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10814cam a2200565 a 4500 001 7E2CB7922B0F11DEAA7E7608A8D7520A 003 SILO 005 20190815012642 008 070223s2007 nyu bf 001 0 eng 010 $a 2007008030 020 $a 0393337081 (pbk.) 020 $a 9780393337082 (pbk.) 020 $a 0393061647 (hardcover) 020 $a 9780393061642 (hardcover) 035 $a (OCoLC)85833282 040 $a DLC $c DLC $d SILO $d BAKER $d BTCTA $d NPL $d JED $d YDXCP $d VP@ $d OMB $d OCLCG $d NOR $d SMP $d CQU $d LF8 $d UIB $d SILO 050 00 $a PE1408 $b .L31887 2007 082 00 $a 808/.042 $2 22 100 1 $a LaPlante, Alice, $d 1958- 245 1 $a The making of a story : $b a Norton guide to creative writing / $c Alice LaPlante. 250 $a 1st ed. 260 $a New York : $b W.W. Norton, $c c2007. 300 $a 677 p. ; $c 25 cm. 504 $a Includes bibliographical references (p. 647-655) and index. 505 00 $t "Welcome to cancerland" / $g pt. 3. $t What is this thing called creative writing? -- $g pt. 1. The $t basics -- $t Getting started -- $t Reconciling the method with the madness -- $t Some basic definitions -- $t Creative nonfiction : a working definition -- $t Writing that is surprising yet convincing -- $t Resisting paraphrase -- $t Creative nonfiction : capturing what has eluded capture -- $t On sentiment and sentimentality -- $t Our first job as writers : to notice -- $t Avoiding the "writerly" voice -- $g pt. 2. $t Exercises -- $t Exercise 1 : "I don't know why I remember..." -- $t Exercise 2 : I am a camera -- $g pt. 3. $t Reading as a writer -- $t "On keeping a notebook" / $r Barbara Ehrenreich -- $t "Emergency" / $r Denis Johnson -- $g ch. 2. The $t splendid gift of not knowing -- $g pt. 1. $t Writing as discovery -- $t Getting started -- $t What do you know? -- $t Creative nonfiction : making the ordinary extraordinary -- $t Writing down what you don't know (about what you know) -- $t On rendering, not solving, the mysteries that surround us -- $t Moving from "triggering" to real subject -- $t Surprise yourself, interest others -- $t Obsession as a creative virtue -- $g pt. 2. $t Exercises -- $t Exercise 1 : Things I was taught/things I was not taught -- $t Exercise 2 : I want to know why -- $g pt. 3. $t Reading as a writer -- $t "Where are you going, where have you been?" / $r Joyce Carol Oates -- $t "Welcome to cancerland" / $r Barbara Ehrenreich -- 505 00 $g "The $t "Nebraska" / $g pt. 1. $t Concrete details as the basic building blocks of good creative writing -- $t Getting started -- $t On thinking small -- $t Defining "images" within a literary context -- $t Imagery that works on two levels -- $t On seeing the general in the particular -- $t On crowding the reader out of his own space -- $t Don't lose any of your senses -- $t Use of concrete details in creative nonfiction -- $t Use and abuse of metaphor -- $t When should you use metaphor? -- $t Avoiding the "S" word : banishing conscious symbols from your writing -- $t Imagery as creative source -- $g pt. 2. $t Exercises -- $t Exercise 1 : Harper's Index on a personal level -- $t Exercise 2 : Render a tree, capture the forest -- $g pt. 3. $t Reading as a writer -- $g "The $t things they carried" / $r Ron Hansen -- $t "Nebraska" / $r Ron Hansen -- 505 00 $g pt. 3. $t "Winner take nothing" / $g pt. 1. $t Defining the short story -- $t Getting started -- $t Some basic definitions -- $g The $t conflict-crisis-resolution model -- $t Linear vs. modular stories -- $t To epiphany or not to epiphany? -- $t Is change necessary? (the debate continues) -- $t On not becoming slaves to theory -- $g pt. 2. $t Exercises -- $t Exercise 1 : False epiphanies I have had -- $t Exercise 2 : Opportunities not taken -- $g pt. 3. $t Reading as a writer -- $t "What makes a short story?" / $r Bernard Cooper -- $t "Helping" / $r Robert Stone -- $g ch. 