: Writing Fiction: A Guide to Narrative Craft Plus Writing Poems and Journal for Creative Writing (8th Edition) (): Janet Burroway. Writing Poems (8th Edition) by Michelle Boisseau Paperback $ JANET BURROWAY is the author of plays, poetry, essays, children’s books, and eight. Writing Fiction: A Guide to Narrative Craft, 8th Edition. Janet Burroway, Florida State University. Elizabeth Stuckey-French, Florida State University.
|Published (Last):||19 July 2017|
|PDF File Size:||10.40 Mb|
|ePub File Size:||18.13 Mb|
|Price:||Free* [*Free Regsitration Required]|
Goodreads helps you keep track of books you want to read. Want to Read saving….
Want to Read Currently Reading Read. Refresh and try again. Open Preview See a Problem? Thanks for telling us about the problem. Return to Book Page. Preview — Writing Fiction by Janet Burroway. The most edirion used and respected text in its field, Writing Fiction, 7e guides the novice story writer from first inspiration to final revision.
A bestseller through six editions, Writing Fiction by novelists Janet Burroway and Elizabeth Stuckey-French explores the elements of fiction, providing practical writing techniques and concrete examples. Written in a tone that i The most widely used and respected text in its field, Writing Fiction, 7e guides the novice story writer from first inspiration to final revision.
Written in a tone that is personal and non-prescriptive, the text encourages students to develop proficiency through each step of the writing process, offering an abundance of exercises designed to spur writing and creativity. The text also integrates diverse, contemporary short stories in every chapter in the belief that writkng reading of inspiring fiction goes hand-in-hand with the writing of fresh and exciting stories.
PaperbackSeventh Editionpages. Published March 13th by Longman first published January 1st To see what your friends thought of this book, please sign up. To ask other readers questions about Writing Fictionplease sign up. Lists with This Book. Excellent, with some quibbles– Used by creative writing programs all over the U. The contemporary short stories at the end of each chapter were really good, especially starting from Chapter 4 with “Mule Killers” by Lydia Peelle.
The main focus of the book is literary fiction and is admittedly biased against genre fiction with a convincing reason: There are limitations to the book, however. Also, the students are left to find all the topics burrowah in the short stories at the end of each chapter, and yet it’s sometimes difficult to pinpoint why exactly those stories were selected.
Some guidance on how those stories used the techniques discussed editiom have been beneficial. There are other shortcomings.
In certain parts, the author also asks questions to the reader without providing answers, which is a shame because feedback is one of the most important factors in learning. 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.
Another misguiding thing about the book is when it covers the “golden” rule of contemporary fiction: She pretty much tells you, “Show, don’t tell,” which is misleading because you should definitely show and tell where appropriate and simple vilification of telling does more damage than good, since telling can be a powerful tool, too, and she doesn’t cover when it’s good to tell and instead gives the false impression that telling is always bad–a preposterous stance if you stop and think about all those authors who use a hell of a lot of telling Marquez, Chabon, Murakami and still manage to be fascinating.
She does, however, cover what makes good telling in a wholly different chapter under a different name: 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?
Should we always avoid them? But why are the stories she herself selected use them? So some explanation on that aspect of each technique would have been illuminating. All in all, this is a really good book on writing, and I think everyone who is serious about the craft should read it. View all 3 comments. Jun 09, Dave Cullen rated it it was amazing. This is THE classic how-to on writing fiction.
I used this both as a student and teacher. The examples are incredible. I just bought the 8th edition of this book, and started rereading several chapters again. I also went back and reread 10 years ago. Even an experienced writer can really benefit from a quick refresher on techniques I’ve left behind.
We each fall into our own writing ways, doing the stuff that has worked for us, and it’s remarkable how many things I’m NOT taking This is THE classic how-to on writing fiction. We each fall into our own writing ways, doing the stuff that has worked for us, and it’s remarkable how many things I’m NOT taking advantage of.
Writing Fiction: A Guide to Narrative Craft
Or techniques that I spurned at 8t time, didn’t feel right for me, but I’m in the right place for now. A true gift for writers. It’s really expensive, but thank God for used books. I find that if you go back one edition, it’s dramatically cheaper.
