Jump to content

Search the Community

Showing results for tags 'novel writing program'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Novel Writing Courses and "Novel Writing on Edge" Work and Study Forums
    • Novel Writing on Edge - Nuance, Bewares, Actual Results
    • Art and Life in Novel Writing
    • Bad Novel Writing Advice - Will it Never End?
    • The Short and Long of It
  • Quiet Hands, Unicorn Mech, Novel Writing Vid Reviews, and More
    • Novel Writing Advice Videos - Who Has it Right?
    • Writing With Quiet Hands
    • Unicorn Mech Suit
    • Crime Reads - Suspense, Thrillers, Crime, Gun!
    • Audrey's Archive - Reviews for Aspiring Authors
  • New York Write to Pitch and Algonkian Writer Conferences 2024
    • New York Write to Pitch 2023 and 2024
    • Algonkian Writer Conferences - Events, FAQ, Contracts
    • Algonkian Novel Development and Writing Program

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


ICQ


Yahoo


Jabber


Skype


Location


Interests


Website URL ID

Found 4 results

  1. Develop, Write, or Rewrite Your Breakout Novel Step-by-Step Courses Followed by Editorial Consult and Agent Query Process - $299.00 This novel writing and editorial program conducted online here at AAC was brainstormed by the faculty of Algonkian Writer Conferences and later tested by NYC publishing professionals for practical and time-sensitive utilization by genre writers (SF/F, YA, Mystery, Thriller, Historical, etc.) as well as upmarket literary writers. It is designed specifically for those who are currently in the process of writing or rewriting the novel. The goal is to get you as close to the brass ring as possible, to make your novel as commercially competitive as it needs to be on all levels while avoiding critical missteps, bad advice, and exorbitant prices. And it does not matter what stage your novel is currently in, or where you are in your writing life. The program steps and methodology, as well as the faculty, enable you to learn and grow as a writer together with your novel, and at your own pace. Your work is thoroughly reviewed by our professionals. Together you set publication goals, engage in necessary manuscript edits, and at the appropriate time, initiate the agent discovery process as well as the writing of the query letter. Faculty consists of New York Pitch Conference workshop leaders, and the courses are found here on Algonkian Author Connect. A login password will be provided upon successful application and registration. ANWP APPLICATION ___________________
  2. BOOK REPORTS "The Art of Fiction" by John Gardner 1. How did the book help you as a writer? What overall aspects of it taught you something? It reinforced for me some vital components that must permeate the book throughout. For example, the story development must continuously cast forwards, drawing the reader from paragraph to paragraph, from scene to scene. Any let up and the reader can stop caring where the story will go next, at which point the writer has failed, and the reader stops reading. This was particularly important for me to get in my head in the early scenes when I move from place to place, character to character. I had initially focused on backward looking exposition, but realized that this must take a back seat to forward looking hooks, otherwise the reader will cease to want to know where the book is going. 2. What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel? I fixed on the idea that I must induce the reader into a dream and never let him go. As part of my editing, I now keep in mind that anything that disturbs or disrupts the dream threatens the continued interest of the reader. While I had tried to avoid extraneous detail and the removal of adverbs that were there because of a lazy selection of verbs, I now make special note to create vivid detail when I need credibility. As Gardner says, this is the lifeblood of fiction. But I find at times it can be overused by some writers to substitute for depth of character and motivation. I particularly took on board the idea that perfect writing means hitting what you are aiming at and not touching anything you do not aim at. I think, while I am starting out, it is hard to know what to aim for and easier to just let the ideas flow. I am increasingly sitting back and thinking to myself, what am I trying to do here? What am I aiming at? 3. Was there anything in the books that obviously conflicted with lessons and readings in our novel writing program? If so, what are they? I think it is fair to say that I was spending too much time thinking about plot mechanics rather than my protagonist being the agent for their own decisions. In my first drafts, my characters were often a victim of the plot, and they only really came alive, with the proper motivations when I thought about their desires, fears and misbeliefs, and made them make the decisions based in most cases on those aspects of their character. "Writing the Breakout Novel" by Donald Maass 1. How did the book help you as a writer? What overall aspects of it taught you something? I think this book gave me the most confidence to be original. I really took to heart some fundamental ideas of