5. $t Why you need to show and tell -- $g pt. 1. The $t importance of narration -- $t Getting started -- $t Some basic definitions -- $t Why "show not tell" is such common advice -- $g The $t show-and-tell balancing act -- $t Traditional uses of narration (telling) -- $t Why narration is such an important creative tool -- $t How showing and telling complement each other -- $t Good intentions, bad advice -- $g The $t showing-telling continuum -- $t Showing and telling in creative nonfiction -- $g pt. 2. $t Exercises -- $t Exercise 1 : Tell me a story -- $t Exercise 2 : What everyone knows/What I know -- $g pt. 3. $t Reading as a writer -- $t "Brownies" / $r ZZ Packer -- $t "Winner take nothing" / $r Bernard Cooper -- 505 00 $g pt. 3. $t "Inside the bunker" / $g pt. 1. $t Introduction to point of view -- $t Getting started -- $t Some basic definitions -- $t First person -- $t Whose story is it? -- $t Second person -- $t Third person -- $g A $t word about attitude -- $t Distance and point of view -- $t Shifts in narrative distance -- $t Choosing a point of view for your creative work -- $t Point of view and creative nonfiction -- $t Common point of view problems -- $g pt. 2. $t Exercises -- $t Exercise 1 : Change point of view and dance -- $t Exercise 2 : Using point of view as a way "in" to difficult material -- $g pt. 3. $t Reading as a writer -- $g "The $t lady with the little dog" / $r John Sack -- $t "Moonrise" / $r Penny Wolfson -- $g ch. 7. $t How reliable is this narrator? -- $g pt. 1. $t How point of view affects our understanding of a story -- $t Getting started -- $t How we judge the integrity of the stories we hear and read -- $t First person point of view and reliability -- $t Third person point of view and reliability -- $g pt. 2. $t Exercises -- $t Exercise 1 : He said, she said -- $t Exercise 2 : See what I see, hear what I hear -- $g pt. 3. $t Reading as a writer -- $g "The $t swimmer" / $r John Cheever -- $g ch. 8. $t You talking to me? -- $g pt. 1. $t Crafting effective dialogue -- $t Getting started -- $t What dialogue is good for -- $t What dialogue is not -- $g A $t word about attribution -- $t Five important tips on dialogue -- $t On subtext -- $g A $t word about dialect -- $t Using placeholders -- $t Dialogue in creative nonfiction -- $g pt. 2. $t Exercises -- $t Exercise 1 : Nonverbal communication -- $t Exercise 2 : Them's fighting words -- $g pt. 3. $t Reading as a writer -- $t "Hills like white elephants" / $r Ernest Hemingway -- $t "Inside the bunker" / $r John Sack -- 505 00 $g pt. 3. $t "No name woman" / $g pt. 1. $t Figuring out what happens next -- $t Getting started -- $t Story vs. plot : some basic definitions -- $g A $t word about causality -- $t Render how - don't try to answer why -- $t On metafiction -- $t Character-based plotting -- $t On conflict -- $t Analyzing plot points -- $t Avoiding SceÌnes aÌ Faire : recognizing clicheÌd plot twists -- $g pt. 2. $t Exercises -- $t Exercise 1 : What's behind the door of room 101? -- $t Exercise 2 : "By the time you read this..." -- $g pt. 3. $t Reading as a writer -- $t "Sonny's blues" / $r Maxine Hong Kingston -- $g ch. 10. $t Recognizable people -- $g pt. 1. $t Creating surprising-yet-convincing characters -- $t Getting started -- $t Flat vs. round characters -- $t Eschewing the general in favor of the particular -- $t Consistency as the hobgoblin of characters -- $t Ways of defining character -- $t Character and plot -- $t Wants and needs -- $t Characters in relationships -- $t Character in creative nonfiction -- $g pt. 2. $t Exercises -- $t Exercise 1 : Emptying pockets -- $t Exercise 2 : Sins of commissions/Sins of omission -- $t Exercise 3 : Seven or eight things I know about him/her -- $g pt. 3. $t Reading