From Sherwood Anderson to Virginia Woolf, this anthology encompasses a rich global and historical mix of the very best works of short fiction and presents them in a way students will find accessible, engaging, and relevant. The book's unique integration of biographical and critical background gives students a more intimate understanding of the works and their authors.Contents:Part I. Introduction. The art of the short story.-- Part II. Stories [A-J]. Chinua Achebe: Dead men's path ; Author's perspective, Achebe: modern Africa as the crossroads of culture -- Sherwood Anderson: Hands ; Author's perspective, Anderson: Words not plot give form to a short story -- Margaret Atwood: Happy endings ; Author's perspective, Atwood: On the Canadian identity -- James Baldwin: Sonny's blues ; Author's perspective, Baldwin: Race and the African-American writer -- Jorge Luis Borges: The garden of forking paths ; Author's perspective, Borges: Literature as experience -- Albert Camus: The guest ; Author's perspective, Camus: Revolution and repression in Algeria -- Raymond Carver: Cathedral ; A small, good thing ; Author's perspective, Carver: Commonplace but precise language -- Willa Cather: Paul's case ; Author's perspective, Cather: Art as the process of simplification -- John Cheever: The swimmer ; Author's perspective, Cheever: Why I write short stories -- Anton Chekhov: The lady with the pet dog ; Misery ; Author's perspective, Chekhov: Natural description and "The center of gravity" -- Kate Chopin: The storm ; The story of an hour ; Author's perspective, Chopin: My writing method -- Sandra Cisneros: Barbie-Q ; Author's perspective, Cisneros: Bilingual style -- Joseph Conrad: The secret sharer ; Author's perspective, Conrad: The condition of art -- Stephen Crane: The open boat ; Author's perspective, Crane: The sinking of the Commodore -- Ralph Ellison: A party down at the square ; Author's perspective, Ellison: Race and fiction -- William Faulkner: Barn burning ; A rose for Emily ; Author's perspective, Faulkner: The human heart in conflict with itself -- F. Scott Fitzgerald: Babylon revisited ; Author's perspective, Fitzgerald: On his own literary aims -- Gustave Flaubert: A simple heart ; Author's perspective, Flaubert: The labor of style -- Gabriel García Marquez: A very old man with enormous wings ; Author's perspective, García Marquez: My beginnings as a writer -- Charlotte Perkins Gilman: The yellow wallpaper ; Author's perspective, Gilman: Why I wrote "The yellow wallpaper" -- Nikolai Gogol: The overcoat ; Author's perspective, Gogol: On realism -- Nadine Gordimer: A company of laughing faces ; Author's perspective, Gordimer: How the short story differs from the novel -- Nathaniel Hawthorne: Young Goodman Brown ; The birthmark ; Author's perspective, Hawthorne: On the public failure of his early stories -- Ernest Hemingway: A clean, well-lighted place ; Author's perspective, Hemingway: One true sentence -- Zora Neale Hurston: Sweat ; Author's perspective, Hurston: Eatonville when you look at it -- Shirley Jackson: The lottery ; Author's perspective, Jackson: The public reception of "The lottery" -- Henry James: The real thing ; Author's perspective, James: The mirror of a consciousness -- Ha Jin: Saboteur ; Author's perspective, Jin: Deciding to write in English -- James Joyce : Araby ; The dead ; Author's perspective, Joyce: Epiphanies. Contents: Part II[ Cont.]. Stories [K-W]. Franz Kafka: Before the law ; The metamorphosis ; Author's perspective, Kafka: Discussing The metamorphosis -- D.H. Lawrence: Odour of Chrysanthemums ; The rocking-horse winner ; Author's perspective, Lawrence: The novel is the bright book of life -- Ursula K. Le Guin: the ones who walk away from Omelas ; Author's perspective, Le Guin: On "The ones who walk away from Omelas" -- Doris Lessing: A woman on a roof ; Author's perspective, Lessing: My beginnings as a writer -- Jack London: To build a fire ; Author's perspective, London: Defending the factuality of "To build a fire" -- Katherine Mansfield: Miss Brill ; The garden-party ; Author's perspective, Mansfield: On "The garden-party" -- Bobbie Ann Mason: Shiloh ; Author's perspective, Mason: Minimalist fiction -- Guy de Maupassant: The necklace ; Author's perspective, Maupassant: The realist method -- Herman Melville: Bartleby, the scrivener : a story of Wall-Street ; Author's perspective, Melville: American literature -- Yukio Mishima: Patriotism ; Author's perspective, Mishima: Physical courage and death -- Alice Munro: How I met my husband ; Author's perspective, Munro: How I write short stories -- Joyce Carol Oates: where are you going, where have you been? ; Author's perspective, Oates: Productivity and the critics -- Flannery O'Connor: A good man is hard to find ; Revelation ; Author's perspective, O'Connor: The element of suspense in "A good man is hard to find" -- Edgar Allan Poe: The fall of the House of Usher ; The Tell-tale heart ; Author's perspective, Poe: The tale and its effect -- Katherine Anne Porter: Flowering Judas ; Author's perspective, Porter: Writing "Flowering Judas" -- Leslie Marmon Silko: The man to send rain clouds ; Author's perspective, Silko: the basis of "The man to send rain clouds" -- Isaac Bashevis singer: Gimpel the Fool ; Author's perspective, Singer: The character of Gimpel -- Leo Tolstoy: The death of Ivan Ilych ; Author's perspective, Tolstoy: The moral responsibility of art -- John Updike: Separating ; Author's perspective, Why write? -- Alice Walker: Everyday use ; Author's perspective, Walker: The Black woman writer in America -- Eudora Welty: Why I live at the P.O. ; Author's perspective, Welty: The plot of the short story -- Edith Wharton: Roman fever ; Author's perspective, Wharton: The subject of short stories -- Virginia Woolf: A haunted house ; Author's perspective, Woolf: Women and fiction. Contents: Part III. Writing. The elements of short fiction -- Writing about fiction -- Critical approaches to literature. Formalist criticism: Light and darkness in "Sonny's Blues" / Michael Clark -- Biographical criticism: Chekhov's attitude to romantic love / Virginia Llewellyn Smith -- Historical criticism: The Argentine context of Borges's fantastic fiction / John King -- Psychological criticism: The father-figure in "The tell-tale heart" / Daniel Hoffman -- Mythological criticism: Myth in Faulkner's "Barn Burning" / Edmond Volpe -- "Sociological criticism: Money and labor in "The rocking-horse winner" / Daniel P. Watkins -- Gender criticism: Gender and pathology in "The yellow wallpaper" / Juliann Fleenor -- Reader-response criticism: An Eskimo "A Rose for Emily" / Stanley Fish -- Deconstructionist criticism: The death of the author / Roland Barthes -- Cultural studies: What is cultural studies? / Makr Bauerlein. Part IV. Glossary of literary terms.

