Making Of A Story
by Laplante,Alice-
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Summary
Author Biography
Table of Contents
| Acknowledgments | p. 19 |
| What Is This Thing Called Creative Writing? | p. 23 |
| The Basics | p. 23 |
| Getting Started | p. 23 |
| Reconciling the Method with the Madness | p. 24 |
| Some Basic Definitions | p. 25 |
| Creative Nonfiction: A Working Definition | p. 26 |
| Writing That Is Surprising Yet Convincing | p. 27 |
| Resisting Paraphrase | p. 28 |
| Creative Nonfiction: Capturing What Has Eluded Capture | p. 30 |
| On Sentiment and Sentimentality | p. 31 |
| Our First Job as Writers: To Notice | p. 35 |
| Avoiding the "Writerly" Voice | p. 36 |
| Exercises | p. 38 |
| "I Don't Know Why I Remember..." | p. 38 |
| I Am a Camera | p. 39 |
| Reading as a Writer | p. 40 |
| "On Keeping a Notebook" | p. 40 |
| "Emergency" | p. 47 |
| The Splendid Gift of Not Knowing | p. 57 |
| Writing as Discovery | p. 57 |
| Getting Started | p. 57 |
| What Do You Know? | p. 58 |
| Creative Nonfiction: Making the Ordinary Extraordinary | p. 61 |
| Writing Down What You Don't Know (About What You Know) | p. 62 |
| On Rendering, Not Solving, the Mysteries That Surround Us | p. 63 |
| Moving from "Triggering" to Real Subject | p. 65 |
| Surprise Yourself, Interest Others | p. 67 |
| Obsession as a Creative Virtue | p. 68 |
| Exercises | p. 69 |
| Things I Was Taught / Things I Was Not Taught | p. 69 |
| I Want to Know Why | p. 71 |
| Reading as a Writer | p. 72 |
| "Where Are You Going, Where Have You Been?" | p. 72 |
| "Welcome to Cancerland" | p. 87 |
| Details, Details | p. 107 |
| Concrete Details as the Basic Building Blocks of Good Creative Writing | p. 107 |
| Getting Started | p. 107 |
| On Thinking Small | p. 108 |
| Defining "Image" within a Literary Context | p. 109 |
| Imagery That Works on Two Levels | p. 111 |
| On Seeing the General in the Particular | p. 113 |
| On Crowding the Reader Out of His Own Space | p. 116 |
| Don't Lose Any of Your Senses | p. 117 |
| Use of Concrete Details in Creative Nonfiction | p. 119 |
| Use and Abuse of Metaphor | p. 120 |
| When Should You Use Metaphor? | p. 123 |
| Avoiding the "S" Word: Banishing Conscious Symbols from Your Writing | p. 124 |
| Imagery as Creative Source | p. 124 |
| Exercises | p. 127 |
| Harper's Index on a Personal Level | p. 127 |
| Render a Tree, Capture the Forest | p. 130 |
| Reading as a Writer | p. 131 |
| "The Things They Carried" | p. 131 |
| "Nebraska" | p. 147 |
| The Shapely Story | p. 152 |
| Defining the Short Story | p. 152 |
| Getting Started | p. 152 |
| Some Basic Definitions | p. 152 |
| The Conflict-Crisis-Resolution Model | p. 155 |
| Linear vs. Modular Stories | p. 157 |
| To Epiphany or Not to Epiphany? | p. 159 |
| Is Change Necessary? (The Debate Continues) | p. 161 |
| On Not Becoming Slaves to Theory | p. 162 |
| Exercises | p. 165 |
| False Epiphanies I Have Had | p. 165 |
| Opportunities Not Taken | p. 166 |
| Reading as a Writer | p. 167 |
| "What Makes a Short Story?" | p. 167 |
| "Helping" | p. 178 |
| Why You Need to Show and Tell | p. 204 |
| The Importance of Narration | p. 204 |
| Getting Started | p. 204 |
| Some Basic Definitions | p. 204 |
| Why "Show, Don't Tell" Is Such Common Advice | p. 206 |
| The Show-and-Tell Balancing Act | p. 210 |
