LEADER 00000cam  2200000 a 4500 
001    ocm85833282 
003    OCoLC 
005    20080917000000.0 
008    070223t20072007nyu      bf   001 0 eng   
010      2007008030 
020    9780393061642|qhardcover 
020    0393061647|qhardcover 
035    (OCoLC)85833282 
040    DLC|beng|cDLC|dYDX|dBAKER|dBTCTA|dNPL|dJED|dYDXCP|dVP@
       |dOMB|dOCLCG|dNOR 
049    GWVA 
050 00 PE1408|b.L31887 2007 
082 00 808/.042|222 
100 1  LaPlante, Alice,|d1958- 
245 14 The making of a story :|ba Norton guide to creative 
       writing /|cAlice LaPlante. 
250    First edition. 
264  1 New York :|bW.W. Norton,|c[2007] 
264  4 |c©2007 
300    677 pages ;|c25 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
504    Includes bibliographical references (pages 647-655) and 
       index. 
505 00 |tAcknowledgments --|gch.1.|tWhat is this thing called 
       creative writing? --|gpt. 1. The|tbasics --|tGetting 
       started --|tReconciling the method with the madness --
       |tSome basic definitions --|tCreative nonfiction : a 
       working definition --|tWriting that is surprising yet 
       convincing --|tResisting paraphrase --|tCreative 
       nonfiction : capturing what has eluded capture --|tOn 
       sentiment and sentimentality --|tOur first job as writers 
       : to notice --|tAvoiding the "writerly" voice --|gpt. 2.
       |tExercises --|tExercise 1 : "I don't know why I 
       remember..." --|tExercise 2 : I am a camera --|gpt. 3.
       |tReading as a writer --|t"On keeping a notebook" /|rJoan 
       Didion ---|t"Emergency" /|rDenis Johnson --|gch. 2. The
       |tsplendid gift of not knowing --|gpt. 1.|tWriting as 
       discovery --|tGetting started --|tWhat do you know? --
       |tCreative nonfiction : making the ordinary extraordinary 
       --|tWriting down what you don't know (about what you know)
       --|tOn rendering, not solving, the mysteries that surround
       us --|tMoving from "triggering" to real subject --
       |tSurprise yourself, interest others --|tObsession as a 
       creative virtue --|gpt. 2.|tExercises --|tExercise 1 : 
       Things I was taught/things I was not taught --|tExercise 2
       : I want to know why --|gpt. 3.|tReading as a writer --
       |t"Where are you going, where have you been?" /|rJoyce 
       Carol Oates --|t"Welcome to cancerland" /|rBarbara 
       Ehrenreich -- 
505 00 |gch. 3.|tDetails, details --|gpt. 1.|tConcrete details as
       the basic building blocks of good creative writing --
       |tGetting started --|tOn thinking small --|tDefining 
       "images" within a literary context --|tImagery that works 
       on two levels --|tOn seeing the general in the particular 
       --|tOn crowding the reader out of his own space --|tDon't 
       lose any of your senses --|tUse of concrete details in 
       creative nonfiction --|tUse and abuse of metaphor --|tWhen
       should you use metaphor? --|tAvoiding the "S" word : 
       banishing conscious symbols from your writing --|tImagery 
       as creative source --|gpt. 2.|tExercises --|tExercise 1 : 
       Harper's Index on a personal level --|tExercise 2 : Render
       a tree, capture the forest --|gpt. 3.|tReading as a writer
       --|g"The|tthings they carried" /|rTim O'Brien --
       |t"Nebraska" /|rRon Hansen -- 
505 00 |gch. 4. The|tshapely story --|gpt. 1.|tDefining the short
       story --|tGetting started --|tSome basic definitions --
       |gThe|tconflict-crisis-resolution model --|tLinear vs. 