    William Faulkner wrote As I Lay Dying in six weeks. Joyce Carol Oates often cranks out two or three books a year. Stephen King believes first drafts should take no more than three months to complete. So, what's the trick? Novel writing isn't about inspiration. It's about the time, energy, and discipline to see the project to its finish.With 90 Days To Your Novel at your side, now is the time. This inspiring guide will be your push, your deadline, and your spark to finally, without excuses, and in three short months, nail that first draft of your novel.The difference between wanna-be writers and real writers is the difference between talk and work. If you commit to the schedule and the techniques within 90 Days to Your Novel and invest two to three hours a day for twelve weeks, you will complete your book. An outline will appear. Characters will take shape. A plot will emerge. Scenes will come together and form a story worth reading. And then the talking can begin!This helpful guide provides:Instruction that distills the elements of the novel - from crafting your outline to developing intriguing characters and believable plotsStrategies for gaining support from your family and friendsMotivating insights about writing and writers to minimize your inevitable moments of doubtA schedule to keep you in the writing zone and keep you focused, creative, and workingWhether you're writing your first novel or your third, this guide provides the coaching, the planning, and the writerly commiseration to help get your book written.

    The Vein of Gold: A Journey to Your Creative Heart

    What will your adventure be?

    "Slay the Dragon" will help you understand the challenges and offer creative solutions to writing for a medium where the audience not only demands a great story, but to be a driving force within it. Aimed at traditional writers who want to learn interactive narrative as well as game creators who want to tell better, more emotionally involving stories, the book is written by two creative veterans of both Hollywood and "Nerdyhood." Through lively discussions and self-paced-exercises, Bryant and Giglio step you such topics as: the "no-act" structure of video games; writing great game characters; making gameplay emotionally meaningful; and bringing your game world alive.

    What began as simple curiosity led to an unexpected and exciting journey, spanning several years and the breadth of human experience. The result of her interviews is Epiphany, a collection of more than fifty revelations that changed lives forever.Inspiring, thought-provoking, and eye-opening, Epiphany shares deeply intimate stories of people from all walks of life, from public figures like Maya Angelou, Deepak Chopra, Ali MacGraw, and Barry Manilow, to personal acquaintances and lifelong friends, to new contacts made in the most unexpected and serendipitous of circumstances.Whether discovering purpose in life, awakening to new possibilities, or finding a new direction after a catastrophic setback, each person’s epiphany is a gift, providing new insight into these remarkable lives and a window into the universal truths that connect us all.

    In this new edition, author Theodore Cheney offers 39 targeted ways you can improve your writing, including how to:create smooth transitions between paragraphscorrect the invisible faults of inconsistency, incoherence, and imbalanceovercome problems of shifting point of view and styleexpress your ideas clearly by trimming away weak or extra wordsYou'll strengthen existing pieces and every future work by applying the three simple principles--reduce, rearrange, and reword. Once the secrets of revision are yours, you'll be able to follow Hemingway's lead--and get the words right!

