MARC Record from marc_columbia

LEADER: 10603cam a2200457 a 4500
001 7614799
005 20221201013431.0
008 070223t20072007nyu bf 001 0 eng
010 $a 2007008030
020 $a9780393061642 (hardcover)
020 $a0393061647 (hardcover)
024 $a99936179342
035 $a(OCoLC)ocm85833282\
035 $a(NNC)7614799
035 $a(OCoLC)85833282
035 $a7614799
040 $aDLC$cDLC$dYDX$dBAKER$dBTCTA$dNPL$dJED$dYDXCP$dVP@$dOMB$dOCLCG$dNOR
050 00 $aPE1408$b.L31887 2007
082 00 $a808/.042$222
100 1 $aLaPlante, Alice,$d1958-$0http://id.loc.gov/authorities/names/n98102971
245 14 $aThe making of a story :$ba Norton guide to creative writing /$cAlice LaPlante.
250 $a1st ed.
260 $aNew York :$bW.W. Norton,$c[2007], ©2007.
300 $a677 pages ;$c25 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. 647-655) and index.
505 00 $tAcknowledgments --$gch.1.$tWhat is this thing called creative writing? --$gpt. 1. The$tbasics --$tGetting started --$tReconciling the method with the madness --$tSome basic definitions --$tCreative nonfiction : a working definition --$tWriting that is surprising yet convincing --$tResisting paraphrase --$tCreative nonfiction : capturing what has eluded capture --$tOn sentiment and sentimentality --$tOur first job as writers : to notice --$tAvoiding the "writerly" voice --$gpt. 2.$tExercises --$tExercise 1 : "I don't know why I remember..." --$tExercise 2 : I am a camera --$gpt. 3.$tReading as a writer --$t"On keeping a notebook" /$rJoan Didion ---$t"Emergency" /$rDenis Johnson --$gch. 2. The$tsplendid gift of not knowing --$gpt. 1.$tWriting as discovery --$tGetting started --$tWhat do you know? --$tCreative nonfiction : making the ordinary extraordinary --$tWriting down what you don't know (about what you know) --$tOn rendering, not solving, the mysteries that surround us --$tMoving from "triggering" to real subject --$tSurprise yourself, interest others --$tObsession as a creative virtue --$gpt. 2.$tExercises --$tExercise 1 : Things I was taught/things I was not taught --$tExercise 2 : I want to know why --$gpt. 3.$tReading as a writer --$t"Where are you going, where have you been?" /$rJoyce Carol Oates --$t"Welcome to cancerland" /$rBarbara Ehrenreich --
505 00 $gch. 3.$tDetails, details --$gpt. 1.$tConcrete details as the basic building blocks of good creative writing --$tGetting started --$tOn thinking small --$tDefining "images" within a literary context --$tImagery that works on two levels --$tOn seeing the general in the particular --$tOn crowding the reader out of his own space --$tDon't lose any of your senses --$tUse of concrete details in creative nonfiction --$tUse and abuse of metaphor --$tWhen should you use metaphor? --$tAvoiding the "S" word : banishing conscious symbols from your writing --$tImagery as creative source --$gpt. 2.$tExercises --$tExercise 1 : Harper's Index on a personal level --$tExercise 2 : Render a tree, capture the forest --$gpt. 3.$tReading as a writer --$g"The$tthings they carried" /$rTim O'Brien --$t"Nebraska" /$rRon Hansen --
505 00 $gch. 4. The$tshapely story --$gpt. 1.$tDefining the short story --$tGetting started --$tSome basic definitions --$gThe$tconflict-crisis-resolution model --$tLinear vs. modular stories --$tTo epiphany or not to epiphany? --$tIs change necessary? (the debate continues) --$tOn not becoming slaves to theory --$gpt. 2.$tExercises --$tExercise 1 : False epiphanies I have had --$tExercise 2 : Opportunities not taken --$gpt. 3.$tReading as a writer --$t"What makes a short story?" /$rFrancine Prose --$t"Helping" /$rRobert Stone --$gch. 5.$tWhy you need to show and tell --$gpt. 1. The$timportance of narration --$tGetting started --$tSome basic definitions --$tWhy "show not tell" is such common advice --$gThe$tshow-and-tell balancing act --$tTraditional uses of narration (telling) --$tWhy narration is such an important creative tool --$tHow showing and telling complement each other --$tGood intentions, bad advice --$gThe$tshowing-telling continuum --$tShowing and telling in creative nonfiction --$gpt. 2.$tExercises --$tExercise 1 : Tell me a story --$tExercise 2 : What everyone knows/What I know --$gpt. 3.$tReading as a writer --$t"Brownies" /$rZZ Packer --$t"Winner take nothing" /$rBernard Cooper --
505 00 $gch. 6.$tWho's telling this story, anyway? --$gpt. 1.$tIntroduction to point of view --$tGetting started --$tSome basic definitions --$tFirst person --$tWhose story is it? --$tSecond person --$tThird person --$gA$tword about attitude --$tDistance and point of view --$tShifts in narrative distance --$tChoosing a point of view for your creative work --$tPoint of view and creative nonfiction --$tCommon point of view problems --$gpt. 2.$tExercises --$tExercise 1 : Change point of view and dance --$tExercise 2 : Using point of view as a way "in" to difficult material --$gpt. 3.$tReading as a writer --$g"The$tlady with the little dog" /$rAnton Chekhov --$t"Moonrise" /$rPenny Wolfson --$gch. 7.$tHow reliable is this narrator? --$gpt. 1.$tHow point of view affects our understanding of a story --$tGetting started --$tHow we judge the integrity of the stories we hear and read --$tFirst person point of view and reliability --$tThird person point of view and reliability --$gpt. 2.$tExercises --$tExercise 1 : He said, she said --$tExercise 2 : See what I see, hear what I hear --$gpt. 3.$tReading as a writer --$g"The$tswimmer" /$rJohn Cheever --$gch. 8.$tYou talking to me? --$gpt. 1.$tCrafting effective dialogue --$tGetting started --$tWhat dialogue is good for --$tWhat dialogue is not --$gA$tword about attribution --$tFive important tips on dialogue --$tOn subtext --$gA$tword about dialect --$tUsing placeholders --$tDialogue in creative nonfiction --$gpt. 2.$tExercises --$tExercise 1 : Nonverbal communication --$tExercise 2 : Them's fighting words --$gpt. 3.$tReading as a writer --$t"Hills like white elephants" /$rErnest Hemingway --$t"Inside the bunker" /$rJohn Sack --
