2012 what is fiction ebook

7/29/2019 2012 What is Fiction eBook

1/16

published bypublished bypublished bypublished by http://www.FreelanceWriting.comhttp://www.FreelanceWriting.comhttp://www.FreelanceWriting.comhttp://www.FreelanceWriting.com

Cover design and graphics: (C) Brian Scott


2/16

published b

GettingGettingGettingGettingpublished

LEGAL NOTICE:

The Publisher has strithe creation of this ebwarrant or represent adue to the rapidly cha

While all attempts havthis publication, the Pomissions, or contraryperceived slights of spunintentional.

In practical advice booguarantees of incomecautioned to reply oncircumstances to act aThis book is not intenaccounting or financiaof competent professifield.

We encourage you to s

Copyright Notice.under InternationaTreaties. Any unauprohibited. No parform or by any meaphotocopying, recoretrieval system wiauthor / publisher.

entirety, as long as

For more FREEhttp://www.freel

http://www.FreelanceWriting.co

Started in Fiction WritingStarted in Fiction WritingStarted in Fiction WritingStarted in Fiction Writingby www.FreelanceWriting.com

ed to be as accurate and complete as pook, notwithstanding the fact that he dot any time that the contents within are aging nature of the Internet.

e been made to verify information proviblisher assumes no responsibility for einterpretation of the subject matter hercific persons, peoples, or organizations

ks, like anything else in life, there are nade or improvement of skill. Readers a

heir own judgment about their individucordingly.

ed for use as a source of legal, business,l advice. All readers are advised to seeknals in legal, business, accounting, and

ave or print this book for easy reading.

his book contains material protecl and Federal Copyright Laws andhorized reprint or use of this matof this book may be reproduced ins, electronic or mechanical, inclrding, or by any information storahout express written permission

You may distribute this .pdf eboo

it is not altered.

-books on writing and freelancingncewriting.com/ebooks-for-write

ssible ins notccurate

ded inrors,ein. Anyare

rel

ervicesfinance

ed

rial isany

dingge androm thein its

, visits.php


3/16

published b


Essentially, fiction is n

taking place in time. F

may be quite true, per

A second characteristiwhat happens, but wit

centers around a perso

Finally, most good fict

simply telling a story,

constitutes good fictio

notice what an overw

of recounting the incidthe account. Here is a

My friend went inside

escort for me, and I w

knew that he had faile

time for the evening; s

that I wasn't feeling v

get some rest. He was

him to take me to my

call the next night.

Compare this bare acc

writing from the great



1.

hat is fiction?

arrative and all narrative tells about cha

iction is not necessarily untrue; historic

aps more fully true than history itself.

of fiction is that its chief concern is notwhat happens to somebody. It is narra

nality.

ion is descriptive. Poor writers believe t

without trying to make the reader see t

. Pick up any magazines of confession,

elming percentage of each of its stories

ents without a particle of imagination toexample:

to phone a few more guys in his effort t

ited outside with his "date." When he c

. I figured there was no use in my spoili

I told the two to go ahead without me.

ry well, and that I thought I would go

very happy and polite, but finally I pers

partment, where he left me with a prom

unt of happenings with a truly imagina

writer Robert Louis Stevenson:

nges

l fiction

withive that

at

e action,

nd

onsists

enliven

get an

me out, I

ng his

I said

ome and

aded

ise to

ive bit of


4/16

published b


All three peered cover

enjoying his luck. His

shut, and the other mu

people say, in terrifyin

the gruesome burden.

"He looks as if he coul

The monk shuddered,

the red embers. It was

not any excess of mor

"Come now," said Vill

And beating time with

The first of these pass

makes us see what hap

filled with images, is li

Fiction, then, is of two

second we can call ima

sort completely, and c

fiction should be imagi



ly at the gamester. He did not seem to

outh was a little to a side; one nostril

ch inflated. The black dog was on his ba

nursery metaphor; and he breathed ha

knife him," whispered Tabary, with ro

and turned his face and spread his open

the cold that thus affected Dom Nichola

l sensibility.

n "about this ballade. How does it run s

his hand, he read it aloud to Tabary.

ges tells what happened, whereas the se

pened. The first creates no images; the s

terally imaginative.

sorts: one we can call non-imaginative,

ginative. In this book we will disregard

ncentrate on the second one. For our p

native narrative.

e

early

ck, as

d under

nd eyes.

ands to

s, and

o far?"

cond

econd,

and the

he first

rposes,


5/16

published b


Ima

Short stories, novels,

the writer has created

passages of necessary

writer has learned this

it in his own work, hal

An examination of any

made up of scenes s

Allan Poe's stories; so

great many, as in nove

The intervals between

with the least possible

sometimes with a row

heading; sometimes wi

following day. . ."; "It

street a week later. . .";

passage conveying nec



2.