| Traditional Uses of Narration (Telling) | p. 213 |
| Why Narration Is Such an Important Creative Tool | p. 214 |
| How Showing and Telling Complement Each Other | p. 216 |
| Good Intentions, Bad Advice | p. 216 |
| The Showing-Telling Continuum | p. 218 |
| Showing and Telling in Creative Nonfiction | p. 223 |
| Exercises | p. 224 |
| Tell Me a Story | p. 224 |
| What Everyone Knows / What I Know | p. 226 |
| Reading as a Writer | p. 227 |
| "Brownies" | p. 227 |
| "Winner Take Nothing" | p. 245 |
| Who's Telling This Story, Anyway? | p. 258 |
| Introduction to Point of View | p. 258 |
| Getting Started | p. 258 |
| Some Basic Definitions | p. 259 |
| First Person | p. 259 |
| Whose Story Is It? | p. 261 |
| Second Person | p. 265 |
| Third Person | p. 267 |
| A Word about Attitude | p. 272 |
| Distance and Point of View | p. 272 |
| Shifts in Narrative Distance | p. 275 |
| Choosing a Point of View for Your Creative Work | p. 276 |
| Point of View and Creative Nonfiction | p. 278 |
| Common Point of View Problems | p. 280 |
| Exercises | p. 282 |
| Change Point of View and Dance | p. 282 |
| Using Point of View as a Way "In" to Difficult Material | p. 283 |
| Reading as a Writer | p. 284 |
| "The Lady with the Little Dog" | p. 284 |
| "Moonrise" | p. 299 |
| How Reliable Is This Narrator? | p. 318 |
| How Point of View Affects our Understanding of a Story | p. 318 |
| Getting Started | p. 318 |
| How We Judge the Integrity of the Stories We Hear and Read | p. 318 |
| First Person Point of View and Reliability | p. 319 |
| Third Person Point of View and Reliability | p. 324 |
| Exercises | p. 328 |
| He Said, She Said | p. 328 |
| See What I See, Hear What I Hear | p. 329 |
| Reading as a Writer | p. 330 |
| "The Swimmer" | p. 330 |
| You Talking to Me? | p. 341 |
| Crafting Effective Dialogue | p. 341 |
| Getting Started | p. 341 |
| What Dialogue Is Good For | p. 342 |
| What Dialogue Is Not | p. 343 |
| A Word about Attribution | p. 344 |
| Five Important Tips on Dialogue | p. 345 |
| On Subtext | p. 350 |
| A Word about Dialect | p. 351 |
| Using Placeholders | p. 353 |
| Dialogue in Creative Nonfiction Writing | p. 354 |
| Exercises | p. 355 |
| Nonverbal Communication | p. 355 |
| Them's Fighting Words | p. 355 |
| Reading as a Writer | p. 356 |
| "Hills Like White Elephants" | p. 356 |
| "Inside the Bunker" | p. 360 |
| The Plot Thickens | p. 375 |
| Figuring Out What Happens Next | p. 375 |
| Getting Started | p. 375 |
| Story vs. Plot: Some Basic Definitions | p. 375 |
| A Word about Causality | p. 377 |
| Render How-Don't Try to Answer Why | p. 379 |
| On Metafiction | p. 380 |
| Character-Based Plotting | p. 380 |
| On Conflict | p. 381 |
| Analyzing Plot Points | p. 384 |
| Avoiding Scenes a Faire: Recognizing Cliched Plot Twists | p. 386 |
| Exercises | p. 388 |
| What's Behind the Door of Room 101? | p. 388 |
| "By the Time You Read This..." | p. 389 |
| Reading as a Writer | p. 390 |
| "Sonny's Blues" | p. 390 |
| Recognizable People | p. 418 |
| Creating Surprising-Yet-Convincing Characters | p. 418 |
| Getting Started | p. 418 |
| Flat vs. Round Characters | p. 419 |
| Eschewing the General in Favor of the Particular | p. 420 |
| Consistency as the Hobgoblin of Characters | p. 422 |
| Ways of Defining Character | p. 423 |
| Character and Plot | p. 427 |
| Wants and Needs | p. 431 |
