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One form it has been examined in is the literary short story.
McDowell William H. Coles’ McDowell doses readers with literate medicine for the mind and soul, with a distinctive and engrossing work of dramatic fiction that craftily embeds a story of self-discovery within the world of the modern medical profession. It delves into the life and psyche of surgeon Hiram McDowell, a medical professional at the pinnacle […]
Payments are being offered for publication in the Historical Novel Society's magazine, Solander. Many contributors published in Solander have found agents and gone on to further success. Any theme or period is acceptable, and the editor is prepared to read time-slip or alternative history as well as 'straight' historical fiction. All genres will be considered and submissions are not restricted to members, although contributors should read a copy of the magazine first. Membership Details on Website:
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Somewhere in the files of General Mills is a letter from the very-short-story writer Lydia Davis. In it, Davis, who is widely considered one of the most original minds in American fiction today, expresses dismay at the packaging of the frozen peas sold by the company’s subsidiary Cascadian Farm. The letter, like many things that Davis writes, had started out sincere and then turned weird. Details grew overly specific; a narrative, however spare, emerged. “The peas are a dull yellow green, more the color of pea soup than fresh peas and nothing like the actual color of your peas, which are a nice bright dark green,” she wrote. “We have compared your depiction of peas to that of the other frozen peas packages and yours is by far the least appealing. . . . We enjoy your peas and do not want your business to suffer. Please reconsider your art.” Rather than address her complaint, the company sent her a coupon for Green Giant.
In William Faulkner’s short story Barn Burning, loyalty versus righteousness is one of the struggles in the father-son relationship between Abner and his youngest son Sarty....
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The Artillery of Words A new online magazine to showcase budding writers. All submissions are welcome – anything from poems to short stories and fiction to non-fiction. Plays and children's literature are also welcome – the word limit is 1,500. Website:
In the pursuit of achieving the explicit expression of the plot development and themes, the short story writers can opt to assume some details, ignore some details completely or better still, use styles of literature to express themselves (Ford, Para 1).
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Fiction-Writing Tips from Novel & Short Story Writer's Market
Great dialogue in literary fiction serves multiple functions but never detracts from story progress or purpose. Writers who write dialogue well have a special gift that they’ve continually nourished. We can all learn to improve. Here are thoughts to stimulate practice in writing dialogue that complement your literary story writing.
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Character is everything in literary fiction. Not that character replaces plot and setting or theme and meaning, but character intimately relates to all those. Although characters are sometimes categorized as round or flat, every character in fiction must have complexities and uniqueness that may or may not be written on the page. A character that does not need to be fully presented for the story may appear two dimensional, but there should be three dimensions in the creator’s mind. Full character development assures that the author has thought about the story as a unit. Depth of understanding of all characters assures underlying motivations are reasonable, dialogue believable, and logic of action is clear.
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The goal of character creation in fiction is complex, but creating a unique character — one that is not stereotypical — is the essence of great fictional stories. The character will be adopted by the reader, and the characters will drive the momentum of the plot. At the start of character development, there are no restrictions. A character emerges unencumbered. Then that character must be perfected for the plot. The character must be unique, but remain believable and within the boundaries set by the suspension of disbelief all fiction requires. The character must not be stereotypical, yet must feel comfortable to the reader in a familiar way. As a memorable character develops, the reader becomes attached — and admires the character in the same way they would begin to like a new acquaintance as a friend. This reader attachment is often associated with liking the character, but affinity is not absolutely necessary. Respect and/or admiration are also strong attachments for a reader to a character. As the author creates an emerging character, subtle choices and imaginative attributes given to the character must keep within the overall story guidelines set in the contract between author and reader. Subsequently, in revision, scenes, thoughts, actions, conflicts and motivations that do not contribute maximally to the character engaging the reader and driving the plot forward are eliminated, or at least changed.
Historical Fiction Essay (Short Story) - Kiera - Wattpad
To create a character for a reader in a literary story, there are a limited number of things the character can think or do. In a short story, even for the protagonist, there may be only ten to twenty key characterization opportunities. Often, there are fewer. In the novel, with its longer time line and wider range of development from the direct story line, there are more opportunities for a character to show his or her true colors, but ultimately, even these openings are limited. How do authors take key opportunities and make the most of them? First, character development must be reasonable for the story and for the sensibilities of the reader. The actions and thoughts of the character must also be unique, with elements of surprise, so that the actions and traits embed in reader memory. In-scene showing of a character’s actions, thoughts and opinions has more lasting impact than narrative telling. And character development leaves more impression on the reader when in-scene story time predominates over back story or narrator comments on past character action.
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