inative Narrative

nd dramas are all alike in being scenic; t

a series of scenes imaginatively with sho

xposition between scenes. When the fic

elementary law, and has learned how to

f his task toward writing good fiction is

well-written piece of fiction will reveal

metimes one or two as in some of E

etimes several, as in dramas; and somet

ls and most short stories.

scenes are passed over, as we suggested

fusssometimes with a simple skipping

of asterisks; sometimes with a new chap

th a few transitional phrases (such as, "

as three months later that. . ."; "He met he

nd so on); and sometimes with a brief e

essary information.

hat is,

rt

ion

abide by

done.

that it is

gar

imes a

above,

of a line;

er

n the

on the

pository


6/16

published b


In this book we will n

Drama differs from ot

imposed by the physic

principal limitations a

a. Intervals between s

the audience.

b. Necessary explanati

dialogue of the actors

c. The number of scen

be too frequent or too

not hold audiences in t

d. The nature of the sc

the stage; for example:

1) an airplane battl2) nor could psych

of a character

3) nor could storiebetween charact

4) nor could very strouble of scene



3.

Drama

t consider drama separately from other

er forms of fiction only in the limitation

l restrictions of the stage and the theat

e these:

enes are indicated in the program in the

on must appear either in the program o

n the stage.

s must be limited so that scene-shifting

costly, and so that the total number of s

heir seats for more than two or three ho

enes is determined by the physical restri

e could not be presented on the stage

logical changes which do not affect the

which hinge on meaningful looks passe

ers

hort scenes which would not be worth t

shifting

fiction.

s

r. The

hands of

in the

will not

enes will

urs.

ctions of

actions

d

e


7/16

published b


5) nor could storiethink, and so on

Reason and experienc

dramatic material; but

dramatic presentation,

the same as story writi

scenes which the wri



in which animals or very small childre

.

assist a writer in determining if a story

once a writer satisfies the requirements

the methods of playwriting or screenwr

ng or novel writing. All consist of a se

er imaginatively presents.

act or

is

of

iting are

ies of


8/16

published b


Historical

It is not uncommon fo

improbable; in respons

happened!" The fact th

story credible, probabl

opposite is almost alwusually make the poo

happened is almost pr

record it as fiction.

Anything is possible;

a million; lightning do

worthy artifacts. But a

business of the writer is

probable. Historic trut

famous example of kill

final chapter so that th

be emulated. It might

Narrative having histo

narrative having poeti

under certain circumst

concern of the fiction

fiction).

Fiction writing is like

is going to play bridge



4.

Truth and Poetic T

a critic to tell a young writer that his s

e, the young writer cries out, "But it rea

t something really happeneddoes not ma

e, or suitable for good fiction. Indeed, th

ys true: incidents or stories from realrest sort of art. The fact that a thing h

of positive that no writer should attem

accidents do happen; rich uncles do die

s strike villains meditating among the

s the Greek philosopher Aristotle affir

ot to record the possible but, rather, to recor

is one thing; poetic truth another. An a

ing off six people ( one of them by light

e hero may live happily ever after is sho

ave happened, but it probably would no

rical truth tells what actually did happe

truth tells what would probably have

ances. It is the latter narrative that is th

riter (unless he prefers to write historic

laying a game of cards. The writer deci

, poker, hearts, or anything else; he deci

uth

ory is

ly

e the

e

lifes really

t to

nd leave

uins of

s, the

the

thor's

ing ) in a

ld not

t.

;

appened

single

al

des if he

es the


9/16

published b


conditions of play. He

instead of some other.

cannot change the rul

bridge game he cannot

that clubs are worth

according to the condi

Likewise, if a fiction

colonial America, he

Sidewinder missiles to

To do so would make

"improbability on th

If the hero succeeds in

than a helicopter in col

a mountain trail, with

suddenly descends a

creating an improbab

landslide would occur,

Finally, if the bloodthi

heroine, tie them to th

release them after all,

writer portraying suc

improbability. It is p

manner, but it is not p

These three types of

must ever guard agai



is not compelled to play any one of the

But once he has decided on the conditio

s in the middle of the game. In the midd

suddenly decide that deuces outweigh

ore than spades. He must play out the g

ions of the game.

riter decides he wants to write a story a

ust not bring in a U.S. Apache helicopte

help his hero rescue the heroine from th

he writer guilty of what William Arch

external plane."

rescuing the heroine by a more plausibl

onial America, and if he is fleeing with

he villain in close pursuit, and if an av

d erases the villain, the writer is guilt

e event. It is not impossible that such a

but it is excessively improbable.

rsty villain should actually capture the

stake for burning, and then suddenly d

nd let them go free with gifts and blessi

a happy event is guilty of sychologic

ssible that the villain would change in s

obable.

improbability are the ones the fictio

nst.

ames

s, he

le of a

ces, or

me

bout

r with

e villain.

r calls

device

er along

lanche

of

timely

ero and

ecide to

ngsthe

l

ch a

writer


10/16

published b


Impr

In spite of what we ha

circumstances, have a

It is an old saying that

progress of a story, but s

In other words, the r

any kind of game that

conditions the writer s

expects the writer to p

conditions.

