ورود به حساب

نام کاربری گذرواژه

گذرواژه را فراموش کردید؟ کلیک کنید

حساب کاربری ندارید؟ ساخت حساب

ساخت حساب کاربری

نام نام کاربری ایمیل شماره موبایل گذرواژه

برای ارتباط با ما می توانید از طریق شماره موبایل زیر از طریق تماس و پیامک با ما در ارتباط باشید


09117307688
09117179751

در صورت عدم پاسخ گویی از طریق پیامک با پشتیبان در ارتباط باشید

دسترسی نامحدود

برای کاربرانی که ثبت نام کرده اند

ضمانت بازگشت وجه

درصورت عدم همخوانی توضیحات با کتاب

پشتیبانی

از ساعت 7 صبح تا 10 شب

دانلود کتاب Revising Fiction: A Handbook for Writers

دانلود کتاب تجدید نظر در ادبیات داستانی: کتابی برای نویسندگان

Revising Fiction: A Handbook for Writers

مشخصات کتاب

Revising Fiction: A Handbook for Writers

ویرایش:  
نویسندگان:   
سری:  
ISBN (شابک) : 0452260884, 9780452260887 
ناشر: Plume 
سال نشر: 1988 
تعداد صفحات: 338 
زبان: English  
فرمت فایل : PDF (درصورت درخواست کاربر به PDF، EPUB یا AZW3 تبدیل می شود) 
حجم فایل: 6 مگابایت 

قیمت کتاب (تومان) : 60,000



ثبت امتیاز به این کتاب

میانگین امتیاز به این کتاب :
       تعداد امتیاز دهندگان : 18


در صورت تبدیل فایل کتاب Revising Fiction: A Handbook for Writers به فرمت های PDF، EPUB، AZW3، MOBI و یا DJVU می توانید به پشتیبان اطلاع دهید تا فایل مورد نظر را تبدیل نمایند.

توجه داشته باشید کتاب تجدید نظر در ادبیات داستانی: کتابی برای نویسندگان نسخه زبان اصلی می باشد و کتاب ترجمه شده به فارسی نمی باشد. وبسایت اینترنشنال لایبرری ارائه دهنده کتاب های زبان اصلی می باشد و هیچ گونه کتاب ترجمه شده یا نوشته شده به فارسی را ارائه نمی دهد.


