دانلود کتاب Advanced Fiction: A Writer's Guide and Anthology

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Half Title
Series Page
Title Page
Copyright Page
Dedication
Contents
Acknowledgments
Credits List
Chapter 1: What Makes Advanced Fiction Writing “Advanced?”
Student Craft Studio: Shannon Baker, “Habits”
Writing-Mind, Ethics, and Curiosity
Craft Studio: James Joyce (1882–1941), “Araby” (from Dubliners, 1914)
Divining the Source: Why Do You Write?
Chapter 2: Getting It Down: Self-Organizing, From Mind to Page
Screens and the Artist’s Self
Notebooks and Journals
Typing, Scribbling, Editing, and Cutting
Clotheslines, Envelopes, Files for Bits and Pieces
Computers: My Basic System
Chapter 3: Mystery, Conviction, Form, and Risk
The Terrain of Risk, Part One: The Page
The Terrain of Risk, Part Two: The Political World
The Terrain of Risk, Part Three: Your Own World
Student Craft Studio: Levi Bird, “On Stable Ground”
Why Do We Write? Because Life Is Short
Craft Studio: Charlotte Perkins Gilman (1860–1935), “The Yellow Wallpaper” (New England Magazine, 1892)
Chapter 4: Writing in Color: Culture, Identity, and Art
Starting the Conversation: Showing Up
Writing across Difference: It’s for Everyone
Writing the Other, or Writing in Color
But Who Are You?
Stereotypes: Beyond the Magical Negro, Tiny Tim, and the Gay Best Friend
Writing across the Aisle: The Political Other
Student Craft Studio: Ian Wreisner, “The New Chicago”
Writing in Color: Starting the Process
Putting It into Practice: Some Techniques for “Writing the Other”
Craft Studio: Rebecca Makkai, Chapter 1 of The Great Believers (2018)
Chapter 5: Invisible Engines: Purpose, Psychic Distance, and Point of View
What’s This Really About? Drawing Your Story’s Heart
Too Close? Too Far? Just Right: Psychic Distance
Student Craft Studio: Andrew Tiede, “Till Death”
Keeping Your Distance—by Accident
Keeping Your Distance—on Purpose
Who’s at the Controls: Point of View
Intimacy, Verb Tense, and Point of View
The Sound of the Second Person
Atmospheres: Point of View as Subtext
Verb Tenses and You: Shifts and Options
Staging Significance: What’s at Stake?
Moving through Time: Structure, Diagrams, and Subliminal Coordinates
Craft Studio: Chimamanda Ngozi Adichie (b. 1977), “The American Embassy” (2003)
Chapter 6: Building a World: For Your Readers and Yourself
Step One: What Do You Know—or Not?
Step Two: What Do You—And Your Readers—Need to Know?
Step Three: Solve Your New Problems
Student Craft Studio: Joel Murillo, Cracker Jack
Step Four: Start the Info-Drip: Establish Figure and Ground
Step Five: Build a Real Character—from the Inside
The Room Where It Happens: Place and Its Pressures
Student Craft Studio: Kari Myers, “Fields of Ash”
Why Are You Hurting Me? Violence and Fiction
Craft Studio: Angela Carter (1940–92), “The Tiger’s Bride” from The Bloody Chamber and Other Stories (1979)
Chapter 7: Trust the Process: Revising, Editing, and Writing at Length
More Like This/This Stops Me
Seeing a Character: Description as Process
Teacher Craft Studio: Amy Weldon, “The Serpent”
Information Order: When Do We Need to Know What?
“I’m Bored Here”: What to Cut, and Why
Beginnings and Endings: Establishing Authority
The First Sentence: Packing and Unpacking
Energy and Sound: Weaving a Writerly Voice
Writing (and Revising) at Length: Moving from Stories to Novels
A Workshop Story: Colson Whitehead, Novel Time, and My Real Main Character
Pitfalls and Signposts: More Revision Problems
Linked Story Collections
Novellas: Not Too Long, Not Too Short . . .
Is This Really a Novel?
Little Arias: Handing Off the Mike in Novel Time
Doing the Thing: Writing Novels in the Real World
Chapter 8: Creative Writing and Your Future
Thinking about the Future: Build Your Foundations
Level One: Your Information Ecosystem
Level Two: Writing-Related Jobs and Publication Credits on Campus
Level Three: The Wider Writing World
Student Career Studio: Andrew Chan (University of North Carolina-Chapel Hill Class of 2008): Web Editor at The Criterion Collection and Freelance Writer (The New Yorker and Others)
Other Former Creative Writing Students Say . . .
MFA Studio: Keith Lesmeister (MFA from Bennington Writing Seminars, 2014; Author, We Could’ve Been Happy Here; Editor, Cutleaf Journal (cutleafjournal​.c​om); Co-Director, Luther College Writers Festival; Instructor of English at Northeast Iowa Community
“East of Ely” by Keith Lesmeister
Thinking about Publication: From Stories to Collection
Finding an Agent
How Books Get Born
Control What You Can: Or, Riding the Emotional Rollercoaster
Dr. Weldon’s Fiction Prescriptions
Anthology Section
Notes
Index