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The most widely used and respected text in its field, Writing Fiction, 7e by novelists Janet Burroway and Elizabeth Stuckey-French guides the novice story writer from first inspiration to final revision by providing practical writing techniques and concrete examples. Written in a tone that is personal and non-prescriptive, the text encourages students to develop proficiency through each step of the writing process, offering an abundance of exercises designed to spur writing and creativity. The text also integrates diverse contemporary short stories in every chapter in the belief that the reading of inspiring fiction goes hand-in-hand with the writing of fresh and exciting stories.
- Sales Rank: #148101 in Books
- Published on: 2010-01-13
- Original language: English
- Number of items: 1
- Dimensions: 8.90" h x .70" w x 5.90" l, 1.24 pounds
- Binding: Paperback
- 432 pages
From the Back Cover
A bestseller through six editions,Writing Fictionby novelists Janet Burroway and Elizabeth Stuckey-French explores the elements of fiction, providing practical writing techniques and concrete examples. Written in a tone that is personal and non-prescriptive, this book encourages writers to develop proficiency through each step of the writing process, offering an abundance of exercises designed to spur writing and creativity. The text Writing Fictionalso integrates diverse contemporary short stories in every chapter in the belief that the reading of inspiring fiction goes hand-in-hand with the writing of fresh and exciting stories.
Thorough and practical discussions of all the major fictional elements offer readers a comprehensive guide to the craft of writing stories. Topics include freewriting, plot, style, characterization, dialogue, time, place, imagery, and point of view.
For novice writers looking to develop proficiency.
About the Author
JANET BURROWAY is the author of plays, poetry, essays, children’s books, and eight novels including The Buzzards, Raw Silk (runner up for the National Book Award), Opening Nights, Cutting Stone, and Bridge of Sand. Her publications include a collection of personal essays, "Embalming Mom," in addition to a volume of poetry, Material Goods, and two children’s books in verse, The Truck on the Track and The Giant Jam Sandwich . Her most recent plays, Medea with Child (The Reva Shiner Award), Sweepstakes, Division of Property (Arts & Letters Award), and Parts of Speech, have received readings and productions in NewYork, London, San Francisco, Hollywood, Chicago, and various regional theatres. Her textbook Writing Fiction, now in its eighth edition, is the most widely used creative writing text in the United States. She is Robert O. Lawton Distinguished Professor Emerita at the Florida State University in Tallahassee.
Most helpful customer reviews
56 of 59 people found the following review helpful.
The Classic College Textbook on the Fiction-Writing Craft: The Current Edition
By Dr C J Singh
.
Reviewed by C J Singh
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In the current edition, more than half of the 22 stories are new, including works by contemporaries like Stuart Dybek, Chitra Banerjee Divakaruni, Ron Hansen, Sherman Alexie, and Junot Diaz. A welcome return are short-shorts, one of the highlights of the sixth edition that were dropped in the seventh. Also, the new edition features a more detailed discussion of the revision process: it presents the early and final drafts of a short story, "Keith, by Ron Carlson, an established writer and professor of creative writing at UC Irvine.
In the preface to the eighth edition, Burroway notes that "the idea of a text for writing fiction is itself problematic. Unlike such subjects as math and history, where a certain mass of information needs to be organized and conveyed, the writing of fiction is more often a process of trial and error--the learning is perpetual and, paradoxically, the writer needs to know everything at once. If a text is too prescriptive, it's not true to the immense variety of possibilities; if it's too anecdotal, it may be cheering but is unlikely to be of use." Excellent criterion, emerging from the author's decades of writing and teaching experience. This edition, like the seventh and sixth, engages and isn't too prescriptive.
Burroway clearly privileges literary fiction over genre fiction in this as well as in the previous four editions. (In her definition, genre fiction comprises detective story, science fiction, fantasy fiction, romance, adventure, spy, horror, and thriller.) "Writing literary fiction can teach you how to write good genre fiction, writing genre fiction does not teach you how to write good literary fiction--does not teach `how to write,' by which I mean how to be original and meaningful in words." Agreed, but why, then, is the book's title not "Writing Literary Fiction"?