توضیحاتی درمورد کتاب به خارجی



فهرست مطالب

Cover......Page 0
Copyright page......Page 6
Acknowledgments......Page 9
Contents......Page 11
The Uses of This Handbook......Page 19
Introduction: Revision Is an Act of the Technical Imagination......Page 23
What Are the Sources of Ideas?......Page 27
What Happens in the First Draft?......Page 28
What Is the Role of the Imagination?......Page 30
What are the Stages a Writer Goes Through in His Mastery of Revision?......Page 31
1 Considering the experience you want the reader to have in this story, have you used a point of view that is ineffective?......Page 35
2 If you have used the omniscient point of view, have you realized all its potentials?......Page 36
3 If you have used the first-person point of view, have you realized all its potentials?......Page 39
4 If you have used the third-person, central-intelligence point of view, have you realized all its potentials?......Page 43
5 Have you used the device of interior monolog ineffectively?......Page 45
6 Have you used the device of dramatic monolog ineffectively?......Page 46
7 What are the negative effects in style of the point-of-view technique you employed in your first draft?......Page 48
8 Have you failed to imagine other point-of-view techniques and their possible effects on the reader?......Page 49
9 Have you ineffectively mingled several points of view at once?......Page 51
10 Have you not yet achieved the proper distance between yourself and your material?......Page 54
11 Do passages that reflect your own biases or judgments intrude?......Page 56
12 Are there inconsistencies in your use of point of view?......Page 58
13 Does the point of view you have used fail to express, in itself some major aspect of the experience you are rendering?......Page 59
14 Has your style evolved out of the point of view for this story?......Page 62
15 Considering your overall conception, is your style inappropriately simple or complex?......Page 64
17 Does your style generally lack a sense of immediacy?......Page 67
19 Have you failed to make your style as clear, concrete, and simple as the various contexts demand?......Page 68
20 Is your style literal more often than it is suggestive?......Page 69
21 Do you tell your reader when to show would be more effective?......Page 70
22 Do you neglect to prepare contexts that will enable you to use the device of implication?......Page 72
23 Do you fail to use the device of implication?......Page 73
24 Are your verbs passive, as opposed to active?......Page 76
25 Have you neglected to use impingement as a device for giving your style a sense of action?......Page 77
27 Have you failed to use repetition as a device for emphasis?......Page 79
29 Are your sentences monotonous in structure for lack of such rhetorical devices as parallelism?......Page 81
30 Have you used parenthetical phrasing ineptly?......Page 82
31 Do you fail to use the question device where it might be effective?......Page 84
32 Have you created ineffective phrases that may be refined into key phrases?......Page 85
33 Is your style overloaded with inappropriately formal phrases?......Page 87
34 Have you failed to make each sentence (or sentence fragment) a carefully crafted unit?......Page 88
35 Do you neglect to play short sentences and long sentences off each other and vary the length of paragraphs to achieve rhythm?......Page 89
36 Is your style burdened with empty words and phrases?......Page 91
37 Do clichés dull your style?......Page 92
38 Does your style lack a play on words?......Page 94
39 Is your syntax awkward or contorted?......Page 95
40 Have you used adjectives and adverbs indiscriminately?......Page 96
41 Do you use too many vague pronouns?......Page 97
42 Do you use too many mechanical conjunctions or connectives?......Page 98
43 Do you dull your style in your frequency and use of prepositions?......Page 100
44 Have you committed grammatical errors?......Page 101
45 Are the verb tenses inconsistent?......Page 102
46 Does your use of punctuation fail to serve a conscious and controlled effect?......Page 103
47 Have you used a singular where a plural would be more effective?......Page 105
49 Have you drifted too early into lyrical passages?......Page 106
50 Are parts of your story overwritten?......Page 107
51 Are parts of your story underwritten in the negative sense?......Page 110
52 Do you overindulge in abstract statements?......Page 112
53 Is the tone of your style inappropriate?......Page 114
55 Does your diction seem unconsidered?......Page 115
56 Do your characters evolve out of point of view and style?......Page 117
57 Does your protagonist fail to grow, experience changes in attitude and fortune?......Page 119
58 Does the protagonist fail to affect other characters?......Page 120
59 Are any characters not explored fully enough?......Page 121
60 Are any minor characters overdeveloped?......Page 123
61 Are the relationships among the characters unclear?......Page 125
62 Do you need to clarify the underlying motives of your characters?......Page 126
63 Do you present characters too much through description and commentary?......Page 128
65 Do you need to change the functions of certain characters?......Page 129
66 Do you need to combine two or more characters into one?......Page 131
68 Are you inconsistent in the presentation of your characters?......Page 132
69 Have you taken enough care in the selection of names for your characters?......Page 133
70 Does your story need one or more new characters?......Page 135
71 Have you given readers the wrong impression about any of your characters?......Page 136
72 Is the plot inadequately developed?......Page 138
74 Are there flaws in the structure?......Page 140
75 Have you presented the narrative line too mechanically?......Page 142
76 Have you made chapter divisions too mechanically?......Page 143
77 Is the conflict clearly posed?......Page 145
78 Are your key scenes weak?......Page 147
79 Have you failed to sustain the narrative logic of the story?......Page 150
80 Are there stretches of narrative summary that should be rendered as scenes, with dialog?......Page 151
81 Are there long dialog passages that should be compressed somewhat into narrative?......Page 152
82 Is an important scene presented too briefly?......Page 154
83 Should the sequence of scenes be restructured?......Page 155
84 Are your transitions from one place or time, or one point of view, to another ineffective?......Page 156
85 Is the pace of your story sluggish or fitful?......Page 159
86 Is there insufficient action in your story?......Page 160
87 Is the setting too exhaustively or gratuitously described?......Page 161
88 Have you dumped background details into one or two passages?......Page 163
89 Do passages of inert exposition retard the pace of your story?......Page 164
