Subject
Fiction -- Technique Books
Best books
E. M. (Edward Morgan) Forster
Aspects of the novel
"Aspects of the Novel" by E. M. Forster is a literary critique written in the early 20th century. This work compiles a series of lectures that delves into the various elements that constitute the novel, exploring aspects like story, characters, plot, and the rhythm of narration. Forster aims to clarify the complexities of the novel form, providing insights that will resonate with both readers and writers, and discusses the nuances that define successful storytelling. The opening of "Aspects of the Novel" establishes its framework, introducing the author's intention to explore the novel through a mix of humor and intellectual insights. Forster begins by reflecting on the essence of storytelling and its fundamental importance to the structure of novels. He hints at the included discussions about influential authors and offers a critique of both the nature of characters and the role of the reader's interpretation. The initial chapters aim to break down traditional notions of literary analysis, contrasting the narrative qualities of classic and contemporary works, and setting the stage for nuanced examinations of various writing styles and techniques within the realm of fiction.
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Fiction Writers on Fiction Writing Advice, opinions and a statement of their own working methods by more than one hundred authors
"Fiction Writers on Fiction Writing" by Arthur Sullivant Hoffman is a comprehensive guidebook written in the early 20th century. This work compiles the insights and advice of over one hundred authors, sharing their personal methods, experiences, and thoughts on the craft of fiction writing. The focus is on the various approaches to storytelling, exploring themes such as character development, plot construction, and the writing process itself. The opening of the book presents the author's rationale for its creation, which stems from a dissatisfaction with conventional writing instruction methods that prioritize formulaic approaches. Hoffman expresses his belief in the need for individuality in writing, arguing that successful writers have their unique processes rather than adhering strictly to universal rules. The initial portions also include a brief overview of the contributing authors and an introduction to the questionnaire that provides structured insight into how stories are born from different sparks such as characters, incidents, and situations. Through this framework, the book promises to delve into the diverse creative processes that underpin fiction writing, offering valuable lessons for both aspiring and established writers.
Unknown
Prefaces to Fiction
"Prefaces to Fiction" by Boyce, Argens, Derrick, Manley, Scudéry, and Warburton is a collection of literary prefaces and introductions that provide insight into early theories of prose fiction. Written during the early to mid-18th century, the book encompasses works from notable figures such as Georges de Scudéry, who initiated discussions on narrative structure, and Mary De la Riviere Manley, who critiqued the conventions of her time. The overarching topic of the book revolves around the evolving principles of fiction and narrative form, emphasizing the balance between truth and artistic representation. The book presents a series of prefaces that outline the authors’ thoughts on the art of fiction, character development, and moral considerations in storytelling. Scudéry's preface to "Ibrahim" offers a foundation for narrative structure, asserting that every story should revolve around a central action while maintaining true resemblance to life. Manley's reflections critique the excesses of romantic storytelling, advocating for a closer connection to real human experiences. Derrick's preface continues this conversation by exploring characterization and emotional depth, aligning with contemporary notions of realism. Overall, these prefaces serve as a critical exploration of the artistic and moral underpinnings of fiction, marking an important phase in the development of the English novel.
Anonymous
How to Write a Novel: A Practical Guide to the Art of Fiction
"How to Write a Novel: A Practical Guide to the Art of Fiction" by Anonymous is a practical guide on the craft of writing fiction, likely written in the early 20th century. The book addresses those aspiring novelists who wish to learn about storytelling, character development, and the intricacies of crafting a compelling narrative. It aims to provide a systematic approach to the principles of novel-writing, emphasizing that while creativity is vital, certain techniques and structures can be taught. The opening of the text sets the stage for a comprehensive examination of the writing process, beginning with the author's ambitious goal to teach the art of fiction. It discusses the dichotomy of opinions regarding the teachability of writing, referencing various figures in literature who share their perspectives on the craft. The author outlines that while generating ideas and stories is inherently personal and can’t be directly taught, understanding how to construct a plot and develop characters can be learned through guidance and practice. The beginning emphasizes the importance of observation and insight as foundational skills for any writer, thereby introducing the themes and techniques that will be explored throughout the guide.
Edith Wharton
The writing of fiction
"The Writing of Fiction" by Edith Wharton is a guide on the craft of writing fiction, written in the early 20th century. This work explores the fundamentals of storytelling, including character development, narrative structure, and the evolution of the novel as an art form. Through her analysis of historical figures in literature, Wharton aims to illuminate the principles of effective fiction writing and the nuanced role of technique in achieving emotional depth and realism. The opening of the text sets the stage for a discussion on the nature and evolution of fiction, illustrating how modern novels shifted from external action to exploring the inner lives of characters. Wharton emphasizes the transformative contributions of notable writers like Balzac and Stendhal, who moved away from conventional narrative forms to create complex, relatable characters influenced by their environments. She critiques both the superficial slice-of-life style and the unoriginality in contemporary writing, thereby advocating for a thoughtful, deeper approach to craft that engages both the writer's imagination and their moral reasoning.
Percy Lubbock
The Craft of Fiction
"The Craft of Fiction" by Percy Lubbock is an analytical examination of the art and structure of the novel, written in the early 20th century. The text delves into the intricacies involved in the creation of a fictional work, emphasizing the challenges faced by critics and readers in grasping the essence of a novel as a cohesive and static entity. Lubbock’s focus is primarily on analyzing renowned novels and their respective techniques, rather than recounting plot details or character arcs typical of conventional narratives. The opening of the work introduces the complexity of critiquing literature, highlighting the fleeting nature of a reader’s experience with a book and the difficulty in retaining a definitive understanding of its structure. Lubbock articulates the struggle of critics who must form opinions based largely on memory, discussing aspects like character representation and the overall impression left by a novel rather than its concrete form. He also touches on the notion that while a book may be approached critically, the experience of reading it is often subjective and deeply immersed in the fluidity of thought and feeling, suggesting that the artistry of fiction may be more about capturing the essence of life than providing a rigidly defined narrative.
