픽션 소설쓰기에서 허구 소설작가들.The Book of Fiction Writers on Fiction Writing, by Various
뉴가출판사
2020년 03월 23일 출간
(개의 리뷰)
(
0%의 구매자)
- eBook 상품 정보
- 파일 정보 PDF (1.89MB)
- ISBN 9791190690522
- 쪽수 294쪽
- 지원기기 교보eBook App, PC e서재, 리더기, 웹뷰어
-
교보eBook App
듣기(TTS) 가능
TTS 란?텍스트를 음성으로 읽어주는 기술입니다.
- 전자책의 편집 상태에 따라 본문의 흐름과 다르게 텍스트를 읽을 수 있습니다.
- 이미지 형태로 제작된 전자책 (예 : ZIP 파일)은 TTS 기능을 지원하지 않습니다.
PDF 필기가능 (Android, iOS)
이 상품은 배송되지 않는 디지털 상품이며,
교보eBook앱이나 웹뷰어에서 바로 이용가능합니다.
작품소개
이 상품이 속한 분야
픽션 소설쓰기에서 허구 소설작가들.The Book of Fiction Writers on Fiction Writing, by Various
책 끝에 기록된 많은 작가들의 소설을 쓰는 방법에 대해서 질문과 답변으로 구성된 책.
Title: Fiction Writers on Fiction Writing
Advice, opinions and a statement of their own working
methods by more than one hundred authors
Author: Various
Editor: Arthur Sullivant Hoffman
책 끝에 기록된 많은 작가들의 소설을 쓰는 방법에 대해서 질문과 답변으로 구성된 책.
Title: Fiction Writers on Fiction Writing
Advice, opinions and a statement of their own working
methods by more than one hundred authors
Author: Various
Editor: Arthur Sullivant Hoffman
픽션 소설쓰기에서 허구 소설작가들.The Book of Fiction Writers on Fiction Writing, by Various
QUESTIONNAIRE
ANSWERS TO WHICH CONSTITUTE THE BODY OF THIS BOOK
Contents
I. What is the genesis of a story with you―does it grow from an incident, a
character, a trait of character, a situation, setting, a title, or what? That is, what
do you mean by an idea for a story?
II. Do you map it out in advance, or do you start with, say, a character or
situation, and let the story tell itself as you write? Do you write it in pieces to be
joined together, or straightaway as a whole? Is the ending clearly in mind when
you begin? To what extent do you revise?
III. When you read a story to what extent does your imagination reproduce
the story- world of the author―do you actually see in your imagination all the
characters, action and setting just as if you were looking at an actual scene? Do
you actually hear all sounds described, mentioned and inferred, just as if they
were real sounds? Do you taste the flavors in a story, so really that your mouth
literally waters to a pleasant one? How real does your imagination make the smells
in a story you read? Does your imagination reproduce the sense of touch―of
rough or smooth contact, hard or gentle impact or pressure, etc.? Does your
imagination make you feel actual physical pain corresponding, though in a
slighter degree, to pain presented in a story? Of course you get an intelligent
idea from any such mention, but in which of the above cases does your
imagination produce the same results on your senses as do the actual stimuli
themselves?
If you can really "see things with your eyes shut," what limitations? Are the
pictures you see colored or more in black and white? Are details distinct or blurred?
[ pg 8] If you studied geometry, did it give you more trouble than other
mathematics?
Is your response limited to the exact degree to which the author describes
and makes vivid, or will the mere concept set you to reproducing just as vividly?
Do you have stock pictures for, say, a village church or a cowboy, or does
each case produce its individual vision?
Is there any difference in behavior of your imagination when you are reading
stories and when writing them?
Have you ever considered these matters as "tools of your trade"? If so, to
what extent and how do you use them?
IV. When you write do you center your mind on the story itself or do you
constantly have your readers in mind? In revising?
V. Have you had a class- room or correspondence course on writing fiction?
Books on it? To what extent did this help in the elementary stages? Beyond the
elementary stages?
VI. How much of your craft have you learned from reading current authors?
The classics?
VII. What is your general feeling on the value of technique?
VIII. What is most interesting and important to you in your writing―plot,
structure, style, material, setting, character, color, etc.?
IX. What are two or three of the most valuable suggestions you could give to
a beginner? To a practised writer?
X. What is the elemental hold of fiction on the human mind?
XI. Do you prefer writing in the first person or the third? Why?
XII. Do you lose ideas because your imagination travels faster than your
means of recording? Which affords least check―pencil, typewriter or
stenographer?
