Fundamentals of Fiction Writing (Classic Reprint) Online

Total Page:16

File Type:pdf, Size:1020Kb

Fundamentals of Fiction Writing (Classic Reprint) Online q6gpo (Ebook pdf) Fundamentals of Fiction Writing (Classic Reprint) Online [q6gpo.ebook] Fundamentals of Fiction Writing (Classic Reprint) Pdf Free Arthur Sullivant Hoffman *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook 2017-04-27Original language:EnglishPDF # 1 9.02 x .55 x 5.98l, .78 #File Name: 1332326846262 pages | File size: 78.Mb Arthur Sullivant Hoffman : Fundamentals of Fiction Writing (Classic Reprint) before purchasing it in order to gage whether or not it would be worth my time, and all praised Fundamentals of Fiction Writing (Classic Reprint): 0 of 1 people found the following review helpful. Great reference for Fiction Writers!By Melinda D. WiselkaThis an excellent book for fiction writers. There is a lot to learn here and none of it is dated, despite the fact that the book was written more than ninety years ago. One complaint: there was ZERO editing done. This book was simply scanned from original and published onto , without any cleanup. Paragraphs break off mid-sentence and there are many typographical errors. A little effort should have been made since this book was not free.3 of 3 people found the following review helpful. Great Advice for WritersBy James ReasonerArthur Sullivant Hoffman was the editor of the pulp magazine ADVENTURE from 1911 to 1927, when it was considered to be the top pulp in the world and the one that most would-be writers really wanted to crack. Robert E. Howard fell into that category, because he was a regular reader of ADVENTURE and submitted many of his stories to it, but unfortunately he wasn't able to sell any of them. (Luckily for his readers he kept at it and had success with other magazines.)Hoffman also wrote several books about writing fiction. This one, originally published in 1922, was reprinted recently by Black Dog Books, and it ought to be of great interest to anyone who writes fiction, at whatever level.But one thing I should warn you about right away: Hoffman was very much a writer of his time, and even for that era, he was one long-winded son of a gun. But he has some really good things to say if you take the time to dig them out. Here's an example:"For twenty years I have watched the flow of manuscripts - more tens of thousands than I like to remember - and am year by year more convinced that more embryo writers of appreciable ability are ruined by an overdose of technique at the hands of their literary doctors or by slavish copying of the work of some `successful' writer than by any three other causes you please to name."I certainly can't argue with that. One of Hoffman's main points is that each writer should develop his or her own style and techniques that work, and that the best way to do that is by writing.Here's another quote that I like:"Some, like Sinclair Lewis, Talbot Mundy, and others, fully realizing the situation and keeping their heads, write what they know will sell, write it as well as they can under the limitations, and keep on writing it until they have attained sufficient standing and financial foundation - and sufficient mastery - to write what they wish and in the way they wish."That really sums up the life and goal of a professional freelance writer. Ah, but Hoffman goes on, perhaps somewhat brutally:"But the vast majority become permanent slaves in the galley where they must serve their apprenticeship, perhaps growing very skillful at handling one oar among the many oars but hopelessly unable to paddle their own canoe."Hey, Arthur, I resemble that remark!Here's a quote concerning writers as readers:"Their attitude is at least partly that of a critic rather than a recipient; their interest in `What is happening' is at least partially distracted to `how it is written'."That's something else I'm really guilty of. I often have a hard time just letting myself enjoy a book because I'm constantly taking apart how it's written and thinking about how I could apply what I see to my own work. Hoffman, on the other hand, thinks that writers should always have their readers in mind first. Too often I catch myself writing for other writers, thinking about things that they would appreciate, rather than concentrating on the story and the reader's reaction to it.One more quote, this one not from Hoffman but from an unnamed