What is included with this book?
Preface | p. xi |
Unconscious Mind | p. 1 |
Linear Design | p. 23 |
Depth Charge | p. 33 |
Analysis | p. 45 |
Plot | p. 45 |
Character | p. 47 |
Tone | p. 47 |
Time Management | p. 48 |
Dialogue | p. 48 |
Suspense | p. 49 |
Point of View | p. 49 |
Imagery | p. 50 |
Design | p. 50 |
Theme | p. 51 |
Notes | p. 52 |
A Wife of Nashville | p. 61 |
Analysis | p. 80 |
Plot | p. 80 |
Character | p. 81 |
Tone | p. 84 |
Point of View | p. 84 |
Time Management | p. 86 |
Design | p. 88 |
Notes | p. 90 |
Daisy's Valentine | p. 98 |
Analysis | p. 114 |
Plot | p. 114 |
Character | p. 115 |
Tone | p. 117 |
Point of View | p. 118 |
Time Management | p. 118 |
Dialogue | p. 119 |
Suspense | p. 120 |
Imagery and Description | p. 120 |
Design | p. 121 |
Notes | p. 123 |
Hear That Long Train Moan | p. 132 |
Analysis | p. 136 |
Plot | p. 136 |
Character | p. 137 |
Tone | p. 138 |
Point of View | p. 138 |
Dialogue | p. 139 |
Symbolism | p. 139 |
Design | p. 141 |
Notes | p. 143 |
Oh, Man Alive | p. 147 |
Analysis | p. 154 |
Plot | p. 154 |
Character | p. 155 |
Tone | p. 156 |
Point of View | p. 156 |
Dialogue | p. 157 |
Imagery and Description | p. 157 |
Design | p. 159 |
Notes | p. 160 |
The Sky Is Gray | p. 165 |
Analysis | p. 188 |
Plot | p. 188 |
Character | p. 189 |
Tone | p. 193 |
Point of View | p. 194 |
Dialogue | p. 194 |
Imagery and Description | p. 195 |
Time Management | p. 196 |
Design | p. 197 |
Notes | p. 200 |
Modular Design | p. 211 |
Signs of Life | p. 217 |
Analysis | p. 221 |
Plot | p. 221 |
Character | p. 222 |
Tone | p. 222 |
Point of View | p. 223 |
Dialogue | p. 223 |
Imagery | p. 224 |
Design | p. 224 |
Notes | p. 227 |
Lizzie, Annie, and Rosie's Rescue of Me with Blue Cake | p. 232 |
Analysis | p. 243 |
Plot | p. 243 |
Character | p. 244 |
Tone | p. 245 |
Point of View | p. 246 |
Dialogue | p. 246 |
Imagery and Description | p. 247 |
Design | p. 248 |
Notes | p. 251 |
The Child Downstairs | p. 257 |
Analysis | p. 263 |
Plot | p. 263 |
Character | p. 264 |
Tone | p. 266 |
Point of View | p. 267 |
Dialogue | p. 267 |
Imagery and Description | p. 268 |
Design | p. 269 |
Notes | p. 270 |
Red Hands | p. 276 |
Analysis | p. 282 |
Plot | p. 282 |
Character | p. 283 |
Tone | p. 284 |
Point of View | p. 285 |
Time Management | p. 287 |
Dialogue | p. 288 |
Imagery and Description | p. 288 |
Design | p. 291 |
Notes | p. 293 |
Comic Strip | p. 300 |
Analysis | p. 312 |
Plot | p. 312 |
Character | p. 314 |
Tone | p. 316 |
Point of View | p. 317 |
Dialogue | p. 317 |
Time Management | p. 318 |
Suspense | p. 319 |
Imagery and Description | p. 319 |
Design | p. 323 |
Notes | p. 326 |
Little Red | p. 336 |
Analysis | p. 346 |
Plot | p. 346 |
Character | p. 348 |
Tone | p. 349 |
Dialogue | p. 349 |
Imagery and Description | p. 351 |
Design | p. 352 |
Notes | p. 356 |
A Philosophy of Composition | p. 363 |
Glossary of Terms | p. 371 |
Contributors | p. 375 |
Permissions Acknowledgments | p. 377 |
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