QUESTIONNAIRE
ANSWERS TO WHICH CONSTITUTE THE BODY OF THIS BOOK
Contents
I. What is the genesis of a story with you―does it grow from an incident, a
character, a trait of character, a situation, setting, a title, or what? That is, what
do you mean by an idea for a story?
II. Do you map it out in advance, or do you start with, say, a character or
situation, and let the story tell itself as you write? Do you write it in pieces to be
joined together, or straightaway as a whole? Is the ending clearly in mind when
you begin? To what extent do you revise?
III. When you read a story to what extent does your imagination reproduce
the story- world of the author―do you actually see in your imagination all the
characters, action and setting just as if you were looking at an actual scene? Do
you actually hear all sounds described, mentioned and inferred, just as if they
were real sounds? Do you taste the flavors in a story, so really that your mouth
literally waters to a pleasant one? How real does your imagination make the smells
in a story you read? Does your imagination reproduce the sense of touch―of
rough or smooth contact, hard or gentle impact or pressure, etc.? Does your
imagination make you feel actual physical pain corresponding, though in a
slighter degree, to pain presented in a story? Of course you get an intelligent
idea from any such mention, but in which of the above cases does your
imagination produce the same results on your senses as do the actual stimuli
themselves?
If you can really "see things with your eyes shut," what limitations? Are the
pictures you see colored or more in black and white? Are details distinct or blurred?
[ pg 8] If you studied geometry, did it give you more trouble than other
mathematics?
Is your response limited to the exact degree to which the author describes
and makes vivid, or will the mere concept set you to reproducing just as vividly?
Do you have stock pictures for, say, a village church or a cowboy, or does
each case produce its individual vision?
Is there any difference in behavior of your imagination when you are reading
stories and when writing them?
Have you ever considered these matters as "tools of your trade"? If so, to
what extent and how do you use them?
IV. When you write do you center your mind on the story itself or do you
constantly have your readers in mind? In revising?
V. Have you had a class- room or correspondence course on writing fiction?
Books on it? To what extent did this help in the elementary stages? Beyond the
elementary stages?
VI. How much of your craft have you learned from reading current authors?
The classics?
VII. What is your general feeling on the value of technique?
VIII. What is most interesting and important to you in your writing―plot,
structure, style, material, setting, character, color, etc.?
IX. What are two or three of the most valuable suggestions you could give to
a beginner? To a practised writer?
X. What is the elemental hold of fiction on the human mind?
XI. Do you prefer writing in the first person or the third? Why?
XII. Do you lose ideas because your imagination travels faster than your
means of recording? Which affords least check―pencil, typewriter or
stenographer?
픽션 소설쓰기에서 허구 소설작가들.The Book of Fiction Writers on Fiction Writing, by Various
책 끝에 기록된 많은 작가들의 소설을 쓰는 방법에 대해서 질문과 답변으로 구성된 책.
Title: Fiction Writers on Fiction Writing
Advice, opinions and a statement of their own working
methods by more than one hundred authors
Author: Various
Editor: Arthur Sullivant Hoffman
픽션 소설쓰기에서 허구 소설작가들.The Book of Fiction Writers on Fiction Writing, by Various
This book is dedicated to the one hundred and sixteen authors who wrote it and
to every author who may profit from their writing.
Authors Whose Replies to the Questionnaire Make Up the Body of This Book:
Bill AdamsSamuel Hopkins AdamsPaul L. AndersonWilliam Ashley AndersonH.
C. BaileyEdwin BalmerRalph Henry BarbourFrederick Orin BartlettNalbro
BartleyKonrad BercoviciFerdinand BerthoudH. H. Birney, Jr.Farnham
BishopAlgernon BlackwoodMax BonterKatharine Holland BrownF. R.
BuckleyProsper BuranelliThompson BurtisGeorge M. A. CainRobert V.
CarrGeorge L. CattonRobert W. ChambersRoy P. ChurchillCarl ClausenCourtney
Ryley CooperArthur CrabbMary Stewart CuttingElmer DavisWilliam Harper
DeanHarris DicksonCaptain DingleLouis DodgePhyllis DuganneJ. Allan
DunnWalter A. DyerWalter Prichard EatonCharles Victor FischerE. O.
FosterArthur O. FrielJ. U. GiesyGeorge GilbertKenneth GilbertLouise Closser
HaleHolworthy HallRichard Matthews HalletWilliam H. HambyA. Judson
HannaJoseph Mills HansonE. E. HarrimanNevil G. HenshawJoseph
HergesheimerRobert HichensR. de S. HornClyde B. HoughEmerson HoughA. S.
