Note: Supplemental materials are not guaranteed with Rental or Used book purchases.
Purchase Benefits
What is included with this book?
ONE: Close Reading | 1 | (12) | |
TWO: Words | 13 | (22) | |
THREE: Sentences | 35 | (28) | |
FOUR: Paragraphs | 63 | (22) | |
FIVE: Narration | 85 | (24) | |
SIX: Character | 109 | (34) | |
SEVEN: Dialogue | 143 | (50) | |
EIGHT: Details | 193 | (16) | |
NINE: Gesture | 209 | (24) | |
TEN: Learning from Chekhov | 233 | (16) | |
ELEVEN: Reading for Courage | 249 | (20) | |
Books to Be Read Immediately | 269 | (6) | |
Acknowledgments | 275 |
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.
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Austen, Jane, Sense and Sensibility
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Balzac, Honere de. Kathleen Raine (translator), Cousin Bette
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Brodkey, Harold, Stories in an Almost Classical Mode
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Beckett, Samuel, The Complete Short Prose, 1929-1989
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Carver, Raymond, Where Im Calling From: Selected Stories
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Cervantes, Miguel De. Tobias Smollett (translator), Don QuixoteChandler, Raymond, The Big Sleep
Cheever, John, The Stories of John Cheever
Chekhov, Anton.Constance Garnett (translator), A Life in Letters
Chekhov, Anton. Constance Garnett (translator), Tales Of Anton Chekhov: Volumes 1-13
Diaz, Junot,Drown
Dickens, Charles, Bleak House
Dickens, Charles, Dombey and Son
Dostoyevsky, Fyodor. Constance Garnett (translator), Crime and Punishment
Dybek, Stuart, I Sailed With Magellan
Eisenberg, Deborah, The Stories (So Far) of Deborah Eisenberg
Eliot, Georg, Middlemarch
Elkin, Stanley, Searches and Seizures
Fitzgerald, F. Scott, The Great Gatsby
Fitzgerald, F. Scott, Tender is the Night
Flaubert, Gustave.Geoffrey Wall (translator), Madame Bovary
Flaubert, Gustave. Robert Baldick (translator), A Sentimental Education
Fox, Paula. Jonathan Franzen (introduction), Desperate Characters
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Gibbon, Edward, Decline and Fall of the Roman Empire
Gogol, Nikolai. Richard Pevear and Larissa Volokhonsky (translators), Dead Souls: A Novel
Green, Henry, Doting
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Hartley, L.P., The Go-Between
Hemingway, Ernest, A Moveable Feast
Hemingway, Ernest, The Sun Also Rises
Herbert, Zbigniew, Czeslaw Milosz and Peter Dale Scott (translators), Selected Poems
James, Henry, The Portrait of a Lady
James, Henry, The Turn of the Screw
Jarrell, Randall, Pictures From an Institution
Johnson, Denis, Angels
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Price, Richard, Freedomland
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Rossellini, Isabella, Some of Me
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Roth, Philip, Philip Roth: Novels and Stories 1959-1962
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Salinger, J.D.Franny and Zooey
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Shteyngart, Gary. The Russian Debutantes Handbook
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Steegmuller, Francis, Flaubert and Madame Bovary: A Double Portrait
Stein, Gertrude, The Autobiography of Alice B. Tolkas
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Chapter One
Close Reading
Can creative writing be taught?
It's a reasonable question, but no matter how often I've been asked, I never know quite what to say. Because if what people mean is: Can the love of language be taught? Can a gift for storytelling be taught? then the answer is no. Which may be why the question is so often asked in a skeptical tone implying that, unlike the multiplication tables or the principles of auto mechanics, creativity can't be transmitted from teacher to student. Imagine Milton enrolling in a graduate program for help with Paradise Lost, or Kafka enduring the seminar in which his classmates inform him that, frankly, they just don't believe the part about the guy waking up one morning to find he's a giant bug.