505 00 $gch. 9. The$tplot thickens --$gpt. 1.$tFiguring out what happens next --$tGetting started --$tStory vs. plot : some basic definitions --$gA$tword about causality --$tRender how - don't try to answer why --$tOn metafiction --$tCharacter-based plotting --$tOn conflict --$tAnalyzing plot points --$tAvoiding Scènes à Faire : recognizing clichéd plot twists --$gpt. 2.$tExercises --$tExercise 1 : What's behind the door of room 101? --$tExercise 2 : "By the time you read this..." --$gpt. 3.$tReading as a writer --$t"Sonny's blues" /$rJames Baldwin --$gch. 10.$tRecognizable people --$gpt. 1.$tCreating surprising-yet-convincing characters --$tGetting started --$tFlat vs. round characters --$tEschewing the general in favor of the particular --$tConsistency as the hobgoblin of characters --$tWays of defining character --$tCharacter and plot --$tWants and needs --$tCharacters in relationships --$tCharacter in creative nonfiction --$gpt. 2.$tExercises --$tExercise 1 : Emptying pockets --$tExercise 2 : Sins of commissions/Sins of omission --$tExercise 3 : Seven or eight things I know about him/her --$gpt. 3.$tReading as a writer --$t"Surrounded by sleep" /$rAkhil Sharma --$t"No name woman" /$rMaxine Hong Kingston --
505 00 $gch. 11.$tRaising the curtain --$gpt. 1.$tBeginning your story, novel, or nonfiction piece --$tGetting started --$tYour contract with the reader --$tCharacteristics of a good opening --$tUnbalancing acts --$tStarting in the middle --$tBeginning with action --$tOn the nature of suspense --$tBeginning your creative nonfiction piece --$gpt. 2.$tExercises --$tExercise 1 : Give it your best shot --$tExercise 2 : Start in the middle --$tExercise 3 : Make them squirm --$gpt. 3.$tReading as a writer --$t"People like that are the only people here : canonical babbling in Peed Onk" /$rLorrie Moore --$gch. 12.$tWhat's this creative work really about? --$gpt. 1. The$tart of transferring true emotions onto sensory events --$tGetting started --$tMany different answers to the same question --$tWriting about what matters --$tTransference : borrowing from Freud --$tWe are made of dust --$gThe$troad to universality --$tBut it's the truth! and other common pleas for clemency --$tCreative nonfiction : on being true as well as factual --$tMaking things carry more emotional weight than they logically should --$tTransference and creative nonfiction --$gpt. 2.$tExercises --$tExercise 1 : Getting an image to spill its secrets --$tExercise 2 : What I lost --$gpt. 3.$tReading as a writer --$t"Ralph the duck" /$rFrederick Busch --$g"The$tknife" /$rRichard Selzer --
505 00 $gch. 13.$tLearning to fail better --$gpt. 1.$tOn revision --$tGetting started --$tAdvice for writers from writers --$tPerfection is our enemy --$gThe$tworkshop method --$tUndue influence : a cautionary tale --$gThe$tdevelopmental stages of a creative work --$t"Hot spots" and other noteworthy aspects of an early draft --$gAn$texercise-based approach to deep revision --$gA$tword about constraints --$gpt. 2.$tExercises --$tAnalytical/mechanical exercises --$tCreative exercises --$tResearch-based exercises --$tChance-based exercises --$tRevision example : "The company of men" /$rJan Ellison --$gpt. 3.$tReading as a writer --$t"Shitty first drafts" /$rAnne Lamott --$g"The$tCarver chronicles" /$rD. T. Max --$g"The$tbath" /$rRaymond Carver --$g"A$tsmall, good thing" /$rRaymond Carver --$gch. 14.$tGetting beyond facts to truth --$gpt. 1.$tSome final thoughts on creative nonfiction --$tGetting started --$tJust the facts, ma'am --$tRecollections and re-creations --$tEthical considerations --$tSubjectivity vs. objectivity --$gA$ttrip of self-discovery --$tTo be in or out of the story? --$gpt. 2.$tReading as a writer --$t"Learning to drive" /$rKatha Pollitt --$tGlossary--$tBibliography --$tList of stories --$tPermissions --$tIndex.
650 0 $aEnglish language$xRhetoric$vHandbooks, manuals, etc.$0http://id.loc.gov/authorities/subjects/sh2008103156
650 0 $aEnglish language$xStyle$vHandbooks, manuals, etc.$0http://id.loc.gov/authorities/subjects/sh2008103158
650 0 $aCreative writing$vHandbooks, manuals, etc.
650 0 $aReport writing$vHandbooks, manuals, etc.$0http://id.loc.gov/authorities/subjects/sh2008110708
856 41 $3Table of contents only$uhttp://www.loc.gov/catdir/toc/ecip0712/2007008030.html
852 00 $bglx$hPE1408$i.L31887 2007
852 00 $bbar$hPE1408$i.L31887 2007