Thus, the reader migh

and wife unexpectedly

a story that began wit

The reader might balk

from a radio station tel

paid trip to Paris; but

enough as the prelimi

Indeed, using an impr

renders one of the best

Improbability is ac

impossible. For exam



5.

bability in Fiction

e just learned, improbability may, unde

lace in fiction.

readers will "strain at a gnat of improbab

allow a camel at the very beginning."

ader will go along with the writer, play

he writer wishes under whatever rules

pecifies; but once the game is started, th

lay according to the announced rules an

t shy away at having a story end with a

inheriting a fortune; but he would readil

the couple just having inherited a fort

at a story that ended with an unannoun

ling a woman she had just won an all-e

he reader would accept such a condition

ary condition of a story.

bable situation at the beginning of a sto

starting points for a story.

ceptable in a story when the story is

le, fantasies such as Andersen's fairy tal

certain

ility in the

almost

r

reader

husband

y accept

ne.

ced call

penses-

readily

ry

es, Alice


11/16

published b


in Wonderland, the Ara

impossible, may be im

miracles may happen i

learn to speak, storm

anything else not spec

Improbability is ac

ies in its improbabil

screen contain this typ

incredible encounters,

and vast misunderstan



bian Nights, and so on, which are funda

robable without shocking the reader. T

them, sudden rescues may come, anim

nd lightning may destroy the old witch,

fically bargained for at the beginning m

ceptable when the main charm of the

ties. Many comedies which one sees on

e of improbability. There are impossible

sensational accidents, astonishing strok

dings.

entally

at is,

ls may

or

ay occur.

story

stage or

escapes,

s of luck,


12/16

published b


Chan

Technically, we can de

happening of two relat

same way except that

distinction is more of

coincidencehappen in rcoincidence are justifia

could happen in life, b

set of conditions. Cha

regulate their lives a

according to what will

improbability (of whic

chance and coincidenc

Long ago Aristotl

of chance that seems

murderer who, happen

murdered, was himsel

down and crushing hi

Aristotle doubtless ap

destiny or fate existin

A similarly intense bel

tricky, unity ofWillia

is perfectly satisfying,

only ending that could

Deceiver" exacts the pa



6.

e and Coincidence

fine chanceas "an unexpected and simult

ed events"; and we can define coincidence

hree or more events are involved. Actu

cademic interest. It is true that chancea

al life. Many people say that chance andble in fiction. But fiction is not a picture

t of what would probably happen under

ce plays a part in all lives; but few pe

cording to chance. Most people make

probably happen. Nevertheless, as with

chance and coincidence are only one as

may sometimes have a place in fiction.

mentioned as permitted in tragedy

to imply design. And he told the story

ing to lean against the statue of the man

killed by the statue unexpectedly tumbl

. The accident seems to imply design; a

roved it because of the old Greek belief

superior to the gods themselves.

ief in destiny forms the basis of that nea

Sydney Porter's stories. The "Porter

not because it is a surprise, but because i

possibly have happened. His "Double-D

ttern of Aristotle's illustration mentione

aneous

in the

lly, the

d

of what

a given

ople

plans

pect),

hat kind

of the

he had

ing

nd

in

, almost

ending"

t is the

ed

d above.


13/16

published b


A young man kills ano

from justice; through

foster son of the paren

working itself out. Th

circumstances ( if we o

it is the one ending po

The same thing is true

A weak young man le

takes one branch, has

certain way. Then the

certain other adventur

then the story is again

adventures, and comes

the story is that a man

inevitable end, no mat

destiny lies within hi

idea of an external des

Destiny and chanc

In any event, a story

author wishes to show

Many ofThomas Har

because the author wis

Immanent Will, and is

Joseph Conrad writes

is determined by chan

universe or in his own

Finally, chance is j

circumstances. When



ther young man; the murderer becomes

ne chance after another he finally beco

s of the young man he had slain. Here i

ending is a surprise; but under the

nly believe in the inevitable rightness o

sible.