author of his acquaintance:"I try to give the reader a lot for his money. I don't try to do any fine writing. Only one in a million of us can be a polished stylist. [I don't agree with that, for what it's worth.] I'm not that one, but I think I can evolve a story and tell it. So there is no more agonizing about the style. I try not to make the outside of the motor car which bears my people all gold and shiny and flower-decked, so that the countryside will look at the car and not at those it contains. I just try to make it a good, suitable, unobtrusive vehicle that will start and get to the journey's end without any tire trouble or backfires."That's a pretty good approximation of how I work. I think style is more important than this author makes it out to be, but I try to keep most of my attention on the story.While a lot of Hoffman's advice is pretty standard stuff - show, don't tell, and don't give your characters names that are easy to confuse with each other, for example - he has a lot of good things to say about how fiction is primarily illusion and ways to maintain that illusion. When I used to give talks about writing to various groups, I often started out by telling them that I was a professional liar, that my job was to make up the biggest pack of lies I could think of . and then convince them that it was all true, at least for as long as it took them to read the book.While I wouldn't recommend FUNDAMENTALS OF FICTION WRITING to anyone who isn't a writer, or wants to be a writer, I think it's an excellent book that has a lot to offer in the way of practical advice, as well as in things to ponder. I know it's improved my work already, and I'm glad it's back in print. Excerpt from Fundamentals of Fiction WritingThe more thoroughly you analyze modern thinking methods and their results, the more evident becomes the damage done.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. About the AuthorA fiction editor for more than twenty years for leading periodicals, an instructor of writing, Arthur Sullivant Hoffman also authored several instructional manuals including "The Writing of Fiction," "Fiction Writers on Fiction Writing," and "Fiction Writing Self-Taught." [q6gpo.ebook] Fundamentals of Fiction Writing (Classic Reprint) By Arthur Sullivant Hoffman PDF [q6gpo.ebook] Fundamentals of Fiction Writing (Classic Reprint) By Arthur Sullivant Hoffman Epub [q6gpo.ebook] Fundamentals of Fiction Writing (Classic Reprint) By Arthur Sullivant Hoffman Ebook [q6gpo.ebook] Fundamentals of Fiction Writing (Classic Reprint) By Arthur Sullivant Hoffman Rar [q6gpo.ebook] Fundamentals of Fiction Writing (Classic Reprint) By Arthur Sullivant Hoffman Zip [q6gpo.ebook] Fundamentals of Fiction Writing (Classic Reprint) By Arthur Sullivant Hoffman Read Online.
Recommended publications
  • Talbot Mundy Biblio Materials Toward a Bibliography
    TALBOT MUNDY BIBLIO MATERIALS TOWARD A BIBLIOGRAPHY OF THE WORKS OF TALBOT MUNDY Edited by BRADFORD M. DAY A Bit of His Life Talbot Mundy was born in London on April 23, 1879. He was educated at Rugby, and served nearly ten years, beginning in 1900, as a government official in Africa and India. While in India, he wandered all over the sub- continent on horseback, and even into Tibet. Eastern occult lore first attracted, then fascinated, his active and unorthodox mind. Mundy absorbed all he could learn of the Indian beliefs. Government service next brought him to Africa where he studied first-hand the nature magic of many of the tribes and cultures of East Africa. His quest for more information on this subject impelled him to travel extensively through Egypt and the Near East and even into parts of Arabia. This was truly adventurous at the time, but only in character with the man who killed dozens of lions and successfully hunted for ivory. Mundy visited Australia, and Mexico as far south as Yucutan. He first arrived in the United States in 1911, and liked the country so much that he decided to stay and become a citizen. Mundy quickly turned his energies to writing, and an article, “Pig Sticking in India,” was accepted and published in the April 1911 issue of Adventure Magazine, itself only a few months old. Another article and his first story, “The Phantom Battery” soon appeared. For years thereafter, Adventure had short stories, novelettes, novels, and serials by this master teller of tales in most of the issues that were printed.
