Anna Faktorovich – författare

When three of Britain's best-loved and best-selling authors each publish at least two novels with a historical rebellion theme, there might be an interesting pattern worth examining. This is a long overdue study of the previously overlooked rebellion novel genre, with a close look at the works of Sir Walter Scott (Waverly and Rob Roy), Charles Dickens (A Tale of Two Cities and Barnaby Rudge), and Robert Louis Stevenson (Kidnapped and The Young Chevalier). The linguistic and structural formulas that these novels share are presented, along with a comparative study of how these authors individualized the genre to adjust it to their needs. Scott, Dickens and Stevenson were led to the rebellion genre by direct radical interests. They used the tools of political literary propaganda to assist the poor, disenfranchised and peripheral people, with whom they identified and hoped to see free from oppression and poverty.

This book creates a taxonomy for the major bestselling fictional genres: romance (e.g., authors Heyer, Cartland, Woodiwiss and Roberts), religious and inspirational (Corelli and Douglas), mystery and detective (Conan Doyle, Christie and Mankell), and science fiction, horror and fantasy (Wells, Tolkien, Orwell, Niven, King and Rowling). Chapters look at a genre from its roots to its most recent works. The structural patterns in the plot, characters and setting of these genres are then explained.The book also provides a critique of currently popular hyper-formulaic, hack, unliterary writings that have multiplied in recent decades. Special topics such as the publishing oligopoly and the resulting homogeneity among bestselling works and the steady movement from literary to unliterary fiction are also examined.

Introduction to the Attribution of Literature describes the first unbiased and accessible authorship attribution method, and uses it to present the first accurate re-attribution of 311 canonical texts from the 18th century to only 10 ghostwriters, and 323 texts from the 19th century to 11 ghostwriters. For example, the little-known Sir Francis Cowley Burnand is chronologically, stylometrically, and with handwriting analysis, proven to be the ghostwriter behind 55 canonical tested texts, including "Emily Bronte's" Wuthering Heights, "Collins'" Woman in White, "Doyle's" Sherlock Holmes, "Kipling's" Captain Courageous, "Stoker's" Dracula, "Anthony Trollope's" American Senator, "Wells'" Island of Doctor Moreau, "Wilde's" Picture of Dorian Gray, and "Dickens'" Great Expectations. This method applies a combination of 23 to 28 different types of punctuation, parts-of-speech, and lexical linguistic tests. Parts of this book offer extensive statistical evidence in support of why this method’s findings are quantitatively reliable. If preceding attribution methods had been equally reliable; then, they would have also concluded canonical British texts have been overwhelmingly ghostwritten. A section in this book explains the methodological flaws of these preceding attribution approaches, because of which they have incorrectly reaffirmed their canonically-accepted bylines. It includes definitions of central stylometric terminology, and explains how readers can apply the described strategies to their own attribution research at any academic level.

Introduction to the Attribution of Literature describes the first unbiased and accessible authorship attribution method, and uses it to present the first accurate re-attribution of 311 canonical texts from the 18th century to only 10 ghostwriters, and 323 texts from the 19th century to 11 ghostwriters. For example, the little-known Sir Francis Cowley Burnand is chronologically, stylometrically, and with handwriting analysis, proven to be the ghostwriter behind 55 canonical tested texts, including "e;Emily Bronte's"e; Wuthering Heights, "e;Collins'"e; Woman in White, "e;Doyle's"e; Sherlock Holmes, "e;Kipling's"e; Captain Courageous, "e;Stoker's"e; Dracula, "e;Anthony Trollope's"e; American Senator, "e;Wells'"e; Island of Doctor Moreau, "e;Wilde's"e; Picture of Dorian Gray, and "e;Dickens'"e; Great Expectations. This method applies a combination of 23 to 28 different types of punctuation, parts-of-speech, and lexical linguistic tests. Parts of this book offer extensive statistical evidence in support of why this method's findings are quantitatively reliable. If preceding attribution methods had been equally reliable; then, they would have also concluded canonical British texts have been overwhelmingly ghostwritten. A section in this book explains the methodological flaws of these preceding attribution approaches, because of which they have incorrectly reaffirmed their canonically-accepted bylines. It includes definitions of central stylometric terminology, and explains how readers can apply the described strategies to their own attribution research at any academic level.