       modular stories --|tTo epiphany or not to epiphany? --|tIs
       change necessary? (the debate continues) --|tOn not 
       becoming slaves to theory --|gpt. 2.|tExercises --
       |tExercise 1 : False epiphanies I have had --|tExercise 2 
       : Opportunities not taken --|gpt. 3.|tReading as a writer 
       --|t"What makes a short story?" /|rFrancine Prose --
       |t"Helping" /|rRobert Stone --|gch. 5.|tWhy you need to 
       show and tell --|gpt. 1. The|timportance of narration --
       |tGetting started --|tSome basic definitions --|tWhy "show
       not tell" is such common advice --|gThe|tshow-and-tell 
       balancing act --|tTraditional uses of narration (telling) 
       --|tWhy narration is such an important creative tool --
       |tHow showing and telling complement each other --|tGood 
       intentions, bad advice --|gThe|tshowing-telling continuum 
       --|tShowing and telling in creative nonfiction --|gpt. 2.
       |tExercises --|tExercise 1 : Tell me a story --|tExercise 
       2 : What everyone knows/What I know --|gpt. 3.|tReading as
       a writer --|t"Brownies" /|rZZ Packer --|t"Winner take 
       nothing" /|rBernard Cooper -- 
505 00 |gch. 6.|tWho's telling this story, anyway? --|gpt. 1.
       |tIntroduction to point of view --|tGetting started --
       |tSome basic definitions --|tFirst person --|tWhose story 
       is it? --|tSecond person --|tThird person --|gA|tword 
       about attitude --|tDistance and point of view --|tShifts 
       in narrative distance --|tChoosing a point of view for 
       your creative work --|tPoint of view and creative 
       nonfiction --|tCommon point of view problems --|gpt. 2.
       |tExercises --|tExercise 1 : Change point of view and 
       dance --|tExercise 2 : Using point of view as a way "in" 
       to difficult material --|gpt. 3.|tReading as a writer --
       |g"The|tlady with the little dog" /|rAnton Chekhov --
       |t"Moonrise" /|rPenny Wolfson --|gch. 7.|tHow reliable is 
       this narrator? --|gpt. 1.|tHow point of view affects our 
       understanding of a story --|tGetting started --|tHow we 
       judge the integrity of the stories we hear and read --
       |tFirst person point of view and reliability --|tThird 
       person point of view and reliability --|gpt. 2.|tExercises
       --|tExercise 1 : He said, she said --|tExercise 2 : See 
       what I see, hear what I hear --|gpt. 3.|tReading as a 
       writer --|g"The|tswimmer" /|rJohn Cheever --|gch. 8.|tYou 
       talking to me? --|gpt. 1.|tCrafting effective dialogue --
       |tGetting started --|tWhat dialogue is good for --|tWhat 
       dialogue is not --|gA|tword about attribution --|tFive 
       important tips on dialogue --|tOn subtext --|gA|tword 
       about dialect --|tUsing placeholders --|tDialogue in 
       creative nonfiction --|gpt. 2.|tExercises --|tExercise 1 :
       Nonverbal communication --|tExercise 2 : Them's fighting 
       words --|gpt. 3.|tReading as a writer --|t"Hills like 
       white elephants" /|rErnest Hemingway --|t"Inside the 
       bunker" /|rJohn Sack -- 
505 00 |gch. 9. The|tplot thickens --|gpt. 1.|tFiguring out what 
       happens next --|tGetting started --|tStory vs. plot : some
       basic definitions --|gA|tword about causality --|tRender 
       how - don't try to answer why --|tOn metafiction --
       |tCharacter-based plotting --|tOn conflict --|tAnalyzing 
       plot points --|tAvoiding Scènes à Faire : recognizing 
       clichéd plot twists --|gpt. 2.|tExercises --|tExercise 1 :
       What's behind the door of room 101? --|tExercise 2 : "By 
       the time you read this..." --|gpt. 3.|tReading as a writer
       --|t"Sonny's blues" /|rJames Baldwin --|gch. 10.
       |tRecognizable people --|gpt. 1.|tCreating surprising-yet-
       convincing characters --|tGetting started --|tFlat vs. 
