Preface to the Indtractor |
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INVITATION TO THE WRITER |
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xxii | |
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xxiii | |
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xxiii | |
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xxiv | |
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xxvii | |
PART I THE ELEMENTS OF CRAFT |
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3 | (34) |
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3 | (4) |
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Concrete, Significant Details |
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7 | (4) |
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11 | (4) |
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15 | (22) |
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15 | (5) |
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15 | (1) |
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16 | (4) |
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20 | (6) |
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20 | (6) |
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26 | (4) |
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26 | (1) |
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27 | (1) |
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28 | (1) |
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29 | (1) |
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30 | (20) |
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30 | (7) |
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37 | (42) |
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38 | (1) |
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39 | (3) |
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42 | (2) |
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44 | (6) |
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50 | (29) |
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50 | (8) |
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"Beauty: When the Other Dancer is the Self' |
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50 | (6) |
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"A Note About Allen Tate" |
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56 | (2) |
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58 | (10) |
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58 | (10) |
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68 | (6) |
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68 | (1) |
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69 | (1) |
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"Kong Looks Back on His Tryout With the Bears" |
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70 | (1) |
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71 | (1) |
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72 | (2) |
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74 | (19) |
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74 | (5) |
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79 | (52) |
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80 | (2) |
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82 | (1) |
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83 | (4) |
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87 | (2) |
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89 | (1) |
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As Presented by the Author |
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90 | (1) |
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91 | (1) |
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Stock and Flat Characters |
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92 | (1) |
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93 | (38) |
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93 | (7) |
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"The Inheritance of Tools" |
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93 | (7) |
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100 | (17) |
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"Interpreter of Maladies" |
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100 | (17) |
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117 | (5) |
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117 | (1) |
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118 | (1) |
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119 | (1) |
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120 | (1) |
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"Life Cycle of Common Man" |
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121 | (1) |
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122 | (21) |
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122 | (9) |
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131 | (32) |
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132 | (4) |
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136 | (3) |
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139 | (2) |
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141 | (2) |
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143 | (20) |
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143 | (3) |
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143 | (2) |
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145 | (1) |
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146 | (3) |
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146 | (3) |
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149 | (4) |
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"At Navajo Monument Valley Tribal school" |
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149 | (1) |
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"Earthmoving Malediction" |
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150 | (1) |
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151 | (1) |
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152 | (1) |
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153 | (20) |
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153 | (10) |
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163 | (44) |
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163 | (2) |
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165 | (3) |
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As Connection and Disconnection |
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168 | (5) |
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173 | (34) |
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173 | (3) |
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173 | (3) |
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176 | (15) |
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176 | (7) |
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183 | (8) |
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191 | (5) |
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191 | (1) |
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"Columbine High School/Littleton, CO" |
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192 | (1) |
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193 | (1) |
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194 | (1) |
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195 | (1) |
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196 | (26) |
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The Battle of Bull Run Always Makes Me Cry |
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196 | (11) |
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CHAPTER 6 DEVELOPMENT AND REVISION |
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207 | (30) |
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208 | (2) |
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210 | (3) |
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213 | (1) |
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214 | (4) |
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218 | (2) |
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220 | (2) |
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222 | (15) |
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Elizabeth Bishop: First and final drafts of "One Art" |
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222 | (3) |
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Janet Burroway: The Opening of Indian Dancer: A Revision Narrative |
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225 | (6) |
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James Kimbrell: Growing "Four Tangerines" |
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231 | (6) |
PART II THE GENRES |
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CHAPTER 7 CREATIVE NONFICTION |
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237 | (36) |
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The Essay and Creative Nonfiction |
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237 | (1) |
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Memoir and the Personal Essay |
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238 | (3) |
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Techniques of Creative Nonfiction |
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241 | (5) |
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246 | (3) |
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249 | (24) |
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249 | (3) |
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"Do He Have Your Number, Mr. Jeffrey?" |
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252 | (9) |
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261 | (1) |
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262 | (7) |
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Creative Nonfiction Format |
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269 | (4) |
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273 | (36) |
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273 | (4) |
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277 | (3) |
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280 | (2) |
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282 | (2) |
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284 | (25) |
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284 | (9) |
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293 | (3) |
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"A Clean, Well-lighted Place" |
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296 | (4) |
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300 | (4) |
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304 | (5) |
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309 | (28) |
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Free Verse and Formal Verse |
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310 | (2) |
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Imagery, Connotation, and Metaphor |
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312 | (3) |
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315 | (5) |
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Prosody, -Rhythm, and Rhyme |
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320 | (6) |
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326 | (7) |
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326 | (1) |
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326 | (1) |
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327 | (1) |
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328 | (1) |
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"Black Silhouettes of Shrimpers" |
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329 | (1) |
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330 | (1) |
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"The Language of the Brag" |
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331 | (1) |
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332 | (1) |
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333 | (4) |
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337 | (38) |
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The Difference Between Drama and Fiction |
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337 | (3) |
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Sight: Sets, Action, Costumes, Props |
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340 | (3) |
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Sound: Verbal and Nonverbal |
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343 | (5) |
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Some Notes on Screenwriting |
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348 | (2) |
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350 | (19) |
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350 | (6) |
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356 | (4) |
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360 | (4) |
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364 | (5) |
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369 | (6) |
APPENDIX A Basic Prosody |
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375 | (8) |
Glossary |
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383 | (9) |
Credits |
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392 | (4) |
Index |
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396 | |