No Experience Necessary Writer's Course

Scott Edelstein

doi:10.5771/9781461660446

No Experience Necessary Writer's Course

1. Edition 1994

No access

doi.org/10.5771/9781461660446
ISBN print: 978-0-8128-8512-5
ISBN online: 978-1-4616-6044-6
Scarborough, Lanham Scarborough, Lanham

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Abstract

A unique stress-free approach for anyone who has ever wanted to write.

Chapter Expand | CollapsePage
1–10 Preface 1–10
- Table of Contents
11–16 Introduction: Why This Book is Special 11–16
17–18 1: Becoming a Writer in Thirty Seconds 17–18
19–21 2: The Ten Biggest Fears About Writing and How to Get Over Them 19–21
22–24 3: The Ten Biggest Myths About Writing 22–24
25–26 4: The Secret to Writing Well 25–26
27–32 5: Getting Started 27–32
- Exercise #1
33–34 6: Why Would Anyone Want to Read What I Write? 33–34
35–37 7: The Fine Arts of Watching and Listening 35–37
38–40 8: Finding Your Ideal Places, Times, and Circumstances for Writing 38–40
41–44 9: Why Do People Write, and Which Reasons are Good Ones? 41–44
- Exercise #2
45–46 10: The Universal vs. the Personal 45–46
47–48 11: What Do I Write About? 47–48
49–49 12: Self as Subject, Others as Subjects 49–49
50–51 13: Locating Material for Your Writing 50–51
52–53 14: Should I Keep a Journal? 52–53
54–56 15: Forgetting What You Learned in School 54–56
- Exercise #3
57–58 16: Where and How Do I Start a Piece of Writing? 57–58
59–60 17: Who Am I Writing For? 59–60
61–64 18: The Censor, the Pessimist, the Nitpicker, and the Obsessive Planner Inside You 61–64
- Exercise #4
65–66 19: The Pros and Cons of Procrastination and Ritual 65–66
67–68 20: Writers' Rhythms 67–68
69–70 21: Writing What You Know and Faking What You Don't 69–70
71–73 22: The Importance of Failure to Good Writing 71–73
- Exercise #5
74–74 23: The Uses and Limits of Catharsis 74–74
75–76 24: Letting Your Writing Find Its Own Way 75–76
77–77 25: The Mysteries of Creativity 77–77
78–81 26: A Short Course in Temporary Insanity 78–81
- Exercise #6
82–83 27: Do I Have to Finish? 82–83
84–85 28: How Important Is Reading to Writing? 84–85
86–99 29: Fifty-Seven Terms You've Always Wanted Defined 86–99
- Exercise #7
100–101 30: Can I Work on More Than One Piece at a Time? 100–101
102–103 31: Reading Your Work Aloud 102–103
104–105 32: Saving Everything You Write 104–105
106–110 33: What Does It Mean to Be Meaningful? 106–110
- Exercise #8
111–112 34: The Proper Use of Salt 111–112
113–114 35: Looking Back on What You've Done 113–114
115–116 36: A Few Unkind but Well-Deserved Words About Literature 115–116
117–118 37: The Importance of Conciseness and Simplicity 117–118
119–120 38: The Importance of Clarity 119–120
121–122 39: Getting Your Readers to Use Their Senses 121–122
123–125 40: Showing vs. Telling 123–125
- Exercise #9
126–127 41: What Does It Mean to Understand a Piece of Writing? 126–127
128–129 42: You Can Pick Your Friends, But You Don't Have to Pick a Style 128–129
130–131 43: Other Things You Don't Have to Pick 130–131
132–133 44: Metaphor and Symbolism 132–133
134–136 45: "Shep Shall Bark No More" 134–136
- Exercise #10
137–138 46: Art vs. Entertainment: Some Useful Words on an Old Debate 137–138
139–140 47: Dreams as Inspiration 139–140
141–143 48: Fantasy and Daydreams as Inspiration 141–143
- Exercise #11
144–145 49: The Seven Major Forms of Creative Writing 144–145
146–147 50: Other Forms of Creative Writing 146–147
148–151 51: How to Say What You Want to Say 148–151
- Exercise #12
152–153 52: Creative Lying 152–153
154–155 53: Active and Passive Language 154–155
156–158 54: Three Tenses and Three Persons 156–158
- Exercise #13
159–160 55: Stream of Consciousness vs. Automatic Writing 159–160
161–163 56: Bisociation 161–163
- Exercise #14
164–166 57: Finding Your Ideal Critic 164–166
167–168 58: How to Spot and Ignore Bad Advice 167–168
169–173 59: Outlining, Netlining, and No Lining at All 169–173
- Exercise #15
174–175 60: What Is a Draft? 174–175
176–178 61: Revising 176–178
179–181 62: The Art of Cutting 179–181
- Exercise #16
182–184 63: Getting Unstuck 182–184
185–186 64: One or More Good Turns 185–186
- Exercise #17
187–188 65: Creative Waiting 187–188
189–192 66: Stereotypes and Anti-Stereotypes 189–192
- Exercise #18
193–194 67: Pace 193–194
195–198 68: Series Pieces 195–198
- Exercise #19
199–200 69: Openings 199–200
201–202 70: Endings 201–202
203–206 71: Titles and Names 203–206
- Exercise #20
207–209 72: Transitions 207–209
- Exercise #21
210–211 73: Composite People, Settings, and Plots 210–211
212–214 74: The Karma Principle 212–214
215–217 75: Word Choice 215–217
218–219 76: How Much or Often Can I Break the Rules? 218–219
220–221 77: When Is a Piece of Writing Finished? 220–221
222–225 78: How Do I Judge My Own Work? 222–225
- Exercise #22
226–226 79: Looking Back Once Again 226–226
227–229 80: The Classic Short Story and Its Variations 227–229
230–232 81: Talking with Your Characters 230–232
233–236 82: Anyone Can Understand Good Poetry 233–236
237–238 83: Daffodils, Gibberish, and Nestor: The Most Common Mistakes in Poetry 237–238
239–239 84: Rhymed vs. Unrhymed Poetry 239–239
240–246 85: Poetic Terms and Techniques 240–246
247–248 86: Tips for Writing Poetry 247–248
249–252 87: Forms of Poetry 249–252
- Exercise #23
253–254 88: A Writer's Library 253–254
255–256 89: "I Can Write Better Than That": Why So Much Trash Gets Published 255–256
257–259 90: The Publishing Establishments 257–259
260–262 91: Writer's Block 260–262
263–264 92: Writing for Children 263–264
265–268 93: Finding a Second Critic 265–268
- Exercise #24
269–275 94: A Do-It-Yourself Writers' Workshop 269–275
276–285 95: Submitting Your Work to Editors 276–285
286–287 96: Writing as a Career 286–287
288–294 97: Vanity Publishing and Other Schemes 288–294
- Exercise #25
295–296 98: Where Do I Go From Here? 295–296
297–301 Additional Writing Exercises 297–301

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