By Sol Stein
Every year millions of fiction writers, from rookies to bestselling writer, take advantage of Sol Stein's sold-out workshops, featured appearances at writers' meetings, software program for writers, online columns, and his well known first ebook for writers, Stein on Writing. Stein practices what he teaches: he's the writer of 9 novels, together with the million-copy bestseller The Magician, in addition to editor of such significant writers as James Baldwin, Jack Higgins, Elia Kazan, Budd Schulberg, W. H. Auden, and Jacques Barzun, and the trainer and editor of numerous present bestselling authors. What units Stein aside is his sensible strategy. He offers particular thoughts that pace writers to winning publication.How to develop a singular is not only a ebook, yet a useful workshop in print. It contains information and examples from Stein's editorial paintings with a no 1 bestselling novelist in addition to gifted rookies. Stein takes the reader behind the curtain within the improvement of memorable characters and engaging plots. The bankruptcy on discussion overflows with recommendations for short-story writers, novelists, screenwriters, and playwrights. Stein indicates what readers are having a look for-- and what they avoid-- within the adventure of analyzing fiction. The publication bargains guidelines-- and warnings-- of distinct worth for nonfiction writers who are looking to movement into fiction. Stein issues to the little, frequently neglected issues that harm the writer's authority with out the author realizing it. And this publication, like no different writing publication, takes the reader behind the curtain of the publishing enterprise because it impacts writers of each point of expertise, revealing the not easy truths which are stored in the back of close doorways.
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Additional resources for How to Grow a Novel: The Most Common Mistakes Writers Make and How to Overcome Them
And so the unsuccessful hunter, possibly to save his own life, had to go into specifics—where he hunted, what he saw and heard, how he tracked an animal, perhaps how a sudden storm or a falling tree impeded the chase, how he had to turn back home empty-handed. He was into telling a story. 19 If the storyteller wasn't convincing, his listeners might kill him. ) Perhaps, on occasion, an ambitious younger man would volunteer to join the hunt. His foray might prove successful. He could tell what happened in convincing detail.
Is success if not a lifeor-death necessity at least a matter of some consequence? " Let's answer that right off. Yes, conflict was and is a necessity, it is the essence of dramatic action. The engine of fiction is somebody wanting something and going out to get it. And if you let him get it right away, you're killing the story. He can't get it because a mountain or a man is in the way, nature and human nature in opposition to achievement. Without that opposition, fiction is a vehicle without an engine.
A successful hunt meant survival for the hunters' immediate community, so the hunt was as far as one can imagine from today's hunting for sport, a take-it-or-leave-it affair. Hunting in those days was full of grave risk, to meet a great need, with success a life-anddeath necessity for the folks back home. The hunter was going after something he and his family or members of his clan needed. They needed it as soon as possible. And who knows the obstacles that had to be overcome. Perhaps the first animal the hunter tracked got away.