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Novel Planning Kit Version 03.2020.11
Novel Planning Kit Version 03.2020.11 Created by Terry J. Benton Dear Writers, I started my first manuscript over 10 years ago, and it would take seven more manuscripts and one novella, countless tears and frustration, and lots of effort devoted to studying craft and learning as much as possible before I signed with an agent. Throughout this journey, I’ve enjoyed giving back to the community and helping those who are coming up through the query trenches behind me. I created this Novel Planning Kit from a combination of useful exercises I’ve employed over the last decade to successfully plan fiction novels with the hope that it will assist newer writers on their paths to publication and beyond. There are a plethora of ways to plan, write, and revise a manuscript, and this is just one of thousands of paths available to you—and may not suit your unique needs. I urge you to continue researching widely to find the methods that work best for you and your process. This kit is intended as a FREE resource for writers. Simply print the kit in its entirety and complete the worksheets to begin planning your new novel. Good luck and happy writing! Terry B. | https://www.tjbenton.com | @terryjbenton | @icecreamvicelord TABLE OF CONTENTS Exercise 1: Story Setup Page 2 Build the three cornerstones of your story: hook, challenge, and theme Exercise 2: Conflict Page 3 Identify internal and external conflict for your protagonist, as well as conflicts with minor characters Exercises 3A & 3B: Character Dossier Pages 4 & 5 Develop substantial background for your main and supporting characters Exercise 4: Plot Development Page 6 & 7 Brainstorm major plot points and plot threads for your story Exercise 5: Act Structuring Page 8 Structure your story’s plot across three acts Exercise 6: Pitch Draft Page 9 Draft the first cut of your pitch (or query) Recurring Exercise: Scene Planning Page 10 Recurring exercise for planning and structuring scenes Appendix: Helpful Resources Page 11 Additional helpful paid and free resources Copyright © 2020 by Terry J. -
Empathy and Literary Reading: the Case of Fräulein Else's Interior Monologue
ELISABETHA VINCI - EMPATHY AND LITERARY READING: THE CASE OF FRÄULEIN ELSE’S ..............................................................................................................................................................................INTERIOR MONOLOGUE - doi: https://doi.org/10.25185/6.5 Elisabetha VINCI Università degli Studi di Catania [email protected] ORCID iD: https://orcid.org/0000-0003-2680-3832 Recibido: 25/03/2019 - Aceptado: 14/07/2019 Para citar este artículo / To reference this article / Para citar este artigo Vinci, Elisabetha. “Empathy and literary reading: the case of Fräulein Else’s interior monologue”. Humanidades: revista de la Universidad de Montevideo, nº 6, (2019): 133-151. https://doi.org/10.25185/6.5 ISSN: 1510-5024 (papel) - 2301-1629 (en línea) 133 Empathy and literary reading: the case of Fräulein Else’s interior monologue Abstract: This contribution is aimed at analyzing how empathy is instantiated when we read works of fiction and at studying which elements can improve the consonance between characters and readers. Starting from a brief summary about empathy with regard to literary 6, Diciembre 2019, pp. 133-151 texts, the paper examines the question concerning human reception of fictional characters in o order to investigate how we empathize with them through the description of some elements which foster empathy: internal focalization, interior monologue and movement description. Fräulein Else by Arthur Schnitzler will serve as case study of empathic reading. Keywords: empathy, literature, reading, fictional characters, interior monologue. Humanidades: revista de la Universidad Montevideo, N ELISABETHA VINCI - EMPATHY AND LITERARY READING: THE CASE OF FRÄULEIN ELSE’S INTERIOR MONOLOGUE Empatía y lectura literaria: el caso del monólogo interior en Fräulein Else Resumen: El objetivo de esta contribución es analizar cómo la empatía se ejemplifica cuando leemos obras de ficción y estudiar qué elementos pueden mejorar la consonancia de los personajes con los lectores. -
A Rose for Emily”1
