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Introduction | |
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Telling Begins in an Atmosphere of Urgency | |
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Voice: Your Most Powerful Tool | |
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The Writer as Singer | |
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The Importance of Raw Voice | |
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The Voice as an Instrument | |
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Inner Listening | |
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Distilling Voice | |
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Inviting Accidents | |
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Listening to the Voice of Childhood | |
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Public and Private Voices | |
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The Sound of Colloquial Voice | |
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The Chorus of Voice | |
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Who's Speaking?: Voice and Character | |
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Capturing the Inner Critic | |
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Learning to Spot the Imposter | |
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The Writer as Presence | |
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Becoming a Prose Thief | |
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Using the Journal Dangerously | |
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Writing in the Pressure Cooker: Leading Raw Voice into the Story | |
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If | |
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Craft and the Voice of the Story | |
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Going Deeper into the Story: Voice as Composer and Instrumentalist | |
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From Anecdotes to Stories | |
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Catalysts for the Story: Character-, Plot-, and Vision-Driven Stories | |
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Working with Short Forms to Discover Your Story | |
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Point of View | |
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Meeting the First-Person Narrator | |
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Working with Third Person: Discovering a Narrative Persona | |
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Secrets as a Key to Character | |
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Finding Dialogue through Impersonation | |
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Voice and Tone | |
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To Plot or Not to Plot | |
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Gender Bending, Race Switching, and Beyond | |
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Unity: Discovering a Story's Design | |
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Returning to the Pressure Cooker | |
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Revision: Exploding the Myth | |
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The Art of Reading Your Own Fiction | |
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Should Dick Have a Beard?: Meeting Your Editors | |
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Listening for the Story Editor | |
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Listening for the Sentence Editor | |
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The Timing of Revision | |
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How to Surprise Yourself in the Middle of Your Story | |
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Filtering Feedback | |
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When to Rewrite from Scratch | |
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Talking to the Stranger: Another Angle on Revision | |
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Returning to Raw Voice | |
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Voice over the Long Haul | |
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Audacity and Ruthlessness: (De)Constructing a Writer's Life | |
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The Writer as Character | |
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Writing during Hard Times | |
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Some Truths about Truth-Telling | |
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The Importance of Lying | |
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Becoming Your Own Sovereign | |