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(Don't) Stop Me if You've Heard This Before

and Other Essays on Writing Fiction

ebook
1 of 1 copy available
1 of 1 copy available

In (Don't) Stop Me If You've Heard This Before, Peter Turchi combines personal narrative and close reading of a wide range of stories and novels to reveal how writers create the fiction that matters to us. Building on his much-loved Maps of the Imagination: The Writer as Cartographer, Turchi leads readers and writers to an understanding of how the intricate mechanics of storytelling—including shifts in characters' authority, the subtle manipulation of images, careful attention to point of view, the strategic release of information, and even digressing from the (apparent) story—can create powerful effects.
Using examples from Dickens, Chekhov, and Salinger, and Twain to more contemporary writers including Toni Morrison, Alice Munro, E. L. Doctorow, Jenny Erpenbeck, Adam Johnson, Mohsin Hamid, Jai Chakrabarti, Yoko Ogawa, Richard Powers, Deborah Eisenberg, Olga Tokarczuk, Rachel Cusk, and Colson Whitehead, Turchi offers illuminating insights into the inner workings of fiction as well as practical advice for writers looking to explore their craft from a fresh angle beyond the fundamentals of character and setting, plot, and scene.
While these essays draw from decades of teaching undergraduate and graduate students, they also speak to writers working on their own. In "Out of the Workshop, into the Laboratory," Turchi discusses how anyone can make the most of discussions of stories or novels in progress, and in "Reading Like a Writer" he provides guidelines for learning from writing you admire. Perhaps best of all, these essays by a writer the Houston Chronicle has called "one of the country's foremost thinkers on the art of writing" are as entertaining as they are edifying, always reminding us of the power and pleasure of storytelling.

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    • Publisher's Weekly

      October 10, 2022
      Writing wisdom is in no short supply in this rich collection from novelist Turchi (The Girls Next Door). Combining anecdotes about his teaching career with sharp criticism, Turchi gracefully explores the craft’s ins and outs, covering point of view, narrative strategy, and the use of imagery. In “Don’t Stand So Close to Me: Narrative Distance in First-Person Fiction,” Turchi breaks down “primitive first person” narration, in which there’s no “apparent difference between the author’s view of the story and the narrator’s view of the story,” and uses nuanced readings of Great Expectations and Huckleberry Finn to demonstrate how to create distance. “A Funny Thing Happened on the Way to the Information Dump: The Strategic Release of Information” describes how tension can be created by withholding of information from readers, as seen in Adam Johnson’s story “Hurricanes Anonymous,” which “sustains momentum by keeping information coming to us in different directions, on different levels.” A useful appendix, meanwhile, suggests notes on workshops (“a combination of seriousness, respect, humility, and generosity” is key). Turchi’s analyses are themselves terrific examples of reading like a writer, a skill he touts as being crucial to the art. Candid and graceful, this deserves a spot on aspiring novelists’ shelves.

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  • English

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