Archive for the ‘purpose’ Category

On the Art of Writing - Arthur Thomas Quiller-CouchHow to Murder Your Darlings as a Writer, From The Source

“The art of writing is a living business,”

Declares Sir Arthur Quiller-Couch in the Preface to this classic. “Literature is not a mere science, to be studied; but an art, to be practiced. Great as is our own literature, we must consider it as a legacy to be improved . . . if we persist in striving to write well, we can easily resign to other nations all the secondary fame.”

Also the source of the famous quote used by editors, “Murder your darlings.

Renowned as a critic, teacher, and educational reformer, Quiller-Couch delivered a series of lectures at the University of Cambridge in 1913-14. His subjects–the artistic and vital nature of language as well as the skills needed to convey and receive the written word–remain as timeless as his advice. This book contains the eminent scholar’s remarks from those lectures on the practice of writing, the difference between verse and prose, the use of jargon, the history of English literature, the ways in which English literature is taught at the university, and the importance of style. The principles and practical guidelines he sets forth in this volume offer aspiring writers an enduring source of guidance.

Sir Arthur Thomas Quiller-Couch (21 November 1863 – 12 May 1944) was a British writer who often published under the pen name of Q. A novelist and poet who was also a Professor of English, he helped to form the literary tastes of generations of literary students and scholars who came after him. He is primarily remembered for the monumental Oxford Book Of English Verse 1250–1900 (later extended to 1918), and for his literary criticism.

Every writer should have this book as reference and inspiration.

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How to Write a Play - Letters from Top PlaywrightsThere is No Better Way To Learn to Write a Play Than From Successful Playwrights.

The problem is that successful playwrights are not always the best teachers. These letters in themselves are not a course of study, but rather consider these missives to serve as muses that sit on your shoulder and opine.

There are no workable rules for play-writing to be found here—nor, indeed, any particular light of any kind on the subject, so the letters may be approached with a mind arranged for enjoyment.

Any one sufficiently inexperienced to consult books in order to find out how to write a play will certainly undergo a severe touch of confusion in this case, for four of the letter-writers confess quite frankly that they do not know—two of these thereupon proceeding to tell us, thus forcibly illustrating their first statement.

One author exclaims, “Have instinct!”—another, “Have genius!” Where these two necessaries are to be obtained is not revealed. Equally discouraging is the Dumas declaration that “Some from birth know how to write a play and the others do not and never will.” That would have killed off a lot of us—if we had seen it in time.

The foregoing indicates to some extent the buffeting about which a searcher for practical advice on play-writing may find himself subject in this collection of letters. He had better go for mere instruction to those of a lower order of intellect, whose imaginative or creative faculties do not monopolize their entire mental area.

A play or drama is not a simple and straight-told story; it is a device—an invention—a carefully adjusted series of more or less ingenious traps, independent yet inter-dependent, and so arranged that while yet trapping they carry forward the plot or theme without a break.

These traps of scene, of situation, of climax, of acts and tableaux or of whatever they are, require to be set and adjusted with the utmost nicety and skill so that they will spring at the precise instant and in the precise manner to seize and hold the admiration—sympathy—interest—or whatever they may be intended to capture, of an audience.

Their construction and adjustment—once one of the simplest—is now of necessity most complicated and intricate. They must operate precisely and effectively, otherwise the play—no matter how admirable its basic idea—no matter how well the author knows life and humanity, will fail of its appeal and be worthless—for a play is worthless that is unable to provide itself with people to play to.

But audiences are a most undependable and unusual species of game. From time immemorial their tastes, requirements, habits, appetites, sentiments and general characteristics have undergone constant change and modification; and thus continues without pause to the present day. The dramatic trap that would work like a charm not long ago may not work at all to-day; the successful trap of to-day may be useless junk tomorrow.

As to the talented authors of these letters, they know excellently well—every one of them—how to write a play—or did while still alive—even tho some of them see fit to deny it; but they cannot tell us how to do it for the very good reason that it cannot be told.

Their charming efforts to find a way out when cornered by such an inquiry as appears to have been made to them are surely worth all their trouble and annoyance—not to speak of their highly probable exasperation.

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Not That It Matters - A. A. MilneAn Eclectic Essay Collection from Winnie-the-Pooh’s Father. (With Some on Writing…)

Not That It Matters is a collection of essays that a appeared in a variety of newspapers at the beginning of the last century, sort of an upper class, mild mannered Dave Barry of the 20’s. Many were charming and generally humorous in gentle, whimsical way, as you might expect from the author of Winnie the Pooh. Some were a bit dated such as the essay about the perfect walking stick or the one about pipe smoking and there is some use of some now un-politically correct language; but others felt just as current now as they must have been then, such as the essay titled “Intellectual Snobbery” about the shame one feels about reading popular fiction as opposed to the classics or the one titled “My Library”, about the eternal quandary of how to best arrange one’s books. These essays are probably best enjoyed a few at a time over days or weeks and not all in one go.

