Narrative Design: Working With Imagination Craft And FormW. W. Norton & Company, 2000. máj. 2. - 377 oldal With clarity, verve, and the sure instincts of a good teacher, Madison Smartt Bell offers a roll-up-your-sleeves approach to writing in this much-needed book. Focusing on the big picture as well as the crucial details, Bell examines twelve stories by both established writers (including Peter Taylor, Mary Gaitskill, and Carolyn Chute) and his own former students. A story's use of time, plot, character, and other elements of fiction are analyzed, and readers are challenged to see each story's flaws and strengths. Careful endnotes bring attention to the ways in which various writers use language. Bell urges writers to develop the habit of thinking about form and finding the form that best suits their subject matter and style. His direct and practical advice allows writers to find their own voice and imagination. |
Tartalomjegyzék
PREFACE | |
UNCONSCIOUS MIND | 1 |
LINEAR DESIGN | 23 |
Depth Charge | 33 |
ANALYSIS | 45 |
Character | 47 |
Time Management | 48 |
Suspense | 49 |
ANALYSIS | 221 |
Character | 222 |
Point of View | 223 |
Imagery | 224 |
NOTES | 227 |
Lizzie Annie and Rosies Rescure of Me | 232 |
ANALYSIS | 243 |
Character | 244 |
Imagery | 50 |
Theme | 51 |
NOTES | 52 |
A Wife of Nashville | 61 |
ANALYSIS | 80 |
Character | 81 |
Tone | 84 |
Time Management | 86 |
Design | 88 |
NOTES | 90 |
Daisys Valentine by Mary Gaitskill | 98 |
ANALYSIS | 114 |
Character | 115 |
Tone | 117 |
Point of View | 118 |
Dialogue | 119 |
Suspense | 120 |
Design | 121 |
NOTES | 123 |
Hear That Long Train Moan | 132 |
ANALYSIS | 136 |
Character | 137 |
Tone | 138 |
Dialogue | 139 |
Design | 141 |
NOTES | 143 |
Oh Man Alive | 147 |
ANALYSIS | 154 |
Character | 155 |
Tone | 156 |
Dialogue | 157 |
Design | 159 |
NOTES | 160 |
The Sky Is Gray | 165 |
ANALYSIS | 188 |
Character | 189 |
Tone | 193 |
Point of View | 194 |
Imagery and Description | 195 |
Time Management | 196 |
Design | 197 |
NOTES | 200 |
MODULAR DESIGN | 211 |
Sign of Life | 217 |
Tone | 245 |
Point of View | 246 |
Imagery and Description | 247 |
Design | 248 |
NOTES | 251 |
The Child Downstairs | 257 |
ANALYSIS | 263 |
Character | 264 |
Tone | 266 |
Point of View | 267 |
Imagery and Description | 268 |
Design | 269 |
NOTES | 270 |
Red Hand | 276 |
ANALYSIS | 282 |
Character | 283 |
Tone | 284 |
Point of View | 285 |
Time Management | 287 |
Dialogue | 288 |
Design | 291 |
NOTES | 293 |
Comic Strip | 300 |
ANALYSIS | 312 |
Character | 314 |
Tone | 316 |
Point of View | 317 |
Time Management | 318 |
Suspense | 319 |
Design | 323 |
NOTES | 326 |
Little Red | 336 |
ANALYSIS | 346 |
Character | 348 |
Tone | 349 |
Imagery and Description | 351 |
Design | 352 |
NOTES | 356 |
A Philosophy of Composition | 363 |
Glossary of Terms | 371 |
Contributions | 375 |
Permissions Acknowledgments | |
Más kiadások - Összes megtekintése
Narrative Design: Working with Imagination, Craft, and Form Madison Smartt Bell Korlátozott előnézet - 2000 |
Narrative Design: Working With Imagination Craft And Form Madison Smartt Bell Nincs elérhető előnézet - 2000 |
Gyakori szavak és kifejezések
abstract ain't Alexis Alexis's author/interviewer Bayonne Beans become begin Captain G Carolyn Chute character child climax comic Daddy Daisy Daisy's Depth Charge dialogue Diane door Earlene Earlene's episode everything eyes feel fiction Gavin George Garrett go'n Gram Gram's hand happened head hear Helen Ruth imagery imagination jelly beans Jess Joey Joey's jump cut linear Little Red Riding look Lovells MADISON SMARTT BELL Mary Gaitskill modular design Morrison Long Nadine narrative vector narrator's never Percival Everett Peter Taylor Philosophy of Composition plot point of view preacher Rabbit reader Red Riding Hood Renie Renie's Richard Ruth's Sarah scene scream Seamus Seamus's seems sense sentence shift Sky Is Gray smile sort story story's structure talking tell there's thing thought tion told tone trying turn unconscious mind vector 1 narrator Virgil Boyd voice watch what's whole wolf workshop writer