The seventh edition, like the sixth, includes more than twenty short stories, most of them by contemporary writers such as Tobias Wolff, Joyce Carol Oates, and Charles Baxter that were also in the sixth edition. The seventh edition's major shortcoming is the dropping of short-shorts. The sixth edition included short-shorts by Margaret Atwood, Elizabeth Tallent, Sandra Cisneros, Julia Alvarez, Mary Robison, Lydia Davis, and Grace Paley among others. (Inspired by the short-shorts in the sixth edition, I wrote five short-shorts, all of which were published in ZYZZYVA literary magazine, Vol XXXIII.2). I found drafting short-shorts a fast-track to teaching myself the basics of fiction-writing craft.
Comparing the contents of this edition with the previous four editions, I see that Burroway has experimented with different chapter sequences. In the fourth, fifth, and sixth editions, plot discussion was placed in chapter 2; in the seventh and eighth editions, plot discussion is relegated to chapter 7. Very well, as the writer "needs to know everything at once" anyway, I can understand this experimentation. My preference is the earlier placement of plot, in chapter 2 -- especially for self-teaching.
In the previous four editions a full chapter was devoted to theme and introduced in the very first chapter as follows: "The process of discovering, choosing, and revealing the theme of your story begins as early as a first freewrite and continues, probably, beyond publication. The theme is what your story is about and what you think about it, its core and the spin you put on it.... Because of this comprehensive nature of theme, I have placed the discussion of it in chapter 10, after each of the individual story elements have been addressed....But this is not entirely satisfactory, since each of those elements contribute to the theme as it unfolds. You may want to skip ahead to take a look at that chapter." Agreed, but why, then, the eighth edition omits the 28-page chapter on theme and instead condenses the topic of theme to a mere 2 pages as part of the chapter on revision?
For teaching yourself to write literary fiction, I recommend: beginning with Burroway's "Imaginative Writing: The Elements of Craft"; next Burroway's "Writing Fiction: A Guide to Narrative Craft"; followed by Sarah Stone and Ron Nyren's "Deepening Fiction: A Practical Guide for Intermediate and Advanced Writers." (See my amazon listmania list "Writing Fiction: Top Ten Books.")
15 of 16 people found the following review helpful.
Beautifully crafted
By Janira
While I purchased this book as a textbook for a graduate writing class, it's already proven to be invaluable. The format, with each chapter focusing on a different element in the writing craft, is orderly and insightful-- but the book is still a cohesive unit. Each chapter builds naturally to form the foundation for the next. The writing exercise ideas are consistently extraordinarily helpful and avoid the typical triteness tripe that you find on the internet-- they're original and thought provoking. Each chapter ends with a few short stories illustrating the chapter's concept, and I've enjoyed reading all of them while gaining practical understanding of how to apply the concepts. There's also an excellent portion on revision which is every writer's bane. Honestly, one of the best books on writing fiction I've ever read.
If there would be a downside is that her writing style can get to be a little bit florid and wordy, an acceptable flaw in such a good book.
11 of 11 people found the following review helpful.
A classic but dated
By E. L Wagner
We used an earlier edition of this book for my creative writing class when I was in college. Since I've been doing a lot of writing lately, I thought I'd pick up a copy of the newest edition. I wanted a broadly focused writing book. I was a bit disappointed, though. Even though it's been through numerous revised editions, it's not terribly different from the one we used in the early 80s. It fails to incorporate current terminology or to mention narrative techniques that are commonplace in today's markets. For instance, there's no mention of limited third point of view, and nothing about deep pov. It would also be nice if there were some more recent works provided as examples of various narrative techniques.
It's still a good book with some useful information for beginners. The information on filtering is still highly relevant (I believe Burroway coined the term) and something more writers should heed. But new copies of this book are rather expensive. There are other books out there that are less expensive and more up to date.
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