English Language & Literature Teaching, Vol. 17, No. 4 Winter 2011 Narrator as Collective ‘We’: The Narrative Structure of “A Rose for Emily”1 Ji-won Kim (Sejong University) Kim, Ji-won. (2011). Narrator as collective ‘we’: The narrative structure of “A Rose for Emily.” English Language & Literature Teaching, 17(4), 141-156. This study purposes to explore the narrative of fictional events complicated by a specific narrator, taking notice of his/her role as an internal focalizer as well as an external participant. In William Faulkner's "A Rose for Emily," the story of an eccentric spinster, Emily Grierson, is focalized and narrated by a townsperson, apparently an individual, but one who always speaks as 'we.' This tale-teller, as a first-hand witness of the events in the story, details the strange circumstances of Emily’s life and her odd relationships with her father, her lover, the community, and even the horrible secret hidden to the climactic moment at the end. The narrative 'we' has surely watched Emily for many years with a considerable interest but also with a respectful distance. Being left unidentified on purpose, this narrative agent, in spite of his/her vagueness, definitely knows more than others do and acts undoubtedly as a pivotal role in this tale of grotesque love. Seamlessly juxtaposing the present and the past, the collective ‘we’ suggests an important subject that the distinction between the past and the present is blurred out for Emily, for whom the indiscernibleness of time flow proves to be her hamartia. The focalizer-narrator describes Miss Emily in the same manner as he/she describes the South whose old ways have passed on by time. -
James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors
THEORY AND INTERPRETATION OF NARRATIVE James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors Narrative Theory Core Concepts and Critical Debates DAVID HERMAN JAMES PHELAN PETER J. RABINOWITZ BRIAN RICHARDSON ROBYN WARHOL THE OHIO STATE UNIVERSITY PRESS | COLUMBUS Copyright © 2012 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Narrative theory : core concepts and critical debates / David Herman ... [et al.]. p. cm. — (Theory and interpretation of narrative) Includes bibliographical references and index. ISBN 978-0-8142-5184-3 (pbk. : alk. paper) — ISBN 0-8142-5184-6 (pbk. : alk. paper) — ISBN 978-0-8142-1186-1 (cloth : alk. paper) — ISBN 0-8142-1186-0 (cloth : alk. paper) — ISBN 978- 0-8142-9285-3 (cd-rom) 1. Narration (Rhetoric) I. Herman, David, 1962– II. Series: Theory and interpretation of nar- rative series. PN212.N379 2012 808.036—dc23 2011049224 Cover design by James Baumann Text design by Juliet Williams Type set in Adobe Minion Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materi- als. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Preface ix Acknowledgments xiii Part One Perspectives: Rhetorical, Feminist, Mind-Oriented, Antimimetic 1. Introduction: The Approaches Narrative as Rhetoric JAMES PHElan and PETER J. Rabinowitz 3 A Feminist Approach to Narrative RobYN Warhol 9 Exploring the Nexus of Narrative and Mind DAVID HErman 14 Antimimetic, Unnatural, and Postmodern Narrative Theory Brian Richardson 20 2. Authors, Narrators, Narration JAMES PHElan and PETER J. -
Part 1: the Ecology of the Image
PART 1: THE ECOLOGY OF THE IMAGE Figure 1: Figure-ground reversal: the face-vase illusion (original design by Edgar Rubin). Ian E. Gordon, Theories of Visual Perception (Chichester: John Wiley & Sons, 1989) 53. 2 PART 1: THE ECOLOGY OF THE IMAGE …no denser or more tacit form of communication, no shaping or organising force more comprehensive or more insidiously embedded in our lifeworld than images. They make up the true lingua franca of commerce, politics, and psyche; they are the ‘cloaking devices’ par excellence of the human social world. (Sanford Kwinter)1 One must see, at first sight, what does not let itself be seen. And this is invisibility itself. For what first sight misses is the invisible. The flaw, the error of first sight is to see, and to not notice the invisible. (Jacques Derrida)2 …nothing seems more important than to debate the ecological role and character of images. (Andrew Ross)3 Don’t worry sweetheart — it’s just a movie. (Anon) INTRODUCTION 4 SNAP SHOT: AN ACCIDENT IN SLOW MOTION I am sitting in a Holden car designed in 1966, travelling down a highway on an extremely hot day at fifty miles per hour. The luxurious design of the interior (beautifully preserved by the car’s owner) speaks of a familiar car culture even though the detailing has changed. Something is, nonetheless, 1 Sanford Kwinter in his introduction to Bruce Mau, Life Style (London: Phaidon, 2000) 36. 2 Jacques Derrida, Specters of Marx: the state of the debt, the work of mourning, and the New International, trans. -
PALACKÝ UNIVERSITY in OLOMOUC Department of English