| Characters in Relationships | p. 433 |
| Character in Creative Nonfiction | p. 434 |
| Exercises | p. 435 |
| Emptying Pockets | p. 435 |
| Sins of Commission, Sins of Omission | p. 437 |
| Seven or Eight Things I Know about Him/Her | p. 438 |
| Reading as a Writer | p. 441 |
| "Surrounded by Sleep" | p. 441 |
| "No Name Woman" | p. 453 |
| Raising the Curtain | p. 465 |
| Beginning Your Story, Novel, or Nonfiction Piece | p. 465 |
| Getting Started | p. 465 |
| Your Contract with the Reader | p. 465 |
| Characteristics of a Good Opening | p. 467 |
| Unbalancing Acts | p. 468 |
| Starting in the Middle | p. 469 |
| Beginning with Action | p. 471 |
| On the Nature of Suspense | p. 473 |
| Beginning Your Creative Nonfiction Piece | p. 474 |
| Exercises | p. 475 |
| Give It Your Best Shot | p. 475 |
| Start in the Middle | p. 477 |
| Make Them Squirm | p. 478 |
| Reading as a Writer | p. 479 |
| "People Like That Are the Only People Here: Canonical Babbling in Peed Onk" | p. 479 |
| What's This Creative Work Really About? | p. 507 |
| The Art of Transferring True Emotions Onto Sensory Events | p. 507 |
| Getting Started | p. 507 |
| Many Different Answers to the Same Question | p. 508 |
| Writing about What Matters | p. 508 |
| Transference: Borrowing from Freud | p. 509 |
| We Are Made of Dust | p. 510 |
| The Road to Universality | p. 511 |
| But It's the Truth! And Other Common Pleas for Clemency | p. 512 |
| Creative Nonfiction: On Being True as Well as Factual | p. 513 |
| Making Things Carry More Emotional Weight than They Logically Should | p. 513 |
| Transference and Creative Nonfiction | p. 516 |
| Exercises | p. 518 |
| Getting an Image to Spill Its Secrets | p. 518 |
| What I Lost | p. 519 |
| Reading as a Writer | p. 521 |
| "Ralph the Duck" | p. 521 |
| "The Knife" | p. 533 |
| Learning to Fail Better | p. 542 |
| On Revision | p. 542 |
| Getting Started | p. 542 |
| Advice for Writers from Writers | p. 543 |
| Perfection Is Our Enemy | p. 544 |
| The Workshop Method | p. 544 |
| Undue Influence: A Cautionary Tale | p. 548 |
| The Developmental Stages of a Creative Work | p. 549 |
| "Hot Spots" and Other Noteworthy Aspects of an Early Draft | p. 550 |
| An Exercise-Based Approach to Deep Revision | p. 551 |
| A Word about Constraints | p. 552 |
| Exercises | p. 553 |
| Analytical/Mechanical Exercises | p. 553 |
| Creative Exercises | p. 554 |
| Research-Based Exercises | p. 555 |
| Chance-Based Exercises | p. 556 |
| Revision Example: "The Company of Men" | p. 556 |
| Reading as a Writer | p. 574 |
| "Shitty First Drafts" | p. 574 |
| "The Carver Chronicles" | p. 578 |
| "The Bath" | p. 591 |
| "A Small, Good Thing" | p. 597 |
| Getting beyond Facts to Truth | p. 619 |
| Some Final Thoughts on Creative Nonfiction | p. 619 |
| Getting Started | p. 619 |
| Just the Facts, Ma'am | p. 620 |
| Recollections and Re-creations | p. 621 |
| Ethical Considerations | p. 624 |
| Subjectivity vs. Objectivity | p. 626 |
| A Trip of Self-Discovery | p. 628 |
| To Be In or Out of the Story? | p. 630 |
| Reading as a Writer | p. 633 |
| "Learning to Drive" | p. 633 |
| Glossary | p. 643 |
| Bibliography | p. 647 |
| List of Stories | p. 657 |
| Permissions | p. 659 |
| Index | p. 665 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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