       round characters --|tEschewing the general in favor of the
       particular --|tConsistency as the hobgoblin of characters 
       --|tWays of defining character --|tCharacter and plot --
       |tWants and needs --|tCharacters in relationships --
       |tCharacter in creative nonfiction --|gpt. 2.|tExercises -
       -|tExercise 1 : Emptying pockets --|tExercise 2 : Sins of 
       commissions/Sins of omission --|tExercise 3 : Seven or 
       eight things I know about him/her --|gpt. 3.|tReading as a
       writer --|t"Surrounded by sleep" /|rAkhil Sharma --|t"No 
       name woman" /|rMaxine Hong Kingston -- 
505 00 |gch. 11.|tRaising the curtain --|gpt. 1.|tBeginning your 
       story, novel, or nonfiction piece --|tGetting started --
       |tYour contract with the reader --|tCharacteristics of a 
       good opening --|tUnbalancing acts --|tStarting in the 
       middle --|tBeginning with action --|tOn the nature of 
       suspense --|tBeginning your creative nonfiction piece --
       |gpt. 2.|tExercises --|tExercise 1 :  Give it your best 
       shot --|tExercise 2 : Start in the middle --|tExercise 3 :
       Make them squirm --|gpt. 3.|tReading as a writer --
       |t"People like that are the only people here : canonical 
       babbling in Peed Onk" /|rLorrie Moore --|gch. 12.|tWhat's 
       this creative work really about? --|gpt. 1. The|tart of 
       transferring true emotions onto sensory events --|tGetting
       started --|tMany different answers to the same question --
       |tWriting about what matters --|tTransference : borrowing 
       from Freud --|tWe are made of dust --|gThe|troad to 
       universality --|tBut it's the truth! and other common 
       pleas for clemency --|tCreative nonfiction : on being true
       as well as factual --|tMaking things carry more emotional 
       weight than they logically should --|tTransference and 
       creative nonfiction --|gpt. 2.|tExercises --|tExercise 1 :
       Getting an image to spill its secrets --|tExercise 2 : 
       What I lost --|gpt. 3.|tReading as a writer --|t"Ralph the
       duck" /|rFrederick Busch --|g"The|tknife" /|rRichard 
       Selzer -- 
505 00 |gch. 13.|tLearning to fail better --|gpt. 1.|tOn revision
       --|tGetting started --|tAdvice for writers from writers --
       |tPerfection is our enemy --|gThe|tworkshop method --
       |tUndue influence : a cautionary tale --|gThe
       |tdevelopmental stages of a creative work --|t"Hot spots" 
       and other noteworthy aspects of an early draft --|gAn
       |texercise-based approach to deep revision --|gA|tword 
       about constraints --|gpt. 2.|tExercises --|tAnalytical/
       mechanical exercises --|tCreative exercises --|tResearch-
       based exercises --|tChance-based exercises --|tRevision 
       example : "The company of men" /|rJan Ellison --|gpt. 3.
       |tReading as a writer --|t"Shitty first drafts" /|rAnne 
       Lamott --|g"The|tCarver chronicles" /|rD. T. Max --|g"The
       |tbath" /|rRaymond Carver --|g"A|tsmall, good thing" /
       |rRaymond Carver --|gch. 14.|tGetting beyond facts to 
       truth --|gpt. 1.|tSome final thoughts on creative 
       nonfiction --|tGetting started --|tJust the facts, ma'am -
       -|tRecollections and re-creations --|tEthical 
       considerations --|tSubjectivity vs. objectivity --|gA
       |ttrip of self-discovery --|tTo be in or out of the story?
       --|gpt. 2.|tReading as a writer --|t"Learning to drive" /
       |rKatha Pollitt --|tGlossary--|tBibliography --|tList of 
       stories --|tPermissions --|tIndex. 
650  0 English language|xRhetoric|vHandbooks, manuals, etc. 
650  0 English language|xStyle|vHandbooks, manuals, etc. 
650  0 Creative writing|vHandbooks, manuals, etc. 
650  0 Report writing|vHandbooks, manuals, etc. 
856 41 |3Table of contents only|uhttp://www.loc.gov/catdir/toc/
       ecip0712/2007008030.html 
856 41 |uhttp://www.loc.gov/catdir/toc/ecip0712/2007008030.html 
914    MID.b17299329 
938    Baker & Taylor|bBKTY|c29.95|d22.46|i0393061647|n0006803609
       |sactive 
938    YBP Library Services|bYANK|n2437768 
994    90|bGWV