PALACKÝ UNIVERSITY IN OLOMOUC Department of English and American Studies Marie Voždová The Role of the Narrator in the British Detective Novels of the Golden Age Era Diploma Thesis Supervisor: Mgr. Pavlína Flajšarová, PhD. Olomouc 2020 Prohlašuji, že jsem diplomovou práci na téma “The Role of the Narrator in the British Detective Novels of the Golden Age Era” vypracovala samostatně pod odborným dohledem vedoucí práce a uvedla jsem všechny použité podklady a literaturu. V Olomouci dne 7. 5. 2020 Podpis: ………………….. 2 Tímto bych chtěla poděkovat Mgr. Pavlíně Flajšarové, PhD. za vedení diplomové práce, za její podněty a trpělivost a také prof. PhDr. Michalu Peprníkovi, Dr. za konzultaci. 3 Table of Contents Introduction ................................................................................................................................ 5 1 The Golden Age of Detective Fiction .................................................................................. 6 1. 1 Issues Concerning the Terminology .............................................................................. 6 1. 2 Characteristics of Detective Novels in the Times of the ‘Golden Age’ ......................... 7 1. 3 Critical Approach to the Detective Fiction ................................................................. 12 2 Notable Novelists of the Golden Age of Detective Fiction .............................................. 17 2. 1 The Detection Club .................................................................................................... 18 2. 2 -
Viewed As Art Objects
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI film s the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 0201764 Margaret Atwood’s transformed and transforming Gothic Tennant, Colette Giles, Ph.D. The Ohio State University, 1991 Copyright ©1091 by Tennant, Colette Giles. -
Andrew Feenberg's Critical Theory of Technology
Technical politics Technical politics Andrew Feenberg’s critical theory of technology Graeme Kirkpatrick Manchester University Press Copyright © Graeme Kirkpatrick 2020 The right of Graeme Kirkpatrick to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. This electronic version has been made freely available under a Creative Commons (CC- BY-NC- ND) licence, which permits non- commercial use, distribution and reproduction provided the author(s) and Manchester University Press are fully cited and no modifications or adaptations are made. Details of the licence can be viewed at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ Published by Manchester University Press Altrincham Street, Manchester M1 7JA www.manchesteruniversitypress.co.uk British Library Cataloguing- in- Publication Data A catalogue record for this book is available from the British Library ISBN 978 1 5261 0532 5 hardback ISBN 978 1 5261 0534 9 open access First published 2020 The publisher has no responsibility for the persistence or accuracy of URLs for any external or third- party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Typeset by Newgen Publishing UK Contents Acknowledgements vi Introduction: from critical theory to technical politics 1 1 Critical theory and technology 21 2 The theory of bias and the ethics of technology design 46 3 Technical politics 70 4 Aesthetic critique 96 5 From critique to utopia 122 Beyond critique: utopia 148 References 156 Index 161 v Acknowledgements I could not have written this book without the assistance of many people, principal among them Andrew Feenberg, who, ever since I first turned up on his doorstep in 2002, clutching an apple tart from one of the bakeries near his apartment in Paris, has been unstintingly generous with his time and unbelievably patient when listening to my criticisms of his ideas. -
The Normative Relations Between Fiction, Imagination and Appreciation 1
The Normative Relations between Fiction, Imagination and Appreciation 1. Summary It is a commonplace that fictional texts — notably in the shape of novels and other works of literature —invite and move us to imagine certain things concerning the characters and events described by the text. Reading The Sound and the Fury, say, prompts us to imagine various incidents in the history of the Compson family. It is equally undeniable that considerations about what fictional texts ask us to imagine, and how, are central to our aesthetic appreciation of them. We value Faulkner’s novel in part because it allows us to imagine these incidents from the very complex, diverse and subjective points of view of the three Compson brothers. What these two truisms about the relationship between fiction, imagination and appreciation have in common is that they describe normative relations. Imagining is the appropriate basic response to fictional texts. We