(From Goodreads)

About the Author

A. A. Milne was an English novelist and playwright born in 1882. A student of H. G. Wells during public school, Milne went on to study mathematics in Cambridge. During his time there, Milne frequently contributed to the college s student magazine, Granta, and was so successful that he was offered a job at the British humour magazine Punch. Milne s son, Christopher Robin, was born in 1920. After writing a poem for him entitled Teddy Bear, Milne began publishing children s stories about Christopher Robin and his stuffed animals, including his bear, Winnie-the-Pooh. Milne s children s books, Winnie-the-Pooh and The House at Pooh Corner, have since become beloved classics that have been adapted into the famous Disney franchise.

For writers, be sure to read the first and last essays. Droll, informative, and enlightening.

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Short Story Writing: A Practical Treatise on the Art of the Short Story - Charles Raymond BarrettA practical treatise on the art of the short story, designed to present concretely the rules of the art. It is a working manual, not a collection of untried theories. It tells how to write a story with reference to the requirements of contemporary editors.

“Both an interesting and useful book. While it is concerned with the special application of rhetorical principles to a particular department of literary art, it carries a general application that all literary workers may profit by, as in its chapters on Titles, Style, and the Labor of Authorship. Perusal of it is likely also to promote among readers a desirable repugnance to the inferior stuff which wastes time that might be better employed. Mr. Barrett’s purpose is in the interest of novices who would learn the art of telling a short story as it should be told. His precepts are pointed with numerous critiques upon specimens of poor work, and enriched by references to various books and articles on the subject which amplify and re-enforce his presentation of principles and rules.” -Outlook

“Based upon deductions made by the author in the course of work as student, writer and critic of short stories. Specially brings out the requirements of contemporary editors. Principles laid down are illustrated by extracts from actual short stories, both good and bad.” -The Book News Monthly

“If the countless thousands of would-be authors who are writing or who contemplate writing a short story would diligently study ‘Short Story Writing,’ by Charles Raymond Barrett, Ph.B., many an over-worked editor would find his burdens lightened. For the would-be author will realize, after he has read Mr. Barrett’s book, that to write a successful short story is an achievement beyond the power of ninety-nine men out of a hundred. The book is no mere presentation of theories on the part of the author. It is the result of careful analysis of the great short stories of the English language. Not only does the author show the inherent qualities of greatness which some of these stories possess, he also gives extracts from various amateur and unsuccessful stories, by which he shows plainly what a writer of short stories must not do. This treatment is one of the most helpful characteristics of his book. Mr. Barrett has treated the subject with admirable fullness….Readers of short stories as well as would-be authors will find the book interesting.” -Public Opinion

“Aims to give directions on all phases of the subject.” -Printer’s Ink

“Competent young writers who seriously desire to do something worthwhile along the line of hte short story will do well to read Charles Raymond Barrett’s ‘Short Story Writing.’ The author makes some very wise and remarkably practical suggestions. He defines the curious limitations and canons of this peculiar art form, the short story, in a clear and discriminating way. He classifies short stories, speaks helpfully of the selection of plots, talks judiciously of good and bad titles, of the use of facts, of character painting, of methods of narration, and of style. In the last chapter he gives sound advice on the quest of a market. Neither Mr. Barrett nor anyone else could turn the average man or woman into a successful short story writer, but Mr. Barrett can give a lot of good pointers.” -The Chautauquan

“A volume of definition, criticism and instruction. Sensible and based upon careful and intelligent study. Young writers will do wisely to read it and heed it.” -Congregationalist

“The book can hardly fail to be of much practical assistance to the novice in short-story writing.” -Review of Reviews

**

This book is an attempt to put into definite form the principles observed by the masters of the short story in the practice of their art. It is the result of a careful study of their work, of some indifferent attempts to imitate them, and of the critical examination of several thousands of short stories written by amateurs. It is designed to be of practical assistance to the novice in short story writing, from the moment the tale is dimly conceived until it is completed and ready for the editor’s judgment.

The rules and principles here presented embody not what I conceive to be right, but what the great masters of the short story have thought to be right, and what they have proved to be at least successful. I speak only as a delver into the secrets of other men; and if I seem arrogant, it is due to the influence of the company I keep. My deductions are made not only from the artifices and triumphs of the successful, but from the struggles and failures of the unfortunate as well; and I have endeavored to make clear both the philosophy and the application of all the principles so deduced. Though in theory these rules are obligatory on all who essay the short story, they are frequently and knowingly evaded or violated by the masters of the art, whose genius is great enough to excuse their disregard of the conventions, or whose skill is sufficient to smooth over their technical lapses; but for the novice the only safe course is a careful observance of all conventions.

