Writers

A post where people could write different length stories about whatever topics or genres.

Thoughts?

cross-posted from: https://kbin.social/m/13thFloor/t/517301

> > > > > > During her many years of teaching introduction to fiction courses, Ann Charters developed an acute sense of which stories work most effectively in the classroom. She also discovered that writers, not editors, have the most interesting and useful things to say about the making and the meaning of fiction. > > > > > > > > Accordingly, her choice of fiction in the first edition of her The Story and Its Writer was as notable for its student appeal as it was for its quality and range. And to complement these stories, she introduced a lasting innovation: an array of the writers' own commentaries on the craft and traditions of the short story. > > > > > > > > In subsequent editions her sense of what works was confirmed as the book evolved into the most comprehensive, diverse-- and bestselling -- introduction to fiction anthology. Instructors rely on Ann Charters' ability to assemble an authoritative and teachable anthology, and anticipate each edition's selection of new writers and stories. > > > > > > --- > > This is the (somewhat) abridged version of the 2nd edition in PDF format. This book is a staple of creative writing courses, and is provided here for the benefit of starving students. > > There are many other editions and file formats available over at Anna's pirate cantina if you're looking for the one your professor is teaching from.

cross-posted from: https://kbin.social/m/13thFloor/t/296919

> Minimalist, federated, self-hosted blogging platform. Posted here as a tool for our creatives looking for alternative methods to publish their work on the Fediverse. > > A salute to @andromedusgalacticus for the link.

cross-posted from: https://kbin.social/m/13thFloor/t/485321

> > > > > > In the early nineties (it might have been 1992, but it’s hard to remember when you’re having a good time) I joined a rock-and-roll band composed mostly of writers. The Rock Bottom Remainders were the brainchild of Kathi Kamen Goldmark, a book publicist and musician from San Francisco. The group included Dave Barry on lead guitar, Ridley Pearson on bass, Barbara Kingsolver on keyboards, Robert Fulghum on mandolin, and me on rhythm guitar. There was also a trio of “chick singers,” à la the Dixie Cups, made up (usually) of Kathi, Tad Bartimus, and Amy Tan. > > > > > > > > The group was intended as a one-shot deal—we would play two shows at the American Booksellers Convention, get a few laughs, recapture our misspent youth for three or four hours, then go our separate ways. > > > > > > > > It didn’t happen that way, because the group never quite broke up. We found that we liked playing together too much to quit, and with a couple of “ringer” musicians on sax and drums (plus, in the early days, our musical guru, Al Kooper, at the heart of the group), we sounded pretty good. You’d pay to hear us. Not a lot, not U2 or E Street Band prices, but maybe what the oldtimers call “roadhouse money.” We took the group on tour, wrote a book about it (my wife took the photos and danced whenever the spirit took her, which was quite often), and continue to play now and then, sometimes as The Remainders, sometimes as Raymond Burr’s Legs. The personnel comes and goes—columnist Mitch Albom has replaced Barbara on keyboards, and Al doesn’t play with the group anymore ‘cause he and Kathi don’t get along—but the core has remained Kathi, Amy, Ridley, Dave, Mitch Albom, and me . . . . plus Josh Kelly on drums and Erasmo Paolo on sax. > > > > > > > > We do it for the music, but we also do it for the companionship. We like each other, and we like having a chance to talk sometimes about the real job, the day job people are always telling us not to quit. We are writers, and we never ask one another where we get our ideas; we know we don’t know. > > > > > > > > One night while we were eating Chinese before a gig in Miami Beach, I asked Amy if there was any one question she was never asked during the Q-and-A that follows almost every writer’s talk—that question you never get to answer when you’re standing in front of a group of author-struck fans and pretending you don’t put your pants on one leg at a time like everyone else. > > > > > > > > Amy paused, thinking it over very carefully, and then said: “No one ever asks about the language.” > > > > > > > > I owe an immense debt of gratitude to her for saying that. I had been playing with the idea of writing a little book about writing for a year or more at that time, but had held back because I didn’t trust my own motivations— why did I want to write about writing? What made me think I had anything worth saying? > > > > > > > > The easy answer is that someone who has sold as many books of fiction as I have must have something worthwhile to say about writing it, but the easy answer isn’t always the truth. Colonel Sanders sold a hell of a lot of fried chicken, but I’m not sure anyone wants to know how he made it. If I was going to be presumptuous enough to tell people how to write, I felt there had to be a better reason than my popular success. Put another way, I didn’t want to write a book, even a short one like this, that would leave me feeling like either a literary gasbag or a transcendental asshole. There are enough of those books—and those writers —on the market already, thanks. > > > > > > > > But Amy was right: nobody ever asks about the language. They ask the DeLillos and the Updikes and the Styrons, but they don’t ask popular novelists. > > > > > > > > Yet many of us proles also care about the language, in our humble way, and care passionately about the art and craft of telling stories on paper. What follows is an attempt to put down, briefly and simply, how I came to the craft, what I know about it now, and how it’s done. It’s about the day job; it’s about the language. > > > > > > > > This book is dedicated to Amy Tan, who told me in a very simple and direct way that it was okay to write it. > > > > > > --- > > Posted free to Simon & Schusters mailing list a long time ago, provided here as a service to those unable to afford their own copy. > > Stephen King's website is here if you'd like to check out his new releases.

cross-posted from: https://kbin.social/m/13thFloor/t/478679

> > > > > > With insight, humor, and practicality, Natalie Goldberg inspires writers and would-be writers to take the leap into writing skillfully and creatively. She offers suggestions, encouragement, and solid advice on many aspects of the writer’s craft: on writing from “first thoughts” (keep your hand moving, don’t cross out, just get it on paper), on listening (writing is ninety percent listening; the deeper you listen, the better you write), on using verbs (verbs provide the energy of the sentence), on overcoming doubts (doubt is torture; don’t listen to it)—even on choosing a restaurant in which to write. Goldberg sees writing as a practice that helps writers comprehend the value of their lives. > > > > > > This book has been a staple of creative writing course for nearly 30 years. The free copy linked above is readily available online from multiple sources and has been in circulation online for over 2 decades, so I feel it's justified to provide the link in the interests of helping writers and students unable to afford a copy a tool to improve their craft. > > However, in the interests of supporting the author, here's a link to get your own physical copy from her website: > > Natalie Goldberg - Writing Down the Bones

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