Writing Fiction: A Guide to Narrative Craft, 8th Edition
Still pricey for a paperback book, but this is unique, and a steal at that price. And I imagine they have to pay very high fees for using all the short stories, and long excerpts.
So I’m not getting all the latest stories, but so what? They have changed dramatically from the last edition I got. And I don’t really need new ones anyway. Sep 01, Burdoway rated it did not like it Shelves: I cannot in good conscience give this text anything higher than a two.
The advice is solid, I’m not going to argue against that, but there is far too much meat in the writing that comes across less as solid writing advice and more as a formulaic approach writkng writing. This text is full of bland approaches to writing and repeats the same things I’ve read in burrway books. The exercises are tedious and boring; there is no sense of adventure or experimentation.
It’s a methodical, bland, autopsy of writ I cannot in good conscience give this text anything higher than a two. It’s a methodical, bland, autopsy of writing and what works, supposedly, in making writing better. If your goal is to understand the craft of writing, this is not the book for you. Art and Craft in Creative Non-Fiction for the sake of actual method and practice material. This book is for you only if you’re goal is to be a “write by numbers” kind of person. If you need the formula, if you need every single little aspect of writing to be laid bare for you, then read this.
Writing Fiction: A Guide to Narrative Craft (8th edition) | Elizabeth Stuckey-French
If you’re purpose is to understand writing, well, you’ll get that from this but it’s a longer journey to take and can be done better and more succinctly via other paths. If you wish to be a good writer, well, write. That’s the best advice anyone can and will, burrowzy every writing guidebook tell you. Then, if you’re lucky and have talent, you can be a successful writer. No formulaic approach will make you better than what you inherently are. That’s where practice and work come in. It provides students a burrowya vocabulary.
With this book students can discuss the elements of writing rather than rely on anecdote or discuss talent. As a student myself, I’ve been frustrated by authors and teachers explaining writing as a boundless art form that cannot be l I am beginning my last semester of a Creative Writing BA program in San Francisco, and out of the many writing books I read Anne Lamott, Stephen King, David Morley, Natalie Goldberg As a student myself, I’ve been frustrated by authors and teachers explaining writing as a boundless art form that cannot be learned by a conventional curriculum Writing Fiction does not try to contain writing in a concrete wirting, but the book makes creative writing possible to study and discuss with others.
Any aspiring or established writer should spend time with this book. It’s dense with information and fantastic examples.
View all 5 comments. If your goal is to improve your fictional writing know that this volume is filled with great advice and beautiful examples to help you learn the ways.
In addition to in nanet explanations of how to work with setting, characters, time, space plot and point of view; it offers many intriguing writing exercises and fun prompts. It’s an excellent source of advice to any writer aspiring to be published, or even just jant your creative writing is limited to your own entertainment.
It offers methods to sh If your goal is to improve your fictional writing know that this volume is filled with great advice and beautiful examples to help you learn the ways.
It offers methods to shape, enrich and enliven the stories by discussing, throughout the book, the main concerns with planning fiction, in its multiple aspects, going beyond outdated advice like Faulkner’s “kill all your darlings”. I was impressed by how the book really seemed to cover all possible realms of the writing burrowaay and loved Burroway’s airy narration along it.
One of my favorite textbooks by far! Jun 06, Nicole Pramik rated it liked it Shelves: This is, without a doubt, probably the go-to textbook for college-level Creative Writing courses.
Many years ago I refuse to say how longthis was the text my professor used in his class. So the fact it has been in print for years is a testament to the longevity of its advice. First the good stuff. Despite being a “textbook,” this book doesn’t come across as a “hard” read. It’s organized nicely with its t This is, without a doubt, probably the go-to textbook for college-level Creative Writing courses.
It’s organized nicely with its topics divided into modestly-sized portions so it’s easy to locate and read what you need. The same principles can certainly apply to sdition novels but I sense most Creative Writing classes focus more on short stories for the sake of time.
How to craft good dialogue, for instance, isn’t going to change too much in terms of what jqnet good dialogue and what makes poor dialogue. Those methods are pretty much set without anything new to add.