Weekend Novelist

ISBN-10: 0440505941

ISBN-13: 9780440505945

Edition: N/A

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Description:

During the week Robert J. Ray was a teacher.  On weekends he learned the fiction writer's craft and produced his first novel.  He ended up selling six books in six years.  The same success as a writer can happen to you. His step-by-step program, the same one he uses himself and teaches in his popular fiction-writing class, organizes your writing around the weekends.  Each weekend you work through the basics of character, scene, and plot, the construction of the novel in scenes and chapters, and the actual writing and editing of your book.
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Book details

Publisher: Random House Publishing Group
Publication date: 12/1/1993
Binding: Paperback
Pages: 288
Size: 5.25" wide x 8.00" long x 0.75" tall
Weight: 0.638
Language: English

Robert J. Ray, Ph.D. has written eight novels, five in the Matt Murdock Mystery series. His short fiction has appeared in Tri-Quarterly. Ray teaches writing for the University of Washington's School of Distance Learning. He lives in Seattle. Bret Norrisis the founder of the Norris Literary Agency. He has extensive experience as both a writer and editor of creative manuscripts. He lives in Seattle.

Introductionp. ix
Using This Bookp. xi
Structuring Your Writing Sessionsp. xi
Finding Your Workspace and Writing Timep. xii
Collecting Your Writing Toolsp. xiii
Adding Useful Books to Your Bookshelfp. xiv
Thinking Like a Writerp. xv
Warming Upp. xvi
Mind Mapsp. xvii
Listingp. xvii
Writing Practicep. xvii
Writing with Friendsp. xvii
Reading Aloudp. xviii
Exercisesp. xviii
Managing Your Writingp. xviii
Prepare, Prepare, Preparep. xviii
Freeing Your Unconsciousp. xix
Escaping the Internal Editor: Writing Under the Clockp. xx
Writing to Produce Word Picturesp. xxi
Weekends 1-6: Plotting Your Novelp. 1
No More Corner Bookstorep. 2
The Writing World has Changed, But Plotting Stays the Samep. 2
Plotting Along a Straight Linep. 4
Guidelines for Plotting with a Straight Line Structurep. 6
Exercisesp. 9
The Novel-in-Progress: Trophy Wivesp. 10
Plotting Along the Curvep. 12
Guidelines for Plotting the Quest for Your Protagonistp. 14
Departurep. 14
Initiationp. 16
Returnp. 16
Taking Your Protagonist on the Mythic Journeyp. 16
Getting Help from Other Writersp. 18
A Cage for Santiagop. 18
Escape for Santiagop. 18
Santiago Takes the Questp. 18
Santiago Confronts the Dragonp. 20
Home for Santiagop. 20
Exercisesp. 20
The Novel-in-Progress: Trophy Wivesp. 21
Spinning Your Novel Down the Pagep. 24
After the Sketches, Here Comes the Fireball Prosep. 24
Choices for the Writerp. 25
Image and Actionp. 26
Plan B: Ripping Down the Pagep. 27
Exercisesp. 28
The Novel-in-Progress: Trophy Wivesp. 31
Using the Grid to Play What-Ifp. 34
Weekends 7-14: Sculpting Your Charactersp. 35
Determining What Your Characters Wantp. 36
Understanding Character and Motivep. 37
Developing Characters and Character Rolesp. 37
Finding Motivation for Your Characterp. 39
Building Character Through Discoveryp. 39
Creating a Character Sketchp. 41
Learning by Example: The Stranger in the Roomp. 42
Guidelines for Creating Your Sketchp. 43
Exercisesp. 44
Getting Help from Other Writersp. 45
Writing Back Storyp. 49
Learning by Example: Veronica's Back Storyp. 50
Guidelines for Writing Back Storyp. 52
Chronology for the Protagonistp. 54
Exercisesp. 54
Getting Help from Other Writersp. 55
Writing a Dreamp. 57
Learning by Example: Veronica's Dreamp. 57
Notes on Veronica's Dreamp. 59
Guidelines for Writing a Dreamp. 60
Altering Logical Sequencep. 61
Letting Gop. 62
Exercisesp. 63
Getting Help from Other Writersp. 64
The Novel-in-Progress: Trophy Wivesp. 65
Notes on Paul's Dreamp. 67
Dressing Your Characterp. 68
Learning by Example: Paul Dressingp. 69
Guidelines for Dressing Your Characterp. 71
