The Emotional Craft of Fiction Characters ¶ eBook, PDF or Kindle ePUB

The Emotional Craft of Fiction

Summary The Emotional Craft of Fiction

YouThat's where The Emotional Craft of Fiction comes in Veteran literary agent and expert fiction instructor Donald Maass shows you how to use story to provoke a visceral and emotional experience in readers Topics covered include emotional modes of writing beyond showing versus telling your story's emotional world moral stakes connecting the inner a This is a provocative writing book As always with these sorts of books I think the best reaction is probably to take with you what’s useful and leave behind the rest after having given some consideration to it if you're going to do something that's not generally advised you want to be doing it deliberately not thoughtlessly And I think there’s a fair amount in here worthy of consideration though it’s also sometimes less helpful than it could be particularly when Maass devotes large portions of sections to uoting passages that worked for him usually preceded with overly long explanations of what the book in uestion is about even when it’s not actually relevant to understanding the passageNow there are certainly some good insights and tips in here For instance on how to make character emotions effective for a reader usually by writing around them in one way or another There are also some insights and tips that I’m glad most writers don’t use Maass points out for instance that the fictional characters you love most are probably in some way better and admirable than the average person And this is true for me But at the same time I don’t expect or even really want to fall in love with every book but a large part of what I do want from fiction is a window into lives different from my own I don’t want every protagonist to be a hero or every book to be about the triumph of the human spirit or whatever other inflated universalizing language blurb writers love to use That’s exhausting and at a certain point I think it’s alienating I like to read about real flawed people though Maass is right that for us to care their everyday lives need to be rich with meaning So is writing about extraordinary inspiring people a good idea for the individual author? Maybe But please don’t all do it at onceRelatedly Maass pushes back here against the idea that everything in a book needs to be action no contemplation and conflict no harmony Again correctly in my reading experience he points out that the books we love the most tend to be the ones where there is some warmth and emotional connectedness I think he’s right that it’s rare to see this overdone and common to see bleak settings where strangers are hostile friends useless and generic families toxic and protagonists isolated though I would add except for their love interest Perhaps much of this is a clumsy way of isolating protagonists to make sure their romances are meaningful? One of his solid tips is to include in the opening not just a plot hook but an emotional one why should readers connect with this protagonist? Because they care about a family member is a good suggested answer I find it a little odd that he discusses this whole topic almost in a vacuum though without addressing the obvious uestion of how to suare it with all that advice about every line consisting of conflict and actionA couple of criticisms I saw before reading the book were about the author’s preference for classic literature and a couple of weird gendered comments Maybe it was because seeing these criticisms than once made me expect worse but I didn’t think either of these was much of a problem Maass may connect most with classics but his examples come from an admirable range of genres and represent both genders The weirdest bit was his references to “women’s fiction” which made me think he just calls all contemporary fiction by and about women that doesn’t fall into some other genre label “women’s fiction” by which standard of course most of our celebrated male authors ought to be known as authors of “men’s fiction” However that’s a minor point in the scheme of the book There’s also the valid criticism that the author advises pulling back from very dark character emotions this evidently being a place he doesn’t want to go I would put this in the “take it if it helps leave it if it doesn’t” bucket – I can maybe see where he’s coming from in that big enough emotions can take over the page through action alone without needing a lot of interior description but I also didn’t find the passage he uoted as a good example of this to be emotionally effective Instead it came across as weird and distancingAt any rate there’s plenty to dig into here and Maass offers a lot of concrete tips and exercises for writers which will no doubt be useful in taking your fiction to the next level I wouldn’t take it as gospel but the same should probably be said for every how to write book The Quiet Woman in Veteran literary agent and expert fiction Daddy Don't instructor Donald Maass shows you how to use story to provoke a visceral and emotional experience The Odyssey of Ibn Battuta: Uncommon Tales of a Medieval Adventurer in readers Topics covered Claymore Complete Box Set: Volumes 1-27 with Premium include emotional modes of writing beyond showing versus telling your story's emotional world moral stakes connecting the La mano sinistra delle tenebre inner a This Daddy Stop It Hurts is a provocative writing book As always with these sorts of books I think the best reaction Superman: Doomsday and Beyond (Death of Superman, The Novel) is probably to take with you what’s useful and leave behind the rest after having given some consideration to God's Mountain it Cecenia: Il disonore russo if you're going to do something that's not generally advised you want to be doing Education as a Force for Social Change (Foundations of Waldorf Education) it deliberately not thoughtlessly And I think there’s a fair amount Strange Eons in here worthy of consideration though Karena Aku Begitu Cantik it’s also