What confuses me is not the sensibleness of the question but the fact that it's being asked of a writer who has taught writing, on and off, for almost twenty years. What would it say about me, my students, and the hours we'd spent in the classroom if I said that any attempt to teach the writing of fiction was a complete waste of time? Probably, I should just go ahead and admit that I've been committing criminal fraud.
Instead I answer by recalling my own most valuable experience, not as a teacher but as a student in one of the few fiction workshops I took. This was in the 1970s, during my brief career as a graduate student in medieval English literature, when I was allowed the indulgence of taking one fiction class. Its generous teacher showed me, among other things, how to line edit my work. For any writer, the ability to look at a sentence and see what's superfluous, what can be altered, revised, expanded, or especially cut is essential. It's satisfying to see that sentence shrink, snap into place, and ultimately emerge in a more polished form: clear, economical, sharp.
Meanwhile, my classmates were providing me with my first real audience. In that prehistory, before mass photocopying enabled students to distribute manuscripts in advance, we read our work aloud. That year, I was beginning what would become my first novel. And what made an important difference to me was the attention I felt in the room as the others listened. I was encouraged by their eagerness to hear more.
That's the experience I describe, the answer I give people who ask about teaching creative writing: A workshop can be useful. A good teacher can show you how to edit your work. The right class can form the basis of a community that will help and sustain you.
But that class, as helpful as it was, was not where I learned to write.
Like most, maybe all, writers, I learned to write by writing and, by example, from books.
Long before the idea of a writer's conference was a glimmer in anyone's eye, writers learned by reading the work of their predecessors. They studied meter with Ovid, plot construction with Homer, comedy with Aristophanes; they honed their prose style by absorbing the lucid sentences of Montaigne and Samuel Johnson. And who could have asked for better teachers: generous, uncritical, blessed with wisdom and genius, as endlessly forgiving as only the dead can be?
Though writers have learned from the masters in a formal, methodical way—Harry Crews has described taking apart a Graham Greene novel to see how many chapters it contained, how much time it covered, how Greene handled pacing, tone, and point of view—the truth is this sort of education more often involves a kind of osmosis. After I've written an essay in which I've quoted at length from great writers, so that I've had to copy out long passages of their work, I've noticed that my own work becomes, however briefly, just a little more fluent.
In the ongoing process of becoming a writer, I read and reread the authors I most loved. I read for pleasure, first, but also more analytically, conscious of style, of diction, of how sentences were formed and information was being conveyed, how the writer was structuring a plot, creating characters, employing detail and dialogue. And as I wrote I discovered that writing, like reading, was done one word at a time, one punctuation mark at a time. It required what a friend calls "putting every word on trial for its life": changing an adjective, cutting a phrase, removing a comma, and putting the comma back in.
I read closely, word by word, sentence by sentence, pondering each deceptively minor decision that the writer had made. And though it's impossible to recall every source of inspiration and instruction, I can remember the novels and stories that seemed to me revelations: wells of beauty and pleasure that were also textbooks, private lessons in the art of fiction.
This book is intended partly as a response to that unavoidable question about how writers learn to do something that cannot be taught. What writers know is that, ultimately, we learn to write by practice, hard work, by repeated trial and error, success and failure, and from the books we admire. And so the book that follows represents an effort to recall my own education as a novelist and to help the passionate reader and would-be writer understand how a writer reads.
When I was a high school junior, our English teacher assigned us to write a term paper on the theme of blindness in Oedipus Rex and King Lear. We were supposed to go through the two tragedies and circle every reference to eyes, light, darkness, and vision, then draw some conclusion on which we would base our final essay.
It all seemed so dull, so mechanical. We felt we were way beyond it. Without this tedious, time-consuming exercise, all of us knew that blindness played a starring role in both dramas.
Still, we liked our English teacher, we wanted to please him. And searching for every . . .
Reading Like a Writer
Excerpted from Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them by Francine Prose
All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.