plausibility, originality, and gut emotional appeal, to add to the ideas around conflict that I was learning in the course. I want to be an original writer and feel that the pressure to align yourself with other writers is cast out there as something that will make you commercial. I was going down that route, but I think the more I threw myself into the craft, originality has taken over and I feel I found in this book the mechanics of how to make that work. 2. What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel? I think of the different books, this was one where I could put down way more than three lessons. But I note just three here: Characters must be unforgettable - “ The analysis of character made me realize the fundamentals of a strong character; making them realistic but larger than life; saying and doing things that we would not dare to do in our normal life; feeling things authentically without turning away. Changing the way the reader sees the world - “ This is very much the theme of my story. The further I progress in the story, the more I intend it to rattle, confront, and illuminate. Building high human worth - “ I had originally put in too much death at the beginning thinking it would add suspense and realism, but all it did was reduce the worth of the characters. Instead I have been building the worth of the protagonist, initially to those around her, but as her connection to the Antagonist is revealed, her worth to everyone involved will grow to a climax. 3. Was there anything in the books that obviously conflicted with lessons and readings in our novel writing program? If so, what are they? Not sure if this conflicted but it struck me as a fundamental that was not identified. It was the idea of using only characters you like. Possible I missed it somewhere in the coursework. It made me cut out a number of characters and the story is the better for it. "The Writing Life" by Annie Dillard 1. How did the book help you as a writer? What overall aspects of it taught you something? I don't feel this book helped me very much. I have my own way of writing, my own habits that work for me. I did pick up a few sage words of advice, three of what I noted below. 2. What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel? It is the beginning of the work that the writer throws away. Often the best parts of the writing are discarded. I agreed with this. As I went through the course, I threw away practically all of my original work, in some cases multiple times, dispatching characters, sub-plots that at an early stage were central to the story. She notes that the writer should not write for the movie. Write for the person who wants to read a book, not for the person who would prefer to see it in a movie. She reiterates well the idea of hitting what you aim for but goes an insightful step further by noting the writer should aim for the chopping block, not the wood. 3. Was there anything in the books that obviously conflicted with lessons and readings in our novel writing program? If so, what are they? I think there was the least amount of overlap with the course, so relatively few areas which you could think there may be conflicts. I think for me, I gleaned some useful thoughts on the craft that added to what I was learning from the course and from other sources. "Write Away" by Elizabeth George 1. How did the book help you as a writer? What overall aspects of it taught you something? The book gave me a large number of smart insights into the craft I was already learning from the course work. It made me think harder about each step of the craft, what was most important to keep the reader's attention. In particular the three related points below, made me revisit my mindset to the use of my characters in driving suspense. 2. What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel? While I was trying to get my characters to drive the plot rather than the other way around, it was particularly striking to hear Elizabeth note that these characters must be real people to the reader at the same time and the reality of their lives affect an event. This made me think more clearly about what I was trying to achieve with the agency of the main characters, that their actions and decisions should not just drive their own plot, but those of the other characters. On a related point, she noted that an event alone cannot hold a story together. Only characters effecting an event or event affecting characters can do that. If you create characters that are real to the reader, who evoke an emotional response within the reader, you create suspense because the reader will what to know that’s going to happen next once the status quo is shattered by the primary event. You must continually open up your story; creating scenes in which you lay down but not answer dramatic questions. If you do answer a dramatic question, you must have already laid down another. You do this by making partial disclosures instead of giving out all the information you possess. You create tension by making a promise to the reader at the beginning of the novel. When a story stalls out, the writer has played their hand too soon. Information should be played out with great care. If the writer gives something away too soon, the entire house of cards collapses. 