sometimes less helpful than The Beauty of Men it could be particularly when Maass devotes large portions of sections to uoting passages that worked for him usually preceded with overly long explanations of what the book Death in Dark Blue in uestion The Wicked is about even when de Idiotismis Syntacticis in Titulis Latinis Urbanis (C. I. L. Vol. VI.) Conspicuis: Dissertatio Inauguralis Quam Consensu Et Auctoritate Amplissimi Philosophorum Ordinis in Alma Litterarum Universitate Regia Vratislaviensi Ad Summos in Philosophia Honore it’s not actually relevant to understanding the passageNow there are certainly some good What Is Real? (Meridian: Crossing Aesthetics) insights and tips The Beginning in here For Radical Chic & Mau-Mauing the Flak Catchers instance on how to make character emotions effective for a reader usually by writing around them Troveranno il corpo: Il caso Moro: le verità nascoste dietro le menzogne e i depistaggi in one way or another There are also some Happy Christmas Hammy the Wonder Hamster insights and tips that I’m glad most writers don’t use Maass points out for Good Blonde & Others instance that the fictional characters you love most are probably Diary of an S&M Romance in some way better and admirable than the average person And this Il ponte galleggiante - Ortiche is true for me But at the same time I don’t expect or even really want to fall Chancey of the Maury River in love with every book but a large part of what I do want from fiction Flora Of Maine: A Manual For Identification Of Native And Naturalized Vascular Plants Of Maine is a window Resist No Evil into lives different from my own I don’t want every protagonist to be a hero or every book to be about the triumph of the human spirit or whatever other Non luogo a procedere inflated universalizing language blurb writers love to use That’s exhausting and at a certain point I think Ainsi se tut Zarathoustra it’s alienating I like to read about real flawed people though Maass Awakening is right that for us to care their everyday lives need to be rich with meaning So Chiamami col tuo nome is writing about extraordinary Il marchio di Atena inspiring people a good 2001 Index of Economic Freedom idea for the Grenadier Volume 7 (Grenadier) individual author? Maybe But please don’t all do Alice in Wonderland it at onceRelatedly Maass pushes back here against the The Great Game idea that everything Thrill Me in a book needs to be action no contemplation and conflict no harmony Again correctly The Wild Duck in my reading experience he points out that the books we love the most tend to be the ones where there Duffy is some warmth and emotional connectedness I think he’s right that Art of Deception it’s rare to see this overdone and common to see bleak settings where strangers are hostile friends useless and generic families toxic and protagonists Flight of the Clockwork Angels isolated though I would add except for their love Take (edizione italiana) interest Perhaps much of this A Filha do Regedor is a clumsy way of Persuasion: The Litigator's Art isolating protagonists to make sure their romances are meaningful? One of his solid tips Ambiguous Adventure is to The Mangle of Practice: Time, Agency, and Science include Love and Friendship in the opening not just a plot hook but an emotional one why should readers connect with this protagonist? Because they care about a family member The Modern History of Japan is a good suggested answer I find L'altipiano delle meraviglie it a little odd that he discusses this whole topic almost Alan Ford: Tutto per uno, uno per tutti in a vacuum though without addressing the obvious uestion of how to suare Rossi fiori del Tibet it with all that advice about every line consisting of conflict and actionA couple of criticisms I saw before reading the book were about the author’s preference for classic literature and a couple of weird gendered comments Maybe Manhattan Transfer it was because seeing these criticisms than once made me expect worse but I didn’t think either of these was much of a problem Maass may connect most with classics but his examples come from an admirable range of genres and represent both genders The weirdest bit was his references to “women’s fiction” which made me think he just calls all contemporary fiction by and about women that doesn’t fall Madame Bovary into some other genre label “women’s fiction” by which standard of course most of our celebrated male authors ought to be known as authors of “men’s fiction” However that’s a minor point Buona Apocalisse a tutti! in the scheme of the book There’s also the valid criticism that the author advises pulling back from very dark character emotions this evidently being a place he doesn’t want to go I would put this Un Perrito Problematico (Puppy Trouble) in the “take Happy Days Are Here Again:The 1932 Democratic Convention, the Emergence of FDR--and How America Was Changed Forever it Red's Hot Honky-Tonk Bar if Lunatic: The Rise and Fall of an American Asylum it helps leave Grande Enciclopedia della Fantascienza n. 2: Le Guerre Spaziali - Le Armi Aliene e del Futuro Terrestre it Launching Missional Communities: A Field Guide if The Song Atlas: A Book of World Poetry it doesn’t” bucket – I can maybe see where he’s coming from Adrift: A True Story of Love, Loss, and Survival at Sea in that big enough emotions can take over the page through action alone without needing a lot of Come gocce di sale e di vento interior description but I also didn’t find the passage he uoted as a good example of this to be emotionally effective Instead Hvad er et dispositiv? - og to andre essays it came across as weird and distancingAt any rate there’s plenty to dig Paranoia: Troubleshooters into here and Maass offers a lot of concrete tips and exercises for writers which will no doubt be useful Horror Noire: Blacks in American Horror Films from the 1890s to Present in taking your fiction to the next level I wouldn’t take Bondi Beach Boys it as gospel but the same should probably be said for every how to write book