Getting Help from Other Writersp. 73
Exercisesp. 73
Character Work is Watching Your Characters Handle Weapons, Money, Jewelry, Furniture, Cooking Utensils, Vehicles, and Wardrobe Itemsp. 76
Weekends 15-20: Plotting Your Novel: Plan Bp. 78
Plotting with Sacred Objectsp. 81
Choosing the Perfect Object for Your Novelp. 81
Objects Tell the Story in The Great Gatsbyp. 83
Getting Help from Other Writersp. 87
Bullet from 1945p. 88
A Bullet from 1857p. 89
A Bullet from 2000p. 90
Guidelines for Plotting with Sacred Objectsp. 92
Exercisesp. 95
The Novel-in-Progress: Trophy Wivesp. 95
Plotting with More Than One Protagonistp. 97
Getting Help from Other Writersp. 98
Mini-Guidelines for Working the Double Protagonistp. 100
The Architecture of Ian McEwan's Amsterdamp. 100
Lessons from Amsterdamp. 103
Plotting with More than Two Protagonistsp. 104
Exercisesp. 107
The Novel-in-Progress: Trophy Wivesp. 108
Plotting with the Working Synopsisp. 111
Telling Your Storyp. 111
Using Your Synopsisp. 112
A Synopsis for Cinderella: A Three-Act Structurep. 113
Write the Ending Firstp. 114
Guidelines for Writing Your Synopsisp. 115
p. 116
p. 117
p. 122
Getting Help from Other Writersp. 125
Exercisesp. 127
The Novel-in-Progress: Trophy Wivesp. 128
p. 129
p. 130
p. 130
Weekends 21-28: Writing Scenes and Building the Scene Sequencep. 135
Exploring Reasons to Write Scenesp. 136
Establishing Rhythm in Your Novelp. 137
Noting Key Scenes on Your TV Screenp. 141
Building Scenes and the Scene Sequencep. 142
Constructing a Scene Sequencep. 143
Getting Help from Other Writersp. 148
Ritual of Courtship in Jane Eyrep. 149
Plot and Subplot in the Scene Sequencep. 150
Exercisesp. 152
Writing the First Encounter Scenep. 154
The First Encounter in Leaving Las Vegasp. 156
Getting Help from Other Writersp. 160
Guidelines for Writing Your First Encounter Scenep. 161
Exercisesp. 163
The Novel-in-Progress: Trophy Wivesp. 164
Writing Your Climaxp. 167
Constructing a Chain of Eventsp. 167
Guidelines for Writing Your Climaxp. 168
Exercisesp. 169
The Novel-in-Progress: Trophy Wivesp. 170
Writing Your Midpointp. 175
Seeing Midpoint on the Big Screenp. 176
Getting Help from Other Writersp. 178
Guidelines for Writing Your Midpointp. 179
Exercisesp. 180
The Novel-in-Progress: Trophy Wivesp. 181
Weekends 29-49: Writing Your Rough Draftp. 187
Writing Tips: How to Keep Goingp. 189
Writing Your Rough Draft for Act Onep. 191
Bringing Your Characters Onstagep. 192
Creating a List of Scenes for Act Onep. 193
Sketching the Opening Scenep. 195
Guidelines for Writing Your Act One Rough Draftp. 199
Writing About Placep. 199
Using Diagrams to Probe Subtextp. 200
Exercisesp. 202
The Novel-in-Progress: Trophy Wivesp. 204
Writing Your Rough Draft for Act Twop. 211
Guidelines for Writing Your Rough Draft of Act Twop. 211
Finding Act Twop. 214
Work, Work, Workp. 215
Writing with Powerp. 217
Crossing into Act Threep. 218
Exercisesp. 219
Getting Help from Other Writersp. 221
The Novel-in-Progress: Trophy Wivesp. 222
Writing Your Rough Draft for Act Threep. 229
Sketching the Fate of Your Protagonistp. 230
Getting Help from Other Writersp. 233
Guidelines for Writing Your Rough Draft of Act Threep. 234
Exercisesp. 237
The Novel-in-Progress: Trophy Wivesp. 238
Where to Go From Herep. 241
Weekends 50-52: Tapping the Power of Your Manuscriptp. 242
The Weekend Novelist Writes a Memoirp. 243
Case Study: Writer Ap. 245
The Shape of the Bookp. 247
Exercisesp. 249
Suggested Memoir Readingsp. 249
The Weekend Novelist Rewrites the Novelp. 250
Tips for Rewriting Your Novelp. 252
Nouns, Verbs, Word Pictures, Style, and Operation Ratiop. 253
Exercisesp. 255
The Weekend Novelist Writes a Screenplayp. 256
Part I: Storyp. 257
Squeezing the Story in Trophy Wivesp. 258
Writing the Screenplay: Trophy Wivesp. 260
Exercisesp. 262
Indexp. 263
Table of Contents provided by Ingram. All Rights Reserved.
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