cannot understand fictional texts without becoming imaginatively involved with the world that they describe. If we fail to imagine in accordance with the text’s prescriptions to imagine, we fail to properly engage with it. Similarly, appreciation is the appropriate response to the power of fictional texts to captivate our imagination in rich and rewarding ways. Much of the aesthetic worth of fictional texts resides in the fact that they make specific fictional worlds accessible to our imagination. Hence, the aesthetic evaluation of fictional texts requires us to take into account what they ask us to imagine, and how they do this. The general aim of this interdisciplinary research project is to investigate the nature of these two normative relations, which may be characterized in the following general way: (NR1) Fictional texts direct us to imagine certain things. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction Is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper aligrunent can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Xnfonnation Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 SYMPATHY FOR THE DEVIL; FEMALE AUTHORSHIP AND THE LITERARY VAMPIRE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor o f Philosophy in the Graduate School of The Ohio State University By Kathy S. -
Boxers & Saints
TEACHERS’ GUIDE with Common Core State Standards Connections boxERS & SAInts by GENE LUEN YANG Full Color Paperback Graphic Novel Diptych Boxers: ISBN 978-1-59643-359-5 / $18.99 Saints: ISBN 978-1-59643-689-3 / $15.99 Also Available As a Boxed Set: ISBN 978-1-59643-924-5 / $39.99 InTRoDUCTIon Gene Luen Yang’s diptych, Boxers & Saints, collects two pieces of historical fantasy set in China during the Boxer Rebellion. The Boxer Rebellion was not only an important moment in Chinese and British history, but it is also significant because of its effect on world history generally. Very seldom is the Boxer Rebellion discussed at length in high school or even introductory world history courses at the college/university level given the emphasis on studying the development and trajectory of “Western” civilization. However, helping students to understand the Boxer Rebellion can create great insight into the philosophical issues at play in wars for inde- pendence, including the United States’ own fight for independence from Britain. Literary characters help us to make important affective connections with texts, and we can come to understand a great deal more about how wars affect everyday people by engaging with historical fiction—whether in the realm of the fantastic or the mundane. Further, historical fiction allows us to contemplate the ethical and moral decisions and the extreme actions that characters make in times of war, allowing us to consider and evaluate their behavior. Boxers & Saints helps readers understand the Boxer Rebellion and its importance to history, and Yang also encourages us to think more deeply about the nature of war, rebellion, and the decisions we make in such times of crisis. -
How to Write a Story
How to Write a Story A STEP-BY-STEP METHOD FOR UNDERSTANDING AND TEACHING BASIC STORY WRITING TECHNIQUES By Lee Roddy TABLE OF CONTENTS (8th printing) Introduction . 1 Lesson 1: Ideas . 7 Lesson 2: Story Building . 15 Lesson 3: Objective . 23 Lesson 4: Obstacles . 35 Lesson 5: Outcome . 43 Lesson 6: Characters . 51 Lesson 7: Plots . 59 Lesson 8: Scenes . 67 Conclusion . 77 Teacher’s Answers . 80 Back of the book: About the Author Copyright 2003 Lee Roddy ISBN-10: 0-9779860-3-9 ISBN-13: 978-0-9779860-3-3 No part of this publication may be reproduced in any form without written permission of the publisher with two exceptions: (1) in the case of brief quotations within critical articles or reviews, (2) teachers may make copies for students within the same family. Published by Institute for Excellence in Writing, Inc. P.O. Box 6065, Atascadero, CA 93423 800.856.5815 www.writing-edu.com [email protected] Fax: 603.925.5123 INTRODUCTION TO SHORT STORY GUIDEBOOK INTRODUCTION This guidebook was written at the request of many teachers and parents who have attended my seminars over the last 20 years on How to Teach a Child to Write a Story. These lessons evolved from a one-page handout I used in countless workshops. That handout is so simple that it can be used with beginning writers, so I’ve included it at the end of this introduction. This book is slanted for teachers dealing with younger writers. However, this same basic material, taught in my adult seminars all over the nation, has helped hundreds of aspiring writers to sell their first (or many) novels.