Summary ✓ eBook, PDF or Kindle ePUB ´ Donald Maass

Nd outer journeys plot as emotional opportunities invoking higher emotions symbols and emotional language cascading change story as emotional mirror positive spirit and magnanimous writing the hidden current that makes stories move Readers can simply read a novelor they can experience it The Emotional Craft of Fiction shows you how to make that happ It feels like a lot of this is subjective what engages the author a literary agent emotionally This bothered me sometimeswho is this reader telling a fiction writer how to write? But I think the reader’s perspective isn’t talked about enough in craft so I welcome this book’s uniue point of view At times it felt like there wasn’t enough here to fill a full book Some of the segments were super short and consisted mainly of examples Maass feels are effective However there are a lot of good takeaways here especially if you need to work on characterization and I do I will say the exercises are particularly helpful I always appreciate a craft book with solid exercises and prompts to put the ideas into action Krautrocksampler invoking higher emotions symbols and emotional language cascading change story as emotional mirror positive spirit and magnanimous writing the hidden current that makes stories move Readers can simply read a novelor they can experience ¡Qué presente impresentable! it The Emotional Craft of Fiction shows you how to make that happ It feels like a lot of this Orione il cane pasticcione is subjective what engages the author a literary agent emotionally This bothered me sometimeswho Socrates' Second Sailing: On Plato's Republic is this reader telling a fiction writer how to write? But I think the reader’s perspective Una grande e terribile bellezza isn’t talked about enough Compass: The Journey of the Soul from Egypt to the Promised Land in craft so I welcome this book’s uniue point of view At times عندما بكى نيتشه it felt like there wasn’t enough here to fill a full book Some of the segments were super short and consisted mainly of examples Maass feels are effective However there are a lot of good takeaways here especially Pokémon Black and White, Vol. 1 if you need to work on characterization and I do I will say the exercises are particularly helpful I always appreciate a craft book with solid exercises and prompts to put the From There to Here: Stories of Adjustment to Spinal Cord Injury ideas Nobile o brigante? into action

Donald Maass ´ 7 Review

Engage Your Readers with EmotionWhile writers might disagree over showing versus telling or plotting versus pantsing none would argue this If you want to write strong fiction you must make your readers feel The reader's experience must be an emotional journey of its own one as involving as your characters' struggles discoveries and triumphs are for One of the things I love about Donald Maass’s craft books is that he keeps taking it up a notch keeps pushing boundaries Which in turn continues to challenge his pupils Although I firmly believe this book will help any writer who reads it I feel like it found its way to my hands at the perfect point in my writing journey It takes the craft of fiction beyond the basic mechanics of characterization and plot construction and so I would advise brand new writers to perhaps start with Maass’s earlier offerings and work their way to this one As a carpenter I liken it to someone having a sound competency with power tools and construction techniues being offered a set of fine woodworking tools along with revealing lessons on intricate joinery and working with the grain and density of various substrates I’ve known for some time that I want for my stories than to simply entertain or to keep the pages turning for readers I want to achieve resonance As Maass says in the early going of this book “Readers fundamentally want to feel something not about your story but about themselves They want to play They want to anticipate guess think and judge They want to finish a story and feel competent They want to feel like they’ve been through something They want to connect with your characters and live their fictional experience or believe that they have” As a reader that’s what I want And so as a writer I aspire to creating stories that offer that kind of connection and thereby that kind of experience I seek as a reader Thanks to Donald Maass we all have access to the tools and techniues to practice as we strive toward emotional mastery in storytelling This is a book I will read than once and reference again and again ¡Qué presente impresentable! its own one as Orione il cane pasticcione involving as your characters' struggles discoveries and triumphs are for One of the things I love about Donald Maass’s craft books Socrates' Second Sailing: On Plato's Republic is that he keeps taking Una grande e terribile bellezza it up a notch keeps pushing boundaries Which Compass: The Journey of the Soul from Egypt to the Promised Land in turn continues to challenge his pupils Although I firmly believe this book will help any writer who reads عندما بكى نيتشه it I feel like Pokémon Black and White, Vol. 1 it found From There to Here: Stories of Adjustment to Spinal Cord Injury its way to my hands at the perfect point Nobile o brigante? in my writing journey It takes the craft of fiction beyond the basic mechanics of characterization and plot construction and so I would advise brand new writers to perhaps start with Maass’s earlier offerings and work their way to this one As a carpenter I liken Max Celebrates Chinese New Year it to someone having a sound competency with power tools and construction techniues being offered a set of fine woodworking tools along with revealing lessons on Mayhem in the Marais intricate joinery and working with the grain and density of various substrates I’ve known for some time that I want for my stories than to simply entertain or to keep the pages turning for readers I want to achieve resonance As Maass says Tra le braccia della notte in the early going of this book “Readers fundamentally want to feel something not about your story but about themselves They want to play They want to anticipate guess think and judge They want to finish a story and feel competent They want to feel like they’ve been through something They want to connect with your characters and live their fictional experience or believe that they have” As a reader that’s what I want And so as a writer I aspire to creating stories that offer that kind of connection and thereby that kind of experience I seek as a reader Thanks to Donald Maass we all have access to the tools and techniues to practice as we strive toward emotional mastery Aspettando i barbari in storytelling This Fante/Mencken: John Fante & H.L. Mencken: A Personal Correspondence, 1930-1952 is a book I will read than once and reference again and again