New PDF release: A Writer's Guide to Fiction (Writer's Compass)

By Elizabeth Lyon

The second one e-book within the Writer's Compass sequence from specialist writing teacher Elizabeth Lyon bargains either aspiring and demonstrated authors the basics of writing and promoting an outstanding novel or brief tale. as well as the fundamentals of characterization, plot, pacing, and subject, A Writer's advisor to Fiction additionally includes a plan for revising fiction, a consultant to advertising, samples of canopy and question letters, and techniques of honing the writing craft.

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Extra resources for A Writer's Guide to Fiction (Writer's Compass)

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72 The Portuguese poet Fernando Pessoa (1888–1935), himself an Anglophile, embodied this polity more literally than most. In addition to writing poems under his own name, he wrote them under at least seventy-two other names. 73 Like Whitman and Stevenson, Pessoa embraced the plurality of personae harbored within a single individual: Each of us is several, is many, is a profusion of selves. So that the self who disdains his surroundings is not the same as the self who suffers or takes joy in them.

Tolkien, for example, initially intended his tales of Middle-earth to convey nationalist and Christian messages. Despite his professed dislike of allegory, he embedded essentialist convictions in the text of The Lord of the Rings. Yet numerous readers who discussed the book together in fanzines and gatherings arrived at quite different interpretations. As a result, many came to appreciate the provisionality not only of fictional texts, but also of normative interpretations of reality. Public spheres of the imagination often compelled members to acknowledge the constructed dimension of identities as well as the liberating capacity to juggle multiple allegiances.

This is not to say that they didn’t think about or discuss the fictions they read, identify closely with the characters, or find themselves swept away by narratives. 47 But neither in the eighteenth century nor the early nineteenth do we find anything comparable to the sustained obsession with the evidently fantastic character, Sherlock Holmes, a phenomenon that began in the 1890s. For the first time, a fictional character entirely supplanted the author who created him: Holmes was said to be real, Conan Doyle was said to be fictional; scholarly monographs and the first journals devoted exclusively to a fictional L I V I N G I N T H E I M A G I N AT I O N  37  character were published to prove these ironic claims; and associations on both sides of the Atlantic were formed to study the “Sacred Writings” of John H.

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