If you are a teacher, and you want to order an examination copy of The 3 A. M. Epiphany, click here. And here's a site in Britain to order the book. I'm always. She stares at me, curious. Her fine, mousy-brown hair a frizzy halo about her round face. Some of those spots are freckles, others are red and. Epiphany offers more than intriguing writing exercises designed to help you think, write, and revise like never before - without having to wait for creative inspiration. Breakthrough: Unconventional Writing Exercises That Transform Your Fiction by Brian Kiteley Paperback.
|Language:||English, Dutch, Japanese|
|Genre:||Academic & Education|
|ePub File Size:||17.82 MB|
|PDF File Size:||10.65 MB|
|Distribution:||Free* [*Sign up for free]|
年2月20日 Book: 3 AM Epiphany Authоr: Brian KiteleyDate: Formats: pdf, android, te. 3 Am Epiphany - [Free] 3 Am Epiphany [PDF] [EPUB] An epiphany (from Matrix mechanics - Wikipedia Year A - Epiphany - Seventh Sunday. 3 AM Epiphany and millions of other books are available for site site. 3 Am bestthing.info download at 2shared. document 3 Am bestthing.info
Think about the power of rooms kitchens, basements, unfinished attics, walk-in closets on psychology and conversation. In this fragment, make the house a unique participant though a passive one in the unfolding events. The room need not be in a typical house. Think about all the other rooms we become familiar with—classrooms, office cubicles, public toilets. What are their personalities? How do the more public spaces we inhabit affect our behaviors? You might consider keeping several characters permanently stuck in different rooms in a house, communicating by shouts, cell phones, intercoms, Dixie cups, or telepathy.
In the Belly of the Beast. Describe an unusual interior space, one with lots of interesting appurtenances and gadgets sticking out: Again, do not yield to the easy use of this scene. The boiler room, for instance, we all expect to hide a creepy axe murderer-type.
Put two innocent children in it instead, romping and playing among the glow and roar of the fire and steam vents as if this were a sunny playground their father is the superintendent of the building, and he prefers to keep the kids where he can see them.
Construct a character who is not present. You have many options here: How do we know of people? Examine the ways we build characters in our minds and in our social environments before and after we meet them. Ways of Seeing. Imagine a person with an idiosyncratic way of seeing the world for instance, an occasional drug dealer, who, because of his amateur status, is more than usually prone to seeing danger where there is none; an entomologist who tends to categorize the world dryly, as if seen through a microscope; a world-class athlete whose clarity of vision is almost hallucinogenic.
Have this character witness a traumatic event that does not directly involve him or her. Narrate the event from a first-person point of view, making sure that the perspective is carefully built around the idiosyncrasies of this personality.
3 AM Epiphany
Also, as a hidden aspect of this character, imagine him or her as some kind of unusual animal. Create a character around this sentence: Nobody has ever loved me as much I have loved them.
Do not use this sentence in the fragment of fiction you write. Resist the temptation this exercise offers for a completely self-indulgent character.
Of course, some self-indulgence will be fun with this character. Write about a person you love. This apparently simple instruction may be more difficult than you think. What makes us love people? How do we avoid being sentimental when describing the attributes that make someone loveable?
You will immediately be faced with the decision of writing about someone you love or loved romantically or as a friend. Your greatest challenge will be to make your reader love this person, too.
Put two characters in a situation that demands improvisation, on both parts, which also demands that the two characters interact and compromise with each other in the improvisation. We should be able to observe the surprise, pleasure, and frustration that result from this improvisation.
Remember that most of life involves one form of improvisation or another. Beginning writers tend to control their characters too much, so in this exercise you should work hard to let the characters surprise themselves as well as you.
True Feeling. Using language that is simple and straightforward, describe intensely and exhaustively a moment of true feeling between two characters. In a word scene, have one character teach another character something that changes the teacher. But this exercise asks you to go another step beyond the first layer of reality. It should teach you how to play with more than one level in your fiction. The teacher learning something from her student is surprising, though not so unusual as you may think.
Imagine how much more interesting the film might have been had Jack learned something from what he taught Rose, rather than simply dying handsomely. The Bunny Planet. The basic problem she sets for each book is that a child in the form of a young bunny has a bad day in prose. What I want you to do in this exercise is only very tangentially linked to this trilogy. Use this hinge device that Wells employs so deftly.
For the first part of your word piece, tinge the world in darker hues, show us a narrative style that reflects frustration, sadness, alienation, whatever. The Argument. Two people are arguing—a man and a woman.
