosis and interview the character. I try writing a different place in the book. But I have also put an entire novel aside. Deciding on an idea to pursue writing about can be the most challenging aspect for a writer.
How do you generate and capture ideas? Ideas are the easiest thing. I start with short short stories—based on a word, an exercise I learned in a long-ago writing group.
Then I see which of those short shorts wants to be a longer story. And then something will not be contained by a short story, it screams out for a longer form. We come with all the ingredients inside ourselves—so its handling that material until you discover the thing that hooks into who you are.Some guidance on how those stories used the techniques discussed could have been beneficial. New York: Longman, Now, Burroway explains direct and indirect characterization before spending the rest of chapter four on indirect methods of characterization: authorial interpretation and interpretation by another character It was a difficult time for Fitch, who was also in the process of recreating her life after a painful divorce. JB: Every edition changed somewhat, though basic principles remained the same. I must be able to close my door, and also to be somehow open to the world.
Burroway quickly explains her vocabulary and launches into a thorough examination of the traditional story arc; she even goes so far as to apply the form to the well-known tale of Cinderella and give a diagram of the story arc After discussing ways by which other writers select subject matter, Burroway gives six suggestions for situations that can generate the basis for a story such as exploring a scenario that can only have bad resolutions or trying to draw connection between two seemingly unrelated events Early editions contained example short stories followed by critical questions.
You need the whole piano, the richness of the whole human experience. Metaphor too has contracted and expanded as a subject over the years. White Oleander, for example, was so much about loneliness, and I was revealing something about myself. Even this assertion, though, is delivered in a neutral way. It was getting very dark.
Metaphor too has contracted and expanded as a subject over the years. I work in the morning into the afternoon, starting around ten.
Also the ancient Japanese writer Sei Shonagon and her pillow book , her astonishing aesthetic. The first is an informal glossary of different kinds of fiction and the strengths and weaknesses of each. Do an exercise. JB: Oh, wow. Tomorrow I may read all the same pages plus what I write today. The section on "psychic distance" was not entirely clear, especially the examples she gives to illustrate using abstract nouns and generic details increases a sense of distance while using concrete nouns and specific details increases intimacy.
I start with short short stories—based on a word, an exercise I learned in a long-ago writing group.