To the aspiring writer this book may seem to be merely a catalogue of “Don’ts”, the gist of which is, “Don’t write”; but that is to misread me. Short story writing is not easy, and I cannot make it so, even if I would; but it is far from my purpose to discourage any person who feels the Heaven-sent call to write, and who has the will and ability to respond to it. But that call is but a summons to labor—and to labor the severest and most persistent. To one who comes to it but half-heartedly, illy prepared, shirking its requirements, I can predict certain failure; but to the earnest, serious, conscientious worker, I would say a word of hope. The promotion from the rank of amateur to the dignity of authorship may be long in coming, but it will come at last. Fame, like all else that this world has to give, depends largely upon downright hard work; and he who has the courage to strive in the face of disappointments will achieve success in the end.

(From the Preface)

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How do you find more FrWinning Your Infinite Future - Complete Series 2006-2011eedom in your life?

It’s not that difficult, but you can’t expect politics or government to really help you with it.

Because it’s an ability you already have. Really.

This book is a collection of blog essays from 2006-2011, following one person’s work to re-discover the route anyone could take in order to get the exact amount of real Freedom they want in their life.

Sure, it takes some work. But at least one of the many paths that go there is laid out. With all the links to materials and programs so you can check it all out for yourself.

In these 5 years of study, Dr. Robert C. Worstell has spent his time and energy to uncover the secrets people have been looking for most of their lives:

  • How to get real control over your own life – or escape control of others.
  • Why needing the approval of others is just another trap – and what you can do about it today.
    Escaping the security traps which other people are setting for you.
  • Finding how you can join the group of successful, happy people who are that way regardless of the government or anyone else.
  • How to regain any ability you want – by releasing your own native talents.

This isn’t some sort of special or secret practice you have to follow. These linked studies have been around since the 50’s or earlier – proven effective by university studies and so on.

The books mentioned have been bestsellers and continue to sell after their authors were long gone – so their effectiveness is well known. (Plus, they are all guaranteed by their sellers – so you have nothing to lose by reading them.)

If you really want more freedom in your life, you’ll want to check out this book and follow the links.

Yes, it’s a long read. But you can see the 5 years of study all in one book – and get through it anyway you want.

Your freedom is more important than probably anything else. And Happiness will follow, as well as your own abundant lifestyle and improved health.

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The Story of Henry Ford by Rose Lane, Samuel CrowtherFEW PEOPLE have had the transformative success as Henry Ford of Dearborn Michigan, USA.

While his life-story transformed the nation and the world, the effects on its author are less understood.

The purpose of this book is to explore his story as an additional study to Napoleon Hill’s bestselling “Think and Grow Rich.” In Hill’s book, few individuals in it have more anecdotes used as examples than Ford – excepting Thomas Edison himself (who gave Ford an early boost in one of his companies.)

In most days, people are challenged by their environment. They can rise to the challenge, or succumb to it. A rare few among them can see opportunity and seize it – creating a new world from a unique and unstoppable vision they hold.

That Hill interviewed Ford as part of the 500 industry leaders Andrew Carnegie introduced him to, that Ford was more influential than many of the others on young Hill, and that Ford left behind a record of his life so others could follow – these brought about this book for you to now read.

Ford had many biographies written about him. Selected here are his own, and one he told to Rose Wilder Lane.  In this way, we know that the reported facts are close to reality.

The use of biographies in general are to allow an individual to compare their own life with that of someone else – usually someone admired, or outstanding – in order to find points to improve in your own life.

With Ford, we can also gain more insight into his philosophy of achievement, and how this affected Hill in his own studies.

Even today, Ford’s ideals have a great deal to say about how we can approach our own life.

It is up to us how we want to use these inspirational and motivational points.

And now, it’s over to you.

(From the Forward)

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The Will to Believe by William James

Posted: July 26, 2017 by Thrivelearning in purpose
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The Will to Believe by William JamesHow and What You Believe is Your Choice, and Your Success

I have long defended to my own students the lawfulness of voluntarily adopted faith; but as soon as they have got well imbued with the logical spirit, they have as a rule refused to admit my contention to be lawful philosophically, even though in point of fact they were personally all the time chock-full of some faith or other themselves.

I am all the while, however, so profoundly convinced that my own position is correct, that your invitation has seemed to me a good occasion to make my statements more clear. Perhaps your minds will be more open than those with which I have hitherto had to deal.

I will be as little technical as I can, though I must begin by setting up some technical distinctions that will help us in the end.

(From the Forward)

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