Robert Saunders Dowst
The Technique of Fiction Writing
"The Technique of Fiction Writing" by Robert Saunders Dowst is a practical guide on the art of writing fiction, written in the early 20th century. The book delves into the complex aspects of storytelling, providing budding writers with structured insights into the processes involved in conception, construction, and execution of narratives. With a focus on helping writers understand the essentials of fiction writing, it touches upon the significance of character development, the importance of plot, and the various types of stories that can be crafted. The opening portion sets the tone by explaining the author's purpose: to deliver a comprehensive yet straightforward approach to fiction writing. Dowst emphasizes the differentiation between a reader and a writer's perspective, arguing that aspiring authors must understand the technical aspects of writing rather than merely enjoying reading for pleasure. He outlines key themes such as the necessity for good conception, careful planning, and the importance of both character and plot in storytelling. The introduction and early chapters aim to equip writers with the foundational knowledge to explore their ideas effectively before moving into the more intricate details of the writing process.
Unknown
On the art of writing fiction
"On the Art of Writing Fiction" by W. E. Norris et al. is a collection of essays on the craft of fiction writing, likely written in the late 19th century. The book offers insights from various authors and educators on elements like style, character development, and the nuances of storytelling, making it particularly useful for aspiring writers. The essays each present different perspectives on creating engaging narratives and understanding the readers' expectations. The opening of the book sets the stage for these discussions by emphasizing the importance of having a story to tell and the ability to tell it effectively. Norris begins by addressing beginners in fiction writing, noting that simply possessing a good plot is not sufficient; writers must also discover and cultivate their unique styles to resonate with readers. He provides a candid look at the challenges writers face, including the need for discipline and patience in mastering the art of storytelling, and underscores that while writing may seem straightforward, it is a complex craft demanding continuous effort and dedication.
Walter Besant
The art of fiction
"The art of fiction by Walter Besant" is a lecture-essay on literary criticism and the craft of novel-writing from the late 19th century, in the Victorian era. It argues that fiction is a fine art equal to painting, sculpture, music, and poetry, and concisely sets out what storytellers should aim to do. The lecture advances three core claims: fiction is a true art; it is guided by general laws that can be learned; and, like other arts, it still requires innate talent. It defines fiction’s domain as humanity, praising its power to cultivate sympathy and to teach through selection, suppression, and suggestion. It lays down practical rules: rely on real observation and experience; keep human interest foremost; select only what advances character and story; present scenes dramatically; conceive characters clearly; believe wholly in the tale; and write with patient, finished style and a moral sense. It insists that story is indispensable, though invention cannot be taught, and urges studying the construction of great novels. An appendix offers direct advice to beginners on revising, seeking honest criticism, navigating publishers, and never paying to publish, closing with encouragement about the art’s present strength and future promise.
Arthur Sullivant Hoffman
Fundamentals of fiction writing
"Fundamentals of fiction writing" by Arthur Sullivant Hoffman is a guidebook on writing fiction written in the early 20th century. It centers on how to craft stories that genuinely grip readers by creating and preserving an absorbing illusion. Emphasizing clarity, simplicity, and individuality over rigid technique, it offers practical, market-aware advice on plot, character, style, and audience. The opening of the book lays out the author’s purpose, credentials, and method: an editor’s-eye view that treats the reader as a core part of the art process. He argues that modern teaching overvalues technique and imitation, and that real success comes from simplicity, clearness, and maintaining the story’s illusion. He distinguishes straight fiction from fiction-as-vehicle (philosophy, instruction, sermon), warns how easily illusion is broken, and shares an illustrative writer’s letter rejecting formulaic “Ford-like” stories. He then proposes three audience strategies (ignore, target, or broaden) and urges writers to study real human reactions. Practical chapters catalog common breakers of illusion—unfamiliar words, foreign phrases, showy allusions, odd names, dialect, authorial intrusions, inconsistencies—and explain how to ensure clarity in names, dialogue, and scene logic. He also cautions against overstrain, advocating brevity, varied sentence length, relief scenes, and simpler plots (with special notes on frames and mystery stories), before moving into a discussion of convincingness.
Jakob Wassermann
Kertomisen taito
"Kertomisen taito by Jakob Wassermann" is a philosophical dialogue written in the early 1900s, focusing on literary theory and the art of storytelling. The book, presented as a conversation primarily between a young aspiring writer and an older, experienced mentor, explores the nature, purpose, and techniques of narrative art. It is a reflective discourse on writing, creative motivation, and the aesthetic values that underpin lasting literature. The content follows the interaction between the two characters as the older mentor challenges and critiques the young writer's understanding of storytelling. Their discussion delves into stylistic elements, the relationship between form and substance, the significance of crafting believable and vital characters, and the balance between individual creative drive and the timeless laws of art. The later part of their dialogue examines the evolution of personal artistic vision, the struggles of success and recognition, and the tension between following rules and authentic expression. Ultimately, the book argues that true artistry comes from an inner compulsion for honest creation, informed by a deep understanding of human experience and the ever-unfinished quest for artistic truth.
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