3. Was there anything in the books that obviously conflicted with lessons and readings in our novel writing program? If so, what are they? I am again not sure if there was anything that directly conflicted with the course, but Elizabeth notes that characters are interesting in their misery, their unhappiness, their confusion, their conflict and she says you cannot bring a character to life in a book if they are not alive before you start writing. I spent a lot of time thinking about this and Stephen Kings book about how he starts with a situation and then puts a barely drawn character into that situation, and challenges them to find a way out of it. Out of this, I decided that at the heart of each main character should be motivation driven essentially by fear or desire, and decisions often driven by misunderstanding or misbelief. For my story, the protagonist needed start with misery and unhappiness but not be a victim. To be a positive agent of her own destiny she needed a backbone and a reason to put her fear aside and move forward based on some inner desire. In the hook, around the inciting incident, and for the first plot point, her misunderstanding about the world and what is going on motivates her to make decisions where she mentally is able to put her desire over her fear. Ultimately, though these decisions are made for the wrong reasons and with the wrong objectives. So while she may be confused, to an extent unhappy, her motivation comes from her positive desires, her hope, her inner strength, and not from being a victim. I don't think I got this from the course and Elizabeth's book did not give me this precisely, but I evolve this outlook in my mind because of both.
  3. Literary and Genre Novel Writing Learned From the Masters Below you will find the program syllabus. In our quest to get you as close to the brass ring as possible, we've developed this series of multi-genre commercial writing courses that will enable you to develop and write your novel from the very beginning, or else rewrite your extant work-in-progress while simultaneously reality-checking all core and peripheral elements. In all cases, initial focus is on story premise and market position, major antagonist and protagonist arcs and elements, primary plot conflict(s), as well as overall set decisions. The next set of crucial elements are addressed in turn (see syllabus below) and again, as appropriate, by Algonkian editorial faculty (in private consultations with you) prior to the final query letter stage. NOTE: THE FOLLOWING NOVELS NOTED IN THE SYLLABUS ARE REFERENCED IN CONTEXT DURING THE COURSE OF THE PROGRAM. THE EMPHASIS IS ON UTILIZING CLASSIC AND MID-CLASSIC NOVELS AS MODELS FOR CONCEIVING AND CREATING SUCCESSFUL PLOT, CHARACTERS, THEME, AND PROSE NARRATIVE. WHY? BECAUSE THE ART OF FICTION MUST FIRST AND FOREMOST BE LEARNED FROM THE BEST AUTHORS WHO SET THE STANDARD FOR ALL WHO CAME LATER, INCLUDING THE WRITERS OF TODAY, AND THAT INCLUDES YOU. Part I Program Sample The Program Syllabus Art of Novel Writing - Part I - Eight Course Modules Module I The Act of Story Statement and Protagonist's Goal; Conjuring Your Breakout Title; Market Positioning and Vital Comparables; Utilizing the Short Synopsis Pitch to Create and Define Novel Basics Including Rising Plot Action, Exposition, Backstory, Climax, Denouement, and Theme. Works studied or referenced: ISSAC'S STORM, ANTIGONE, ONE FLEW OVER THE CUCKOO'S NEST, COLD MOUNTAIN, HISS OF DEATH, SUMMER'S SISTERS, THE BARTIMAEUS TRILOGY, THE HAND OF FATIMA, THE GREAT GATSBY. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module II Choosing the Antagonist; Antagonist Role in Energizing Plot Lines and Defining Dramatic Tension; Social Reaction and Psyche Profile of Antagonists; Traits and Physical Nature of the Antagonist; Anecdotes Featuring Your Antagonist; Antagonist Relation to Three-Level Conflict Dynamic. Works studied or referenced: THE KITE RUNNER, TO KILL A MOCKINGBIRD, THE GREAT GATSBY, LES MISERABLES, ANNE OF GREEN GABLES. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing a Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module III Using the Hook Line to Bait and Test Your Commercial High Concept; Hook Elements; the Coming of the "Agon" and Creating the Three-Level Conflict Dynamic; Writing Conflict Lines; Using the Right Setting to Maximize Opportunities for Unique Circumstance, Complications, Character and Verve. Works studied or referenced: ISSAC'S STORM, HISS OF DEATH, SUMMER'S SISTERS, THE BARTIMAEUS TRILOGY, THE HAND OF FATIMA, THE HUNGER GAMES, SOUND AND THE FURY, THE ROAD. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module IV Personality Types and the Counter Trait; Importance of Backstory; Elements of Character Animation; Protagonist Makes Plot or Vice Versa; Sympathetic Character Factors in the Hook; Defining the Transformational Character Arc. Works studied or referenced in Module: CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, FIRST FIVE PEOPLE YOU MEET IN HEAVEN, SECRET LIFE OF BEES, LIFE OF PI, BEL CANTO, PATTERSON AND GROSS, WINESBURG OHIO. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module V Synopsis as a Planning Tool; Methods for Delivering Exposition; How Does Theme Define and Pervade the Novel? Character Symbolism and Making a Theme Statement That Will Layer Into the Novel. Works studied or referenced in Module: ONE FLEW OVER THE CUCKOO'S NEST, WISE BLOOD, THE SUN ALSO RISES, RHINOCEROS (the play), MAN'S FATE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module VI Coming of the Six Act Two-Goal Novel; Act 0 - Developing the Backstory; Act I, Part I - the Critical Act of Opening Scene, Foreshadowing the Primary Conflict, In Media Res; Act I, Part II - Inciting Incident, Exposition Parceling, the MacGuffin, Theme Start, Antagonist Intro With Possible Minions. Works studied or referenced in Module: CATCHER IN THE RYE, WAR OF THE WORLDS, MISERY, COLD MOUNTAIN, THE MALTESE FALCON, HUCKLEBERRY FINN, THE HUNGER GAMES, HARRY POTTER, TO KILL A MOCKINGBIRD, GLADIATOR AND CITIZEN KANE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module VII Act II - More Hook: Story Statement Redux, Establishment of Major Goal, Primary External Conflict or Complication Begins, First Major Plot Point and Plot Line, Protagonist Psychology, Rising Action; Act III - Plot Line Evolution, Minor Reversals, Complications, thee Levels of Conflict, Major Reversal Time, Plot Points. Works studied or referenced in Module: CATCHER IN THE RYE, WAR OF THE WORLDS, MISERY, COLD MOUNTAIN, THE MALTESE FALCON, HUCKLEBERRY FINN, THE HUNGER GAMES, HARRY POTTER, TO KILL A MOCKINGBIRD, GLADIATOR AND CITIZEN KANE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Module VIII Act IV - New Rising Action and Suspense, Conflict Levels Revisited, the Final Puzzle Piece, Surprise or Twist, Climax, Victory at a Cost; Act V - Denouement, Loose Ends, Theme Resolution, End of Protagonist Arc. Works studied or referenced in Module: CATCHER IN THE RYE, WAR OF THE WORLDS, MISERY, COLD MOUNTAIN, THE MALTESE FALCON, HUCKLEBERRY FINN, THE HUNGER GAMES, HARRY POTTER, TO KILL A MOCKINGBIRD, GLADIATOR AND CITIZEN KANE. Multiple Assignments and Readings Focusing on All Critical Elements Related to Developing Competitive Commercial Novel Structure and Premise, and Applying Lessons Learned to Each Writer's Novel-in-Progress - Primary elements studied and applied in the eight modules of Part II: The act of creating narrative suspense. Dynamic description and competitive narrative cinema. Utilizing character personality to create tone and verve. The four levels of storytelling viewpoint. Levels of successive narrative transformation. Complications and conflict in fiction narrative. Approaches and experiments in masterful dialogue. Establishment of active and aggressive style. Coaxing imagination and unpredictability in narrative and storytelling. Art of Novel Writing - Part II - Eight Course Modules Module I Mastering the Art of Point-of-View: Four Levels of Third Person Point of View; Advantages of 3POV; Effective First Person POV Transition From 3POV; Choice of Viewpoint Character and Effect on Tone; Four Stage Narrative Transformation. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module II Mastering the "Art of Fiction" Narrative: Spatial Orientation in the Scene, Quality Ruminations to Add Dimension and Arc, Transforming the Quiet Set and Circumstance with Imaginative Leaps of Interior Monologue, External Complications, Emotions, Musings, and Narrator Observations. Writing Concise and Artful Dialogue, Mastering the Right Genre Style and Voice. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module III Mastering the Art of High Impact Subject Matter and Issues of Proper Narrative Composition : Creating Social Energy and Conflict, Ways to Aggressively Milk Imagination, Complex Visual Phenomena Reflecting the Human Condition. Creating the Color, Movement, Sounds and Smells of the Meta-Cinematic Narrative Experience. Injecting Pre-event complications, and Fantastical Circumstance Creating "Delayed Cognition" Technique. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module IV Mastering the "Art of Fiction" Narrative: Complex Description of Characters Using Both Third and First Person POV, Metaphor Sketching to Describe Unique Characters, the "Single Statement of Impression," Deriving Unique Metaphors From Setting, Using the "PDQ" to Brainstorm Approaches to Challenging Subjects in Prose Narrative, Details of Face and Body Movement, Charged Emotional States, Occasional Acts of Bold and Imaginative Appearance. Balancing Prose For High-Impact Subject Matter VS. Upmarket Prose Narrative. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module V Mastering the Art of Narrative Composition: High-Impact Subject Matter VS. Upmarket Prose Narrative, Mastering Style and Voice, Using FIGHT CLUB to Write Your Own Version In Order to Practice Those Narrative Elements Make Chuck Palahniuk a Great Author; Using THE RIVER KING to Write Your Own Version In Order to Practice Those Narrative Elements That Make Alice Hoffman a Great Author. