William Foster Harris – författare
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2 produkter
2 produkter
E-bok
Engelska, 2024104 kr
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William Foster-Harris, along with Walter S. Campbell and Dwight V. Swain, created one of the most effective writer-training courses of all time. Their goal was to speed the progress of student-writers and shorten the time of study needed before becoming professional at their craft.The list of top-flight authors trained by Campbell and Harris includes, among others: Louis L'Amour, Mary Higgins Clark, Fred Grove, Tony Hillerman, Bill Gulick, William R. Scott, Ed Montgomery, Neal Barrett, and Bill Burchardt.While Campbell emphasized students take an analytical approach to learning their craft by studying published works, Harris did not analyze scenes, settings and characterizations as did Vestal. Instead, he was concerned mostly with the overall effect of the plot and how to achieve it.Once a student had completed the initial courses under Campbell, Harris took over to hone the skills of would-be fictioneers. His lab-type classes were weekly in-person interviews. He required the student to write one new 5,000-word short story each week, and Foster would then critique it. After the first week, the student would have several stories in the rewrite process together with each new one. When Foster deemed one to be ready, the student would submit it to the market of their choice — and if it sold, that brought a better mark from Foster.Plotting, which many beginners find the bugaboo of writing, Professor Harris considered no problem at all. "e;The way to catch a plot,"e; he explains, "e;is the way to catch a woman. Pretend not to be interested."e; The student who complains that it is impossible to find a new plot because all the plots have been used, he told, "e;You don't need a new plot. Just put a little parsley on the same old dish!"e;Dwight V. Swain joined the program in 1952. His contribution was through his experience in film scriptwriting, as well as extensive published work in pulp fiction. He expanded and simplified the Scene as both a building block and intrinsic glue for all stories - well beyond Campbell and Harris' foundation. Learn from Foster-Harris:the core equations for all plotsachieving the synthesis of writer, reader, and main character to make the story succeedcombining feeling and fact with each sentence to engage the reader with the story's movement through timefitting your story character to the story problem and vice-versadeveloping conflict within the character to make them real and humanthe four parts to the correct short storyuse of tags, pointers, and plants to define characters and move plot alongthe use of linked scenes to involve the reader into a single continuing experiencebuilding a short story into a novelette, and into a novel - and when you shouldn'tfive routine revisions and rewrites necessary to polish the first draftLearn from Dwight Swain:what three things are needed to develop a good novelthe first two items found at the start of any commercially successful novelthe three elements of any scenethe three elements of any scene's sequelhow moving copy requires interlocking motivation-reaction unitswhy you develop contrasting characters in your novelsthe three wishes and four desires all characters wantthe four tests for every scene and chapter in your novelGet Your Copy Now.
E-bok
Engelska, 2025128 kr
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The problem with really making a living from writing is - it takes a long time to get there from nowhere.The average writer spends decades learning their craft. All through lots of writing and hard-won experience. Because there aren't any effective courses which shorten that learning curve.In 1938, Oklahoma's first Rhodes scholar was persuaded to start just such a course. His name was Walter S. Campbell. And his course wasn't a degree course. It was only for freelance writers wanting to learn and improve their craft.For the next 20 years, his course produced professional writers who started selling their stories before they finished their training. The vast bulk of them became publishing professionals from there on out. In this short period, their thousands of students turned out literally millions in royalties, untold numbers of magazine articles and stories, hundreds of books, and some were even made into movies.Some of their most notable graduates include Louis L'Amour, Mary Higgins Clark, Fred Grove, Tony Hillerman, Bill Gulick, William R. Scott, Ed Montgomery, Neal Barrett, and Bill Burchardt. Among the best-known movies are "e;The Hallelujah Trail,"e; "e;Onionhead,"e; "e;Hondo,"e; and "e;Bend of the River."e; Even the hit musical/movie "e;Oklahoma!"e; had its roots in a story from one of Campbell's course graduates.No other course, past or present, achieved comparable success. Worldwide, this course stood alone.What made the most effective writing course in known history that successful - and whatever happened to the most effective writing course in known history?The first clue we have is that 5 of the 6 textbooks they used over their heyday are no longer in print.What distinguished those books?Campbell and Harris re-introduced concepts that were known throughout literary history as common practices used to create popular stories.They recognized that those practices were common to all types of writing, not just fiction novels.Stories, articles, and all writing types were considered best written to be experienced as a single contiguous flow of creative continuity.The premise Campbell found and taught was that all the books we have in our libraries, as well as the new ones released every year, are themselves based on ancient models and patterns. Ones which were themselves based on human nature and our limited capacity to truly understand Nature.Campbell understood that if there were a magic secret to successful writing, the fastest results come from students doing these actions:to write continually, regularly,to study carefully the specific market where he wanted to write in order to gauge what that market would buy,to study the works of the continuing top-selling masters in each market area, learning their techniques but not copying their writing style – and beyond all,writing only about subjects which interested him greatly and involved him emotionally.And he proved his approach over 20 years - nearly 90 years ago.This book wades through long out-of-print texts to return Campbell's methods - and forgotten bestseller secrets - back into our modern age.If you're tired of spinning your wheels and want to launch your professional writing career faster, this is your book.