    [Show full text]
  • Cyclopaedia 32 – Pulp Heroes Overview Articles
    Cyclopaedia 32 – Pulp Heroes By T.R. Knight (InnRoads Ministries * Article Series) Overview The most popular Pulp Magazines Do you like your heroes and villains over-the- top? Do you enjoy two-fisted tales of action and adventure? Then the heroes of the pulp There were over 150 pulp magazines in magazines of the late 1800s and early 1900s print at one time but these stood out as the would excite you. The term pulps come from greatest with the most significant stories the reference to low-quality literature on and greatest longevity: inexpensive paper. Although some later famous authors and artists were to work on • Adventure the pulps, the stories themselves were often • Amazing Stories considered sensational, exploitive, and • Argosy Magazine rushed. Yet that is what made them so • Black Mask popular among the masses. The pulp • Blue Book magazines led to the penny dreadfuls, dime • Dime Detective novels, and comic books. • Flying Aces • Marvel Tales For a minimal cost, readers were swept away • Planet Stories on fantastical adventures of mystery, crime, • Startling Stories romance, westerns, horror, science fiction, • Thrilling Wonder Stories and masked avengers. For this article, we are • Weird Tales focusing on the heroic and masked avenger • Western Story Magazine pulps made famous with The Black Bat, Domino Lady, Doc Savage, The Phantom, The Following are sources of information Shadow, The Spider, Zorro, and many others. pertaining to Pulp Heroes to assist For other stories, see other Cyclopaedias on prospective game masters, game designers, Noir, Space Opera, Sword & Sorcery, and writers, and storytellers in knowing where Wild West.
    [Show full text]
  • Art, Humanities, Literature, Social Sciences, Psychology, Psychotherapy, and Counseling
    Art, Humanities, Literature, Social Sciences, Psychology, Psychotherapy, and Counseling This section contains links to books and articles in publishers’ (Springer, Elsevier, Wiley, etc.) digital libraries. All links are “local” – each link will work without login on any campus (or VPN remotely) with subscriptions to those libraries. A red title indicates an excellent item, and a blue title indicates a very good (often introductory) item. A purple year of publication is a warning sign. Open Access items are colored green. The library is being converted to conform to the university virtual library model that I developed. This section of the library was updated on 05 June 2020. This section (and the library as a whole) is a free resource published under Attribution-NonCommercial-NoDerivatives 4.0 International license: You can share – copy and redistribute the material in any medium or format under the following terms: Attribution, NonCommercial, and NoDerivatives. https://creativecommons.org/licenses/by-nc-nd/4.0/ Professor Joseph Vaisman Department of Computer Science and Engineering NYU Tandon School of Engineering Table of Contents Food for Thought Biographies Virtual Art Gallery Art Literature About writers & writing About poets & poetry Essays Letters Speeches Fiction Poetry French Literature Russian Literature Spanish Literature Spanish-speaking World Adventure & Westerns Humor & Satire Mysteries & Detectives Science Fiction, Fantasy, Horror Louisa May Alcott Sholem Aleichem Isaac Asimov Jane Austen Charles Baudelaire L. Frank Baum Earl Derr Biggers Jorge Luis Borges Max Brand Lord Byron James Branch Cabell Giacomo Casanova Erskine Caldwell Lewis Carroll Miguel de Cervantes Anton Chekhov George Randolph Chester G.K. Chesterton Agatha Christie Harry Collingwood Wilkie Collins A.
    [Show full text]
  • {PDF EPUB} the River of Seven Stars Searching for the White Indians on the Orinoco by Arthur O
    Read Ebook {PDF EPUB} The River Of Seven Stars Searching For The White Indians On The Orinoco by Arthur O. Friel Black White/Chapter 7. A LL the next day my Maco-Maquiritare combination toiled back up the Ventuari. And in all that day very little was said. I told White that I had a little ranchería above here, and that I now was returning to it. When we reached that place, I said, we could decide on our future moves. No Yabaranos were in sight, nor was any other thing moving on the water; and there was nothing for us two to do but lie idle. He spent most of the day drowsing in the cabin. I, too, dozed and thought by turns. The coming of the Maquiritares had made my plans more simple in a way. I knew well enough, without asking them, that they now would go back to their up-river home, whether White wished to go there or not. Even if they had to leave him without receiving any of the promised presents, they had finished their work for him. And if I, Loco León, known to them as a man of good heart, wished to go up the river also, they would gladly guide me to their people, with no thought of pay. As I now could make no friends on the Manapiare, I must do what I had let the Macos think I meant to do—I must visit the Maquiritares. Since I had no intention of carrying my supplies farther onward as the Macos thought, I now had no real need of those Macos.
    [Show full text]