Introduction to the Attribution of Literature describes the first unbiased and accessible authorship attribution method, and uses it to present the first accurate re-attribution of 311 canonical texts from the 18th century to only 10 ghostwriters, and 323 texts from the 19th century to 11 ghostwriters. For example, the little-known Sir Francis Cowley Burnand is chronologically, stylometrically, and with handwriting analysis, proven to be the ghostwriter behind 55 canonical tested texts, including "e;Emily Bronte's"e; Wuthering Heights, "e;Collins'"e; Woman in White, "e;Doyle's"e; Sherlock Holmes, "e;Kipling's"e; Captain Courageous, "e;Stoker's"e; Dracula, "e;Anthony Trollope's"e; American Senator, "e;Wells'"e; Island of Doctor Moreau, "e;Wilde's"e; Picture of Dorian Gray, and "e;Dickens'"e; Great Expectations. This method applies a combination of 23 to 28 different types of punctuation, parts-of-speech, and lexical linguistic tests. Parts of this book offer extensive statistical evidence in support of why this method's findings are quantitatively reliable. If preceding attribution methods had been equally reliable; then, they would have also concluded canonical British texts have been overwhelmingly ghostwritten. A section in this book explains the methodological flaws of these preceding attribution approaches, because of which they have incorrectly reaffirmed their canonically-accepted bylines. It includes definitions of central stylometric terminology, and explains how readers can apply the described strategies to their own attribution research at any academic level.

Contemporary speculative fiction should be exceeding the literary speculative fiction of past centuries, given the fantastical digital tools that have been placed at writers’ disposal. Instead, publishers have been championing hyper-repetitive formulas and selling them as subgenres. This textbook mines ancient rhetorical guides (from Aristotle to Aquinas to Euclid) and recent creative-writing manuals and literary-theory for advice to arm ambitious writers with the tools to maximize the structural and linguistic quality of their creations. It features advice on developing speculative ideas through innovative methods (not discussed in other guides), such as the open-shut-mechanism, syllogisms, and profiting from logical fallacies. Those who struggle with imagining a fantastic secondary-world will find tricks that help turn sparks into illusions. Writers are advised on how they might design new mythologies, and not merely flights into common realms. Those seeking to profit from selling formulaic science-fiction or fantasies will find directions explaining the structural distinctions between subgenres, and how to capture attention to maximize saleability. Each chapter includes writing exercises, definitions of terms, and information designed for instructors to use this volume as the primary textbook in creative-writing classes at undergraduate or graduate levels.

Contemporary speculative fiction should be exceeding the literary speculative fiction of past centuries, given the fantastical digital tools that have been placed at writers’ disposal. Instead, publishers have been championing hyper-repetitive formulas and selling them as subgenres. This textbook mines ancient rhetorical guides (from Aristotle to Aquinas to Euclid) and recent creative-writing manuals and literary-theory for advice to arm ambitious writers with the tools to maximize the structural and linguistic quality of their creations. It features advice on developing speculative ideas through innovative methods (not discussed in other guides), such as the open-shut-mechanism, syllogisms, and profiting from logical fallacies. Those who struggle with imagining a fantastic secondary-world will find tricks that help turn sparks into illusions. Writers are advised on how they might design new mythologies, and not merely flights into common realms. Those seeking to profit from selling formulaic science-fiction or fantasies will find directions explaining the structural distinctions between subgenres, and how to capture attention to maximize saleability. Each chapter includes writing exercises, definitions of terms, and information designed for instructors to use this volume as the primary textbook in creative-writing classes at undergraduate or graduate levels.