Each is convinced he or she is right. You, as the writer, do not know—and do not want to know—who is right, but you will have exquisite sympathy for both points of view, both sides of the argument. How do men and women argue differently? Couples tend to disagree over relatively minor issues, which often stand for larger issues. Give us enough background and history, but try to stay in the moment as much as possible.
See a Problem?
Narrative PoV is going to matter here a great deal: Choose an accidental arbitrator—a third party narrator, either first or third person narration. The usual method of the standup comedian monologue is apparently casual connections. For instance, Elvira Kurt once started a monologue with the simple idea of bad hair. I slept in my swimsuit and I feel wonderful! She probably laughed herself to death. I got back at her.
When I told her I was gay I said it was because of those clothes.
We are not expecting this transition nor for that matter the simpler transition from bad hair to mother making clothes. But the transitions are funny, and they affect us, shock us even in this day and age. The Joke. End a word fragment of a story with a joke you like or loathe. The joke should be relatively short, and it might be better if the joke is somewhat odd. A guy walks into a bar. I was m-m-mimicking that other g-guy.
Outrunning the Critic. Write short sentences about a character you are working on in a piece of fiction. The sentences should not connect and should not follow one another in any logical way. The idea of this exercise is to force you to outrun your own thoughts and intelligence and critical mind.
Be careful not to be monotonous, using the name of your character or a pronoun to start each sentence. A better exercise would be to write or sentences about this character, but sentences is still enough of a stretch to make this useful. The idea for this exercise comes from a collaboration the poet John Yau did with a painter, which was to match 1, small watercolors with sentences by Yau.
Imitate the method of actors rehearsing a scene, repeating lines and whole sections of a speech, going over mistakes, etc. Use this social trial and error to find new, submerged material for your story. You should think of this exercise as artificial and behind-the- scenes work, but it may also trigger strangely realistic conversation. Human beings constantly rehearse and re-rehearse their lines. The anarchic rhythm of conversation is more akin to a social science experiment than to the polish of theatrical dialogue.
Start the scene by letting the character do what you expect this character to do. But at some point in the sequence of events, allow the character to do something completely out of character. Cease and desist! Grow up and be a real human emotion for a change, and graduate from being the pathetic loser of a neurosis that you have chosen to become.
Reflect on your own insecurities and give up your cowardly strategy of intimidating others. Have a little self-respect for a change, and then spread that respect around instead of the negativity you thrive on so much.
Feel the shame you have brought upon yourself and others. Change your wicked ways. Taunt me if you must. Continue to be that way as long as you have to.
Don't try to rush it, but work toward getting it out of your system. Know that I have learned to defend myself against your ways. Realize that I am no longer afraid of you. Fear me even. But fear yourself even more. And reiterate that to yourself so you never forget. Think of all the people you treat with such personal contempt.
Consider the social consequences you bring into the world. Ask yourself why you feel it is so necessary to use such tactics. Think of your parents.
Remember your mother, Humbleness, and your father, Timidity. Reflect on how you came to adopt the worst traits from each of them. Allow their most beautiful qualities to influence you instead. Take your time. Choose a new path for yourself. Pave your own road. Eradicate the parts of yourself that make you so condescending. Represent yourself with dignity, and utilize the more pleasurable neurotransmitters in the brains you occupy. Educate yourself on the differences between a brain and a mind, and learn about mind over matter.
Stop trying to be the mean street kid that you wish you could be. Don't bask in the misconception of your own over-glorified bad-ass reputation.
The 3 A.M. Epiphany
Soften yourself. Age gracefully.The boiler room, for instance, we all expect to hide a creepy axe murderer-type. What makes us love people? And here's a list of all of the exercises in the book. And here's a list of all of the exercises in the book. The technique is rarely used anymore and lends itself better to poetry and prose than to fiction.
It will never be transcended.
- THE ANATOMY OF BEING SHINJI MOON PDF
- TALES OF BEEDLE THE BARD EBOOK
- THE SCHOOL OF SEERS PDF
- THE COMPLETE BOOK OF FOOD COUNTS PDF
- THE SECRET LIBRO PDF
- THE OTHER WES MOORE EBOOK
- NOVEL TERJEMAHAN THE DA VINCI CODE PDF
- BUILDING MATERIALS BY RANGWALA EBOOK
- ITIL V3 FOUNDATION DUMPS 2013 EBOOK
- SLIDESHARE PDF DISABLED