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Writing for Story (Reference)
 
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Writing for Story (Reference) [Paperback]

Jon Franklin
4.5 out of 5 stars  See all reviews (8 customer reviews)
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Customers buy this book with Telling True Stories: A Nonfiction Writers' Guide from the Nieman Foundation at Harvard University £9.19

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Product details

  • Paperback: 288 pages
  • Publisher: Plume; Reprint edition (3 May 2002)
  • Language English
  • ISBN-10: 0452272955
  • ISBN-13: 978-0452272958
  • Product Dimensions: 20.4 x 13.5 x 2 cm
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Bestsellers Rank: 343,274 in Books (See Top 100 in Books)
  • See Complete Table of Contents

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Jon Franklin
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Review

"All in all, an impressive introduction to a difficult subject, done with disarming candor. Franklin provides concise, no-nonsense tips ... in a lively, easy-to-follow style that's refreshingly free from the usual 'creative writing' jargon. It's a technique that beginning journalists, and even those more experienced, will find especially helpful and revealing. Franklin knows what he's talking about and shares his knowledge with admirable generosity."
--Kirkus Reviews

"Learning to write the short story, always a challenge for budding fiction writers, is for Franklin ... the royal road to success in feature writing today, Thoroughly and methodically, he shows aspiring journalists how to 'nail down' the operative elements of a story--complication/resolution, flashback, foreshadowing, and pace--and, through close analysis of two of his prize-winning features, what to do and in what order to do it ... a sound, fertile book, recommended for attaining effective writing skills."
--Library Journal

Product Description

The new "nonfiction"--the adaptation of storytelling techniques to journalistic articles in the manner of Truman Capote, Tom Wolfe, and John McPhee--is an innovative genre that has been awarded virtually every Pulitzer Prize for literary journalism since 1979. And now Jon Franklin, himself a two-time Pulitzer Prize winner and undisputed master of the great American nonfiction short story, shares the secrets of his success. Franklin shows how to make factual pieces come alive by applying the literary techniques of complication/resolution, flashback, foreshadowing, and pace. He illustrates his points with a close analysis and annotation of two of his most acclaimed stories, so that the reader can see, step-by-step, just how they were created. This lively, easy-to-follow guid combines readability and excitement with the best of expository prose and illuminates the techniques that beginning journalists--and more experienced ones, too--will find immensely helpful:

Stalking the true short story Drafting an effective outline Structuring the rough copy Polishing like a pro and the tips, tools, and techniques that will put your stories on the cutting edge


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Customer Reviews

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3 of 3 people found the following review helpful
By A Customer
Format:Paperback
How to Write books are irresistible to the novice writer: 'Read me and I'll tell you what you need to know to be famous, or at least published.' At first the reader is thrilled when he or she recognizes a kindred spirit in the author, then the reader tries to apply what he or she learned. More often than not the lessons of the book are little more than a collection of the author's war stories. The novice writer suspects that writing is an art form, not subject to the laws of physics. Jon Franklin says: 'No, good short stories have form, structure and behavior patterns that can be analyzed.'

The workaday world of journalism, not academia, honed Franklin's skills. He served his apprenticeship under a quintessential irascible old editor, G. Vern Blasdell. The young Franklin learned his craft by squirming in his seat while awaiting the old man's verdict. Now it's his turn to teach but he's at a disadvantage Blasdell never faced. The reader doesn't work for him and won't oblige by twitching so much as one butt muscle. Franklin must win the reader's attention by the pure utility of his method.

Unlike most writers, Franklin has something in common with good mathematicians. He realizes that a formula can be memorized but if one doesn't understand the assumptions on which the formula is derived, one can never apply the formula successfully. This is as true in writing as it is in mathematics.

Franklin builds his case for formula carefully. He demonstrates the nature of each assumption-a complication must be significant to the human condition; if you can't see the complication, look for the action and work your way back to the motivation, etc. Once the reader understands the assumptions, the formula becomes a useful tool in the hand of the writer, not some abstract theory laid to rust in a forgotten corner of the mind.

Once the reader is hooked, Franklin introduces the outline. More than a butt muscle twitches here; the reader squirms as visions of that Roman numerated nemesis of junior high come to mind. But this is not what Franklin has in mind. Franklin talks of a simple three-word, five-sentence form called the conflict-resolution outline. Character-action verb-direct object, what could be simpler? Diving in and writing first and thinking later, but this would be less productive in the long run.

The conflict-resolution outline forces the writer to think though the elements of good story first and make sure these elements are present before the writing begins. This method means survival for a journalist faced with a deadline. This method insures a more satisfying and successful writing experience for any writer.

Franklin teaches the 'work smarter, not harder' principles of current business practice. The importance of this to writers can not be understated. Ultimately, all writing is business if one wants to be a successful writer. The writer must produce a good product that sells itself to the editor and in turn, the reader; otherwise the writer will be unpaid. In this book, Franklin earned his pay.

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2 of 2 people found the following review helpful
By A Customer
Format:Paperback
Franklin does what may be the best job anywhere of inviting a reader to "get inside a writer's mind." And if you're going to get so intimate with the mental gyrations of an author, why not a two-time Pulitzer Prize winner? Here you will find both award-winning stories, in their "natural state" as well as heavily annotated versions as appendices. But you will also find page after page of sound advice on how to structure, pace, and otherwise "craft" a piece of non-fiction so it has dramatic appeal. While it may seem a bit of a formulaic approach, Franklin offers persuasive rationale for every writing step he outlines. I would highly recommend this book for fiction writers as well as those who are interested in journalistic challenges. While the "inspiration" books, such as Goldberg's "Writing Down the Bones" and Lamotte's "Bird by Bird" are certainly vital for fueling imagination and motivation, Franklin's "Writing for Story" is the necessary complimentary work for putting all those creative forces into an effective structure. Should be a standard reference book for every aspiring (and experienced) author!
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1 of 1 people found the following review helpful
By A Customer
Format:Paperback
Not much to say about "Writing for Story," besides the fact that I divide my writing efforts into two parts: before I read this book, and after. People who want to write well should buy at least three books --a dictionary, "Elements of Style," and "Writing for Story."
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