as a writer -- $t "Surrounded by sleep" / $r Akhil Sharma -- $t "No name woman" / $r Maxine Hong Kingston -- 505 00 $g "The $t knife" / $g pt. 1. $t Beginning your story, novel, or nonfiction piece -- $t Getting started -- $t Your contract with the reader -- $t Characteristics of a good opening -- $t Unbalancing acts -- $t Starting in the middle -- $t Beginning with action -- $t On the nature of suspense -- $t Beginning your creative nonfiction piece -- $g pt. 2. $t Exercises -- $t Exercise 1 : Give it your best shot -- $t Exercise 2 : Start in the middle -- $t Exercise 3 : Make them squirm -- $g pt. 3. $t Reading as a writer -- $t "People like that are the only people here : canonical babbling in Peed Onk" / $r Richard Selzer -- $g ch. 12. $t What's this creative work really about? -- $g pt. 1. The $t art of transferring true emotions onto sensory events -- $t Getting started -- $t Many different answers to the same question -- $t Writing about what matters -- $t Transference : borrowing from Freud -- $t We are made of dust -- $g The $t road to universality -- $t But it's the truth! and other common pleas for clemency -- $t Creative nonfiction : on being true as well as factual -- $t Making things carry more emotional weight than they logically should -- $t Transference and creative nonfiction -- $g pt. 2. $t Exercises -- $t Exercise 1 : Getting an image to spill its secrets -- $t Exercise 2 : What I lost -- $g pt. 3. $t Reading as a writer -- $t "Ralph the duck" / $r Frederick Busch -- $g "The $t knife" / $r Richard Selzer -- 505 00 $g pt. 2. $t Index. $g pt. 1. $t On revision -- $t Getting started -- $t Advice for writers from writers -- $t Perfection is our enemy -- $g The $t workshop method -- $t Undue influence : a cautionary tale -- $g The $t developmental stages of a creative work -- $t "Hot spots" and other noteworthy aspects of an early draft -- $g An $t exercise-based approach to deep revision -- $g A $t word about constraints -- $g pt. 2. $t Exercises -- $t Analytical/mechanical exercises -- $t Creative exercises -- $t Research-based exercises -- $t Chance-based exercises -- $t Revision example : "The company of men" / $r Katha Pollitt -- $g pt. 3. $t Reading as a writer -- $t "Shitty first drafts" / $r Anne Lamott -- $g "The $t Carver chronicles" / $r D. T. Max -- $g "The $t bath" / $r Raymond Carver -- $g "A $t small, good thing" / $r Raymond Carver -- $g ch. 14. $t Getting beyond facts to truth -- $g pt. 1. $t Some final thoughts on creative nonfiction -- $t Getting started -- $t Just the facts, ma'am -- $t Recollections and re-creations -- $t Ethical considerations -- $t Subjectivity vs. objectivity -- $g A $t trip of self-discovery -- $t To be in or out of the story? -- $g pt. 2. $t Reading as a writer -- $t "Learning to drive" / $r Katha Pollitt -- $t Glossary-- $t Bibliography -- $t List of stories -- $t Permissions -- $t Index. 650 0 $a English language $x Rhetoric $v Handbooks, manuals, etc. 650 0 $a English language $x Style $v Handbooks, manuals, etc. 650 0 $a Creative writing $v Handbooks, manuals, etc. 650 0 $a Report writing $v Handbooks, manuals, etc. 856 41 $3 Table of contents only $u http://www.loc.gov/catdir/toc/ecip0712/2007008030.html 941 $a 11 952 $l GOPG641 $d 20240409025333.0 952 $l CPPC926 $d 20231111010429.0 952 $l ULAX314 $d 20190926091053.0 952 $l XXPH787 $d 20181107042716.0 952 $l BOPG851 $d 20181006041655.0 952 $l NYPE343 $d 20170523013813.0 952 $l BAPH771 $d 20151001015200.0 952 $l CAPH522 $d 20090701080000.0 952 $l S1PD771 $d 20090701080000.0 952 $l UNUX074 $d 20090701080000.0 952 $l UQAX771 $d 20090701080000.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=7E2CB7922B0F11DEAA7E7608A8D7520A 994 $a 02 $b UIBInitiate Another SILO Locator Search