M. HutchinsonInez Haynes IrwinWill IrwinCharles Tenney JacksonFrederick J.
JacksonMary JohnstonJohn JosephLloyd KohlerHarold LambSinclair
LewisHapsburg LiebeRomaine H. LowdermilkEugene P. Lyle, Jr.Rose
MacaulayCrittenden MarriottHomer I. McEldowneyRay McGillivrayHelen Topping
MillerThomas Samson MillerAnne Shannon MonroeL. M. MontgomeryFrederick
MooreTalbot MundyKathleen NorrisAnne O'HaganGrant OvertonSir Gilbert
ParkerHugh PendexterClay PerryMichael J. PhillipsWalter B. PitkinE. S.
PladwellLucia Mead PriestEugene Manlove RhodesFrank C. RobertsonRuth
SawyerChester L. SaxbyBarry ScobeeR. T. M. ScottRobert SimpsonArthur D.
Howden SmithTheodore Seixas SolomonsRaymond S. SpearsNorman
SpringerJulian StreetT. S. StriblingBooth TarkingtonW. C. TuttleLucille Van
SlykeAtreus von SchraderT. Von ZiekurschHenry Kitchell WebsterG. A.
WellsWilliam WellsBen Ames WilliamsHonore WillsieH. C. WitwerWilliam Almon
WolffEdgar Young
작가정보
픽션 소설쓰기에서 허구 소설작가들.The Book of Fiction Writers on Fiction Writing, by Various
다수. 영미작가들
이 상품의 총서
Klover리뷰 (0)
Klover리뷰 안내
Klover(Kyobo-lover)는 교보를 애용해 주시는 고객님들이 남겨주신 평점과 감상을 바탕으로, 다양한 정보를 전달하는 교보문고의 리뷰 서비스입니다.
1. 리워드 안내
구매 후 90일 이내에 평점 작성 시 e교환권 100원을 적립해 드립니다.
- - e교환권은 적립일로부터 180일 동안 사용 가능합니다.
- - 리워드는 5,000원 이상 eBook, 오디오북, 동영상에 한해 다운로드 완료 후 리뷰 작성 시 익일 제공됩니다. (2024년 9월 30일부터 적용)
- - 리워드는 한 상품에 최초 1회만 제공됩니다.
- - sam 이용권 구매 상품 / 선물받은 eBook은 리워드 대상에서 제외됩니다.
2. 운영 원칙 안내
Klover리뷰를 통한 리뷰를 작성해 주셔서 감사합니다. 자유로운 의사 표현의 공간인 만큼 타인에 대한 배려를 부탁합니다. 일부 타인의 권리를 침해하거나 불편을 끼치는 것을 방지하기 위해 아래에 해당하는 Klover 리뷰는 별도의 통보 없이 삭제될 수 있습니다.
- 도서나 타인에 대해 근거 없이 비방을 하거나 타인의 명예를 훼손할 수 있는 리뷰
- 도서와 무관한 내용의 리뷰
- 인신공격이나 욕설, 비속어, 혐오 발언이 개재된 리뷰
- 의성어나 의태어 등 내용의 의미가 없는 리뷰
구매 후 리뷰 작성 시, e교환권 100원 적립
문장수집
문장수집 안내
문장수집은 고객님들이 직접 선정한 책의 좋은 문장을 보여 주는 교보문고의 새로운 서비스 입니다. 교보eBook 앱에서 도서 열람 후 문장 하이라이트 하시면 직접 타이핑 하실 필요 없이 보다 편하게 남길 수 있습니다. 마음을 두드린 문장들을 기록하고 좋은 글귀들은 ‘좋아요’ 하여 모아보세요. 도서 문장과 무관한 내용 등록 시 별도 통보없이 삭제될 수 있습니다.
리워드 안내
- 구매 후 90일 이내에 문장 수집 등록 시 e교환권 100원을 적립해 드립니다.
- e교환권은 적립일로부터 180일 동안 사용 가능합니다.
- 리워드는 5,000원 이상 eBook에 한해 다운로드 완료 후 문장수집 등록 시 제공됩니다. (2024년 9월 30일부터 적용)
- 리워드는 한 상품에 최초 1회만 제공됩니다.
- sam 이용권 구매 상품 / 선물받은 eBook / 오디오북·동영상 상품/주문취소/환불 시 리워드 대상에서 제외됩니다.
구매 후 문장수집 작성 시, e교환권 100원 적립
교보eBook 첫 방문을 환영 합니다!
신규가입 혜택 지급이 완료 되었습니다.
바로 사용 가능한 교보e캐시 1,000원 (유효기간 7일)
지금 바로 교보eBook의 다양한 콘텐츠를 이용해 보세요!