90 Do digressions interrupt or impede the flow of the narrative action, especially early in the story?......Page 166
92 Have you in some way defused the impact of the climax?......Page 168
93 Do you begin your story ineffectively?......Page 170
94 Does the ending, given what has gone before, seem inevitable?......Page 172
95 Is your story or novel too long or too short?......Page 174
96 Are there sections that have either too much or too little dialog?......Page 175
97 Is there a lack of proportion among the elements of narrative, dialog, description?......Page 176
98 Should a scene now rendered mostly in dialog be changed to have a more narrative emphasis?......Page 179
99 Have you failed to make dialog perform secondary functions?......Page 182
100 Have you used too many stock dialog and thought tags?......Page 184
101 Have you overused dialect, slang, or colloquialisms?......Page 186
103 Have you created problems for the reader by experimenting with the mechanics of displaying dialog?......Page 187
104 Have you presented description without sufficient regard to point of view?......Page 191
105 Have you neglected to present descriptions from the appropriate physical perspective?......Page 192
106 Are your descriptions of characters too brief or too slapdash?......Page 194
107 Do you open the story with an overlong description of the setting\"?......Page 196
108 Do you devote too much space to creating atmosphere?......Page 198
109 Are your descriptions of characters, setting, and objects unrelated to a conception?......Page 200
110 Are your descriptions inconsistent with the context?......Page 201
111 Have you neglected to present description indirectly?......Page 202
112 Have you written inert blocks of description?......Page 204
113 Do your descriptions fail to activate the reader\'s senses?......Page 207
114 Are some of your descriptions unintentionally melodramatic?......Page 209
115 Are some of your descriptions unintentionally sentimental?......Page 210
116 Do you commit the pathetic fallacy?......Page 211
117 Do you use terms or details that will eventually date your story?......Page 212
119 Does your story lack the enhancements of figurative language?......Page 213
120 Is your story deficient in imagery?......Page 214
121 Are all your abstractions and generalizations about character and meaning embodied in vivid images?......Page 215
122 Have you overused metaphors and similes?......Page 217
124 Have you included floating metaphors and similes that fail to contribute to the overall design?......Page 219
125 Have you failed to prepare early for a later event or effect?......Page 221
127 Have you neglected to imagine uses for the device of anticipation?......Page 222
128 Have you used the device of repetition too little or too much?......Page 223
129 Have you failed to imagine an effective use of the device of reversal?......Page 225
130 Have you failed to use the delay device where it might be effective?......Page 226
132 Have you made too little or ineffective use of analogies?......Page 228
133 Have you neglected to use the device of association?......Page 229
134 Does your story suffer a lack of allusions where they might be useful?......Page 230
135 Have you missed opportunities for using the device of contrast?......Page 231
136 Have you made insufficient use of irony?......Page 232
137 Have you neglected to make use of paradox in style or situation?......Page 233
138 Do you use personification inappropriately?......Page 235
140 Do you make inappropriate use of satire or humor?......Page 236
141 Have you not yet imagined a charged image that can lend a unity of effect to your story?......Page 238
142 Do you neglect to use objective correlatives where they might convey a sense of subjective states?......Page 240
143 Have you imagined obvious, overt, or literary symbols?......Page 241
144 Have you neglected to develop appropriate parallels to enhance elements in your story?......Page 244
145 Have you overloaded your story with motifs?......Page 245
147 Is your use of flashbacks crude?......Page 247
148 Have you neglected to discover places where the technique of juxtaposition might be used effectively?......Page 249
149 Have you neglected to consider the use of devices from other written forms and other art forms?......Page 250
150 Have you used dreams ineffectively?......Page 252
151 Have you neglected to imagine ways to use experimental devices?......Page 253
153 Have you missed places where you might cultivate an expressive ambiguity that is appropriate to the overall conception?......Page 255
154 Viewing the story as a whole, do its elements fail to cohere in a unity of effect?......Page 257
156 Do any elements fail to relate in some way to the overall conception?......Page 258
157 Do you merely use devices mechanically or is technique an agent of discovery?......Page 259
159 Have you included irrelevant or superfluous material?......Page 262
161 Have you failed to achieve a quality of inevitability for all the elements in the story?......Page 263
162 Do the story\'s forms and techniques, especially point of view and style, fail to express theme?......Page 264
164 Are your intentions unclear?......Page 266
165 Are some elements now blurred that ought to be more sharply focused?......Page 267
166 Do you fail to make the reader feel that you have a compulsion to tell a story?......Page 268
167 Have you failed to imagine ways to create tension?......Page 269
169 Do you commit the fallacy of imitating life?......Page 270
171 Have you mistaken the power of inspiration for achieved effect?......Page 271
172 In this story, do you struggle on a me-rack of autobiographical subjectivity?......Page 272
174 Have you committed the fallacy of expressive form?......Page 274
176 Are there sensational or repulsive elements that distract from the overall effect of your story?......Page 275
178 Are there too many coincidences in your story?......Page 276
180 Have you chosen an ineffective title?......Page 277
181 Does your work-in-progress belong in a different genre?......Page 278
182 Have you neglected your reader?......Page 279
183 Do you assume too much or too little of your reader, creating confusion?......Page 281
184 Is your story uninteresting?......Page 282
185 Have you failed to affect your reader emotionally, imaginatively, and intellectually?......Page 283
IX Reimagining \"The Day The Flowers Came\"......Page 284
Selected List of Revision Examples......Page 307
Selected List of Exemplary Fiction......Page 313
Bibliography......Page 315
B......Page 323
C......Page 324
F......Page 325
G......Page 326
J......Page 327
L......Page 328
M......Page 329
P......Page 330
S......Page 331
U......Page 332
Z......Page 333
Index of Key Words......Page 334




نظرات کاربران