of another story of Porter's, "Roads of

ving home comes to a branching of the

ertain adventures, and comes by his dea

story is re-started: he takes the other br

es, and comes by his death in the same

re-started: he goes back home, has cert

by his death in the same way. The idea

of a certain character will eventually co

er what he does in the meantime that a

self. This is a progression over the old

iny, but the effect in fiction is the same.

e are close kin. Perhaps they are the sa

ay justifiably use chance or coincidence

that chance (or destiny) governs men's l

dy's novels have coincidence piled on co

hes to show that mankind is the playthi

not the master of his fate. In a similar

an entire novel, Chance, to show that m

e alone, not by anything sane or rationa

nature.

ustifiable in fiction under certain tec

chance complicates the difficulties of th

a refugee

es the

destiny

things)

estiny."

oad. He

th in a

nch, has

ay. And

in

ehind

e to an

an's

reek

e thing.

when the

ives.

incidence

g of the

ay,

n's fate

l in the

nical

author


14/16

published b


and his characters inst

story. If, for example,

prison-camp through

dog chasing a rat unco

reader will accept the

author and for his cha

escape and a guard is c

runs up and bites the

hero escapes, the read

for the writer and for

Despite popular opinio

seldom used nowadays

reasonable regard to p

character, to philosop

surprise only in its ext

evidence of poor struc

the story that leads th

certain thing is happe

the end with the revel

been happening. It is

hardly be forgiven.

Any surprise in a sto

reader the ending he exp



ad of solving them, chance is forgivabl

character has carefully planned to esca

tunnel he has dug under the fence, and

vers the tunnel and reveals it to the gua

hance; it makes matters more difficult f

acter. But if, just as the prisoner is abou

oming to investigate a suspicious noise,

uard's leg, and distracts his attention w

r will balk; the chance has made matters

is character.

7.Surprise

n to the contrary, outright surprise in fi

by great writers. A plot built up with a

obability, to natural law, to consistency

ic necessity, to cause and effect, can usu

ernals, not in the plot itself. Real surpris

ure. Even worse (and dreadfully amate

reader to believe through several page

ing, and then brings the reader up abru

tion that something altogether different

eliberate deception, outright lying. I

y must be a surprise in method. "Giv

cts in a way that he doesn't expect." It is an

in a

e from a

if a small

ds, the

r the

to

the dog

ile the

easier

tion is

y

of

lly

e is clear

rish) is

that a

tly at

has

can

the

cient


15/16

published b


advice, but is good. Pe

give a reader an ending

about the ending in an o

and unexpected endin

coincidence. But the c

it involves only a met

For example, the endi

beginning; it is imposs

tragedy. But the actual

about at the end invol

cup (accidentally?) use

and unexpected. Trag

What would have bee

the play with all the vi

everyone, Opheliaprov

Hamletmarrying, and

Shakespeare does hav

but nobody thinks the

particular plays are gr

Stevenson says that if

begin ending tragicall

not want characters t

characters to act "out

fifths of a story for on

we do not want the la

hero is to rescue the h

unexpected way; if our

himself elected in som



haps it would be better if it were writte

that he has had no reason to expect, but alw

iginal and unexpected way." Actually, the

may sometimes border on chance or

ance or coincidence is not vital in the st

od of ending, not the real ending.

ng ofHamletis destined to be tragic fro

ible that the characters could have avoid

methods by which their deaths are bro

e accidentally exchanged swords and a

d by the Queen. Only the method here i

dy would have arrived somehow, in any

inexcusable would have been a happy e

llains deciding to reform, Hamletforgivi

ed to have been not drowned after all, h

verybody living happily ever afterward

e certain plays ending in such a way, it i

are the greater for such endings. Thes

at in spite of their plots, not because of

a story is going to end tragically, it oug

with its very first sentence. At any rat

undergo sudden conversions; we do n

f character"; we do not want to prepar

kind of ending, and then get the opposi

ws of nature and of probability suspend

roine, he must do it in an original and

hero is to be elected to Congress, he m

original and unexpected way; if our he

: "Never

ys bring

original

ry itself;

the

ed

ght

oisoned

original

event.

ding to

g

r and

.

true;

hem.

ht to

, we do

t want

four-

e kind;

d. If our

st get

o is to


16/16

published b


marry the heiress, he

unexpected way.

In conclusion, two sp

1) Don't have a charac

finding that he has ha

2) Don't kill off a char

the story somehow.

be suspicious of yours

reasons for doing so, b

end.



ust win her hand in some original and

cial don'ts:

er escape from his difficulties by wakin

a dream.

cter at the end just because you have to

henever you feel inclined to kill off a ch

lf. Don't kill him unless you have excell

esides the necessity of bringing the stor

The End

up and

finish

racter,

nt

to an

2012 what is fiction ebook

Documents