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module VI The First 5000 Words of the Novel Hook Incorporating Elements From Prior Modules : Four Levels of 3POV Narrative, Level III Narrative Minimum, Transitions to Reflective Interior Monologue, Interior Fantasy, Ruminations or Musings, At Least Five Minor Complications. Narrative That Allows For Color, Sound, and Smells; Narrative That Creates Impact On the Page in a Dynamic and Cinematic Manner. Color, Tension, Curiosities, Mystery, Conflict, With a Goal of Not a Single Quiet Paragraph. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module VII Self-Coverage Narrative Scorebox and Reference to Part I of Program Regarding Act I and Act II as Appropriate For Inclusion of Proper Plot Elements, Sympathetic Character Elements, etc.. the First 50 Pages of the Novel Incorporating Elements From Prior Modules : Brilliant First Person POV, or All Four Levels of 3POV Narrative; Level III Quality Narrative Minimum Striving Towards Level IV, Transitions to Reflective Interior Monologue, Ruminations and Musings, As Many Minor Complications As Necessary. Narrative That Allows For Color, Sound, and Smells; Narrative That Creates Impact On the Page in a Dynamic and Cinematic Manner. Color, Tension, Curiosities, Mystery, Conflict, and All 50 Pages With a Goal of Not a Single Quiet Paragraph. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress Module VIII Post Coverage: the Next 50 Pages of the Novel Incorporating Elements From Prior Modules (for a total of 100) : Brilliant First Person POV, or All Four Levels of 3POV Narrative; Level III Quality Narrative Minimum Striving Towards Level IV, Transitions to Reflective Interior Monologue, Ruminations and Musings, As Many Minor Complications As Necessary. Narrative That Allows For Color, Sound, and Smells; Narrative That Creates Impact On the Page in a Dynamic and Cinematic Manner. Color, Tension, Curiosities, Mystery, Conflict, and All 50 Pages With a Goal of Not a Single Quiet Paragraph. Works studied or referenced in Part II Modules: THE RIVER KING, CLAUDIUS THE GOD, THE INVISIBLE MAN, THE CONCRETE BLONDE, THE GOLDEN COMPASS, UNDER THE JAGUAR SUN, THE AMAZING ADVENTURES OF KAVALIER AND KLAY, THE ALCHEMYST, GET SHORTY, THE PAINTED BIRD, LOLITA, EVENSONG, THE SHIPPING NEWS, POISONWOOD BIBLE, YEAR OF THE RHINOCEROS, WISE BLOOD, FIGHT CLUB, WUTHERING HEIGHTS. Step by Step Narrative Creation and Enhancement Writing Assignments Utilizing Element-Specific Scenarios and Each Writer's Novel-in-Progress
  4. Ben Chewey Reaction to Algonkian Novel Writing Program Readings The Art of Fiction by John Gardner 1. How did the book help you as a writer? What overall aspects of it taught you something? The Art of Fiction helped me as a writer by introducing me to the concept of aesthetic interest. Since the start of my writing career I was aware of the importance of a story having a cast and setting that stands out. John Gardner made it clear why it's important for every aspect of one's story to be organic, or at least as organic as possible from something that does not actually exist. 2. What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel? What I can apply to my Zilos novel is to make sure that everything feels genuine. The second lesson I learned was the importance of a story's theme coming across organically and not beating a reader's head in with the themes. I realize that I must make sure that my story's themes are present, but not overbearing. Gardner emphasizes the importance of choices in subject, plot, character, setting and theme and that it all must come together with care and revision. This is another major lesson for me. 3. Was there anything in the books that obviously conflicted with lessons and readings in our novel writing program? No If so, what are they? I did not notice many major deviations from what John Gardner had to say compared to what I learned in the Algonkian program, but did see a few minor differences in aspects of subjects such as the flow of writing and style. Writing the Breakout Novel by Donald Maass 1. How did the book help you as a writer? What overall aspects of it taught you something? The book by Donald Maass helped me as a writer because this novel was written by a literary agent and thus was able to give me a clearer idea on what to focus on to succeed in getting published. Writing the Breakout Novel did help me see clearly that any story's marketability depends on how one can sell a story's idea to readers' gut appeal and have them relate to the story's theme with something that is personal to them. 2. What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel? One major thing that Donald Maass brought to light to me was the importance of how the matter of development can make or break a story so that it stands apart from others. I strive to insure my Zilos novel has enough to stand out, but I know it's inevitable that some parts of the story have ideas that would could be viewed as elements from already published works. Donald Maass showed me that it's important to have the development stand out from other stories, and while I tried that from the start I am determined to apply making sure the development unfolds in a way that will make my Zilos novel unique enough to be exceptional. A second lesson I learned from reading Writing the Breakout Novel is the "Psychology of Place". I have been aware of how