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Malpede, Karen, ed. “Susan Glaspell.” In Women In Theatre: Compassion and Hope. In developmental psychological terms, games serve to rehearse people (or monkeys or cats) in complex behaviour patterns, needing practice; [...] Young animals play the games most suited to their inner state and developmental needs at any time; games are not arbitrary but pre-selected by innate self-organizing learning programs. [...] What the avantgarde seem to be playing at is practice making up rules and telling other people what to do and disapproving of them if they don't comply. " - Andrew Duncan, Angel Exhaust 9 "How the protagonist chooses here gives us the most penetrating vision of his deep character, the ultimate expression of his humanity. / This scene reveals the story's most important value", Robert McKee, "Story", It Books, 1997, p.304 "The key to all story endings is to give the audience what it wants, but not the way it expects", William Goldman "short stories seem to have gone the way of poetry - written by dedicated artists who love the form even though they cannot make any money from it, and largely read by other short story writers or wanna-be short story writers in MFA programs, where the form has become a favoured teaching tool, since novels are too large and unwieldly for classroom discussions and too much work for teachers to read", Charles E May, "Interview by Rupert Dastur in The Short Story", 7th August 2015 "the form of the novel was closely connected with the growth of Protestantism, the rise of capitalism and the cultural significance of a growing individualism in society", Ronald Carter, "Language and Creativity: the art of common talk", Routledge, 2004, p.26 "All but a handful of my stories have come from combining two completely unrelated ideas", Orson Scott Card, "How to write science fiction and fantasy, Writer's Digest Books", Writer's Digest Books, 1990, p.33 "Defoe's plot of fortune-making is thought of as apt to his mercantile-puritan era ...., and eighteenth-century picaresque to the era of the stagecoach, and the epistolary novel of the eighteenth century to contemporary stirrings of domesticated bourgeois female consciousness, and the mature, connected-up Dickensian plot to the great agglomerations of people in the Victorian city and to speeded-up railway communications, and George Eliot's highly deterministic ethical plots to her interest in contemporary sociology, and modernist plots of epistemological hesitation, refusal, and general unknowing ... to collapses of confidence in the old Christianized legal and moral order ... the mid-twentieth-century plots oof those Roman Catholic converts ... to the anti-modernist reaction ... to read Beckett ... as related to wide challenging of faith in logos ... to take Julian Barnes's essayistic mode ... as postmodernism's denial of the truthfulness of the merely fictional", Valentine Cunningham, in "On Modern British Fiction", Zachary Leader (ed), OUP, 2002, p.152-3 "Genre fiction copes by using a simple but emotionally based style that forges immediate involvement in a character's actions without the need for psychological complexity", Margret Geraghty, "More five-minute writing", Constable and Robinson, 2013 "The allure of apocalyptic narrative will not disappear with the absence of the book; after all, it predated it, and it persists in several cultural situations today in which books play no great role in the dissemination of stories", Brian Kim Stefans, " Language as Gameplay: toward a vocabulary for describing works of electronic literature ", EBR, 2012 "When I write a story I want to make a certain kind of structure, and I know the feeling I want to get from being inside that structure", Alice Munro" "The first thing we see about a story is its mystery.

Pages: 473

Publisher: Brill Academic Pub (January 2006)

ISBN: 9067182672

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