{"product_id":"writerpreneur-the-basic-formulas-of-fiction-9798230023463","title":"Writerpreneur: The Basic Formulas of Fiction","description":"\u003cp\u003e • Author(s): William Foster Harris | Dwight V. Swain | Robert C. Worstell\u003cbr\u003e • Publisher: Midwest Journal Press\u003cbr\u003e • Publisher Imprint: Midwest Journal Press\u003cbr\u003e • BISAC: Writing - Authorship\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWilliam Foster-Harris\u003c\/strong\u003e, 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.\u003c\/p\u003e\u003cp\u003eThe 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.\u003c\/p\u003e\u003cp\u003eWhile 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.\u003c\/p\u003e\u003cp\u003eOnce 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.\u003c\/p\u003e\u003cp\u003ePlotting, which many beginners find the bugaboo of writing, Professor Harris considered no problem at all. \"The way to catch a plot,\" he explains, \"is the way to catch a woman. Pretend not to be interested.\" The student who complains that it is impossible to find a new plot because all the plots have been used, he told, \"You don't need a new plot. Just put a little parsley on the same old dish!\"\u003c\/p\u003e\u003cp\u003eDwight 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.\u003cbr\u003e \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eLearn from Foster-Harris: \u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003ethe core equations for all plots\u003c\/li\u003e\n\u003cli\u003eachieving the synthesis of writer, reader, and main character to make the story succeed\u003c\/li\u003e\n\u003cli\u003ecombining feeling and fact with each sentence to engage the reader with the story's movement through time\u003c\/li\u003e\n\u003cli\u003efitting your story character to the story problem and vice-versa\u003c\/li\u003e\n\u003cli\u003edeveloping conflict within the character to make them real and human\u003c\/li\u003e\n\u003cli\u003ethe four parts to the correct short story\u003c\/li\u003e\n\u003cli\u003euse of tags, pointers, and plants to define characters and move plot along\u003c\/li\u003e\n\u003cli\u003ethe use of linked scenes to involve the reader into a single continuing experience\u003c\/li\u003e\n\u003cli\u003ebuilding a short story into a novelette, and into a novel - and when you shouldn't\u003c\/li\u003e\n\u003cli\u003efive routine revisions and rewrites necessary to polish the first draft\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eLearn from Dwight Swain: \u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003ewhat three things are needed to develop a good novel\u003c\/li\u003e\n\u003cli\u003ethe first two items found at the start of any commercially successful novel\u003c\/li\u003e\n\u003cli\u003ethe three elements of any scene\u003c\/li\u003e\n\u003cli\u003ethe three elements of any scene's sequel\u003c\/li\u003e\n\u003cli\u003ehow moving copy requires interlocking motivation-reaction units\u003c\/li\u003e\n\u003cli\u003ewhy you develop contrasting characters in your novels\u003c\/li\u003e\n\u003cli\u003ethe three wishes and four desires all characters want\u003c\/li\u003e\n\u003cli\u003ethe four tests for every scene and chapter in your novel\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cstrong\u003eGet Your Copy Now.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Atlantic Books","offers":[{"title":"Paperback","offer_id":46401750040727,"sku":"9798230023463","price":2236.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0666\/3471\/1191\/files\/9798230023463.webp?v=1769057456","url":"https:\/\/atlanticbooks.com\/products\/writerpreneur-the-basic-formulas-of-fiction-9798230023463","provider":"Atlantic Books","version":"1.0","type":"link"}