important a novel's setting is for a while. Learning about the Psychology of Place gave me an even deeper understanding of how a story's environment is vital for shaping a reader's mood. I think I can apply this to my writing in the sense that I make sure each location sets the mood precisely for the reader. The third lesson I learned from his book is the importance of high tension over low tension or "Slack tension". I tried to make sure everything in Zilos has purpose, but it can be tricky figuring out how to flesh out the cast and world of a story without dragging things out. Going over how he emphasized how every page should have tension caused me to reexamine my novel to see if I can maximize how much tension is on each page to increase the chances the story can be a breakout. 3. Was there anything in the books that obviously conflicted with lessons and readings in our novel writing program? No. If so, what are they? There seemed to be a few small contrasts to the things Donald Maass recommended to do to pitch a story over what I have seen in the Algonkian novel writing program. I believe that this is based on when the book came out this was primarily due to the different state of the internet at the time. The Writing Life by Annie Dillard 1. How did the book help you as a writer? What overall aspects of it taught you something? The Writing Life did give me a few new ideas for my writing, but it was a bit tricky since Annie Dillard seemed to write this more like a memoir. Nevertheless, it showed me how veteran writers pull off releasing successful books and the mindset it takes to achieve it. 2. What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel? One lesson I learned from The Writing Life is the importance of keeping a coherent vision of what one's projected work of art will be. I have had a very clear vision of Rise of the Crimson Ravens since I started the first page. But of course, things change to match the situation. Seeing how Annie Dillard clung to her vision despite the "hoops" she had to jump through to get published gives me ideas on how to hold on to my vision despite what changes I might have to make to my book to get it published. Another lesson I learned from The Writing Life is the importance of a writer being shaped by literature. I have been aware for some time of how important it is for a writer to be aware of the world he or she is trying to break into. But seeing Annie Dillard's struggles showed just how important it is to be in synch with who you are trying to reach out to. That is why I want to insure I am properly shaped by the market I am trying to break into to guarantee that my Rise of the Crimson Ravens story is targeting the proper audience. 3. Was there anything in the books that obviously conflicted with lessons and readings in our novel writing program? No. If so, what are they? Due to The Writing Life being more of a memoir than a proper instruction book, the advice does not match. Even so, her personal processes do align with the lessons on the site in areas such as building character. Write Away by Elizabeth George 1. How did the book help you as a writer? What overall aspects of it taught you something? Write Away helped me as a writer by giving me deeper understandings of concepts I had previous knowledge of such as the hero's journey. Elizabeth did well to give examples that clearly showed her points. 2. What two or three major lessons did you learn from the book that you can apply to your writing and/or your novel? A lesson I learned from Write Away is the full nature of the Hero's Journey. While I have been aware of Joseph Campbell's contribution to writing for a long time, Elizabeth George's analysis gave me a new understanding of it and how it merges with the Seven-Step story line. From this I learned how to apply it to my story, and make sure that the main lead of my book, Zach Zilos' hero's journey unfolds in the proper order. Another lesson I learned from Write Away is the value of turning places into settings. As much as I desire my story to have unique locations, Elizabeth George showed me the importance of not just thinking up unique settings, but making sure they feel real no matter the type of story. That's why I'm going to insure that as many settings as possible have some resemblance to a real world location in some way. Her book makes it clear that a lot of research is involved in evoking the correct setting. Elizabeth George made me realize how important it is to have total discipline and to work on the crafting of plot, characters and setting. She emphasized that besides discipline and craft that it is important to have passion. That is another important lesson for me. I also feel that I was meant to write. 3. Was there anything in the books that obviously conflicted with lessons and readings in our novel writing program? No If so, what are they? After looking Write Away over, the most noticeable deviation between the lessons in the Algonkian program and the lessons from Elizabeth George revolve around the Six Act Story Structure. Elisabeth seemed to prioritize actions over ruminations and other story contemplations as part of the structure.
×
×
  • Create New...