    Le Guin as America’s greatest writer of science fiction, they just might have undersold her legacy. It’s hard to look at her vast body of work?novels and stories across multiple genres, poems, translations, essays, speeches, and criticism?and see anything but one of our greatest writers, period.In a series of interviews with David Naimon (Between the Covers), Le Guin discusses craft, aesthetics, and philosophy in her fiction, poetry, and nonfiction respectively. The discussions provide ample advice and guidance for writers of every level, but also give Le Guin a chance to to sound off on some of her favorite subjects: the genre wars, the patriarchy, the natural world, and what, in her opinion, makes for great writing. With excerpts from her own books and those that she looked to for inspiration, this volume is a treat for Le Guin’s longtime readers, a perfect introduction for those first approaching her writing, and a tribute to her incredible life and work.

    The information in this book has turned keystrokes from my fingers, into millions of dollars in sales. Some of the concepts inside have been able to turn a poor man, into a rich man, by simply re-arranging some words on a page. This is an incredibly short book (about 54 pages) that you can read in one sitting. If this book gives you even one tip that increases the performance of your writing....(and keep in mind, writing is a skill you will keep your whole life)....then this will be a fantastic investment for yourself. This information is laid out in the same way I made my famous KopywritingKourse. The structure of that course just naturally taught people how to write better in a logical and fun way. This book is in the same format, except you can go over it anywhere (although watch the video KopywritingKourse for live examples). I invite you to spend 45 minutes with me reading this book. STEP 1.) Grab a beverage of your choice. I prefer a beer or tea when reading. STEP 2.) Grab a notepad and pen before starting (for notes) STEP 3.) Find a very comfortable place to sit and read this book. STEP 4.) Begin absorbing these mind-hacks and formulas laid out in the book....and apply them to your own writing. Enjoy the book, and please contact me if you have any questions before buying!Neville Medhora :: NevMed@gmail.com :: 713.301.1546

    But so may the thought of finishing, showing, or even selling their work. It is in this "artistic anxiety" that creative blocks begin.With an understanding that could only be gained through years of experience in counseling artists, writers, and performers, Eric Maisel, Ph.D. discusses each stage of creation-wishing, choosing, starting, working, completing, selling--and the anxieties particular to each. He then shows how these inhibiting tensions can be turned to artistic advantages, how truth and beauty arrive in the work of art precisely because, and only when, anxiety has been understood, embraced, and resolved.Fearless Creating guides the reader, whether an experienced artist or someone just starting out, past the pitfalls that appear in each stage of the process. By following Dr. Maisel's exercises related both to the world at hand and the ongoing struggles of artistic life, readers will emerge from this book with a completed work of art and a new perspective on their potential to be a fearless creator.

    In the course of unpacking some of her own stories—of her mother and her decline from memory loss, of a trip to Iceland, of an illness—Solnit revisits fairytales and entertains other stories: about arctic explorers, Che Guevara among the leper colonies, and Mary Shelley’s Dr. Frankenstein, about warmth and coldness, pain and kindness, decay and transformation, making art and making self. Woven together, these stories create a map which charts the boundaries and territories of storytelling, reframing who each of us is and how we might tell our story.

    But what if you had an attention-grabbing answer that left your audience wanting more? It’s not only possible, it’s simple if you have the right tools.Story consultant Jordan Smith has helped countless storytellers strengthen and pitch their stories. His tool of choice is the logline, a technique for selling screenplays that is little known outside of Hollywood. Jordan has adapted this powerful tool and made it accessible to all storytellers.Not only is a logline useful for answering that frightening question, it’s also handy for keeping your story on track. If you don’t know the core of your story, you run the risk of meandering it into places where it doesn’t belong. With these techniques, you can solve story problems early before they cause you trouble.Inside this book, you’ll find:The Quick-Start Logline Chapter to get you going right awayExercises to build your logline skills one step at a time- The four fundamental logline rules- Useful chapters to dig deeper and handle special cases- More examples than you can shake a stick at- And more! Whether you write novels, movies, comic books, songs, or even operas, this book is for you. Every storyteller should be able to say in one sentence what his story is about. Finding the Core of Your Story will help you learn to do just that.

    Includes writing exercises and advice. A Hugo and Locus award winner.

    With so many books, articles, and Web sites vying for our attention, we must choose wisely. But what does that actually look like? In Writers to Read, Douglas Wilson—someone who’s spent a career writing, reading, and teaching others to do the same—introduces readers to nine great authors whose work deserves to be read. Whether it’s G. K. Chesterton, C. S. Lewis, or Robert Capon, the well-known and less-known authors Wilson examines are all masters of creative writing and worthy of study and enjoyment. Those looking to become better writers or better readers will find this book to be an invaluable guide for wisely selecting their literary mentors.

    The Portable MFA gives you all of the essential information you would learn in the MFA program in one book. Covering fiction, memoirs, personal essays, magazine articles, poetry, and playwriting, this book provides you with:Inspiration and tips on revision, stamina, and productivityClear instruction on the craft behind the artDetailed reading lists to expand your literary horizonsExercises to improve your writing endeavorsBy heeding the advice in The Portable MFA, you will gain the wisdom and experience of some of today's greatest teachers, all for just the price of a book.