Professor Guerrero's Blog

mguerrero@gmail.com

Co-author of East of Tiffany's, 13 short stories of a Latino immigrant's success in USA; a journey from West Harlem to Sutton Place and Park Avenue. Check out the reviews in Amazon.com and in Barnes and Noble.

on KINDLE on NOOK

My best seller as of now is

Titanes de la Filosofia

Professor Guerrero's Blog: Becoming a Writer - Flannery O'Connor "First Know What a Short Story is" Professor Guerrero's Blog: Book Reviews, Human Interest Articles, Accounting Lessons, and Writing Techniques

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Books

Sentence Openers Book: FREE Lessons

Jane Austen  

Boethius: Consolation of Philosophy

How to Become a Writer  

Personal Finance  

Self Help, Wealth, & Learning

Greeks Romans Trojans  

Feminism  

Great Gatsby: Is Nick Gay?

All my books are now in NOOK

Ideas About the Novel is a prophetic book that all writers must own.

Ideas About the Novel by Ortega y Gasset - my translation $0.99


Next to Cervantes, Benito Perez Galdos is the most beloved Spanish writer of all times.

Torquemada at the Stake by Perez Galdos- my translation $0.99

Lazarillo of Tormes - my translation $0.99
Read it in contemporary English -- No Thous, Thees, or King James' Bible language. Transliterated into easy language for enjoyable reading pleasure. Because The Lazarillo of Tormes pointed a new direction, European and American literature benefited with titles that today are considered classics: Cervantes’ Rinconete and Cortadillo; Daniel Defoe’s Moll Flanders, Henry Fielding’s Tom Jones and Joseph Andrews; Tobias Smollett’s Roderick Random, and Peregrine Pickle; Voltaire’s Candide; Charles Dickens’ David Copperfield. And many others to include American works ranging from Mark Twain to Saul Bellow.

Dehumanization of Art by Ortega y Gasset - my translation $0.99
The Dehumanization of Art— is now a constant in music, literature, aesthetics, and philosophy, having come to mean that in post-modern times human-shaped mimesis (representation of the human) is irrelevant to art. According to Ortega, the arts don't have to tell a human story; art should deal with its own forms—and not with the human form.

Sentence Openers
How writers open their sentences makes prose agile, interesting, and athletic. This e-book teaches how to break the pattern Subject-verb-object--and discard openings that begin with nouns, articles, and pronouns.

East of Tiffany's - bestseller $5
With the city as its backdrop "East of Tiffany's" is filled with earnest tales of love, loss, faith, success and morality. While business terminology is interwoven throughout these short stories, it's not business lessons that I take away with me, but life lessons. The circumstances and the characters' profound humanity are relatable despite their zip code . "Luke, Postmodern Man" offers a new vista into faith, suffering, and love of neighbor. Way after you read this book you'll find yourself thinking about the various characters throughout the series of stories and will find solace in their unwavering faith. The narrators' ability to reflect on their hardships with such serenity is inspiring.



My writing was as flat as a sidewalk. And then I downloaded ...

Mary Duffy's Toolbox for Writers
After I purchased Mary's e-book I started to get 'A's in my essays and term papers! Every page is filled with great writing tips, training lessons, and wonderful useful writing skills! Not only do I write essays for college, but also short stories!
--IVONNIE Indrawan
College student
Sentence Openers on KINDLE

Sentence Openers on NOOK













All my books are now in KINDLE


Ideas About the Novel by Ortega y Gasset - my translation $0.99
Torquemada at the Stake by Perez Galdos- my translation $0.99
Lazarillo of Tormes - my translation $0.99
Dehumanization of Art by Ortega y Gasset - my translation $0.99
Sentence Openers
East of Tiffany's - bestseller $5


The most beloved short story from Spanish literature
All my books are in NOOK $0.99 or in Amazon KINDLE $0.99








All my books are now in NOOK

Ideas About the Novel is a prophetic book that all writers must own.
Ideas About the Novel by Ortega y Gasset - my translation $0.99

Next to Cervantes, Benito Perez Galdos is the most beloved Spanish writer of all times.

Torquemada at the Stake by Perez Galdos- my translation $0.99

Lazarillo of Tormes - my translation $0.99
Read it in contemporary English -- No Thous, Thees, or King James' Bible language.

Dehumanization of Art by Ortega y Gasset - my translation $0.99
The Dehumanization of Art— is now a constant in music, literature, aesthetics, and philosophy, having come to mean that in post-modern times human-shaped mimesis (representation of the human) is irrelevant to art.

Sentence Openers
How writers open their sentences makes prose agile, interesting, and athletic.

East of Tiffany's - bestseller $5
With the city as its backdrop "East of Tiffany's" is filled with earnest tales of love, loss, faith, success and morality.



My writing was as flat as a sidewalk. And then I downloaded ...

Mary Duffy's Toolbox for Writers
After I purchased Mary's e-book I started to get 'A's in my essays and term papers!
--Ivonnie Indrawan
College student
Sentence Openers on KINDLE

Sentence Openers on NOOK





Available in KINDLE $0.99


Available in KINDLE $0.99

Tuesday, September 27, 2011

Becoming a Writer - Flannery O'Connor "First Know What a Short Story is"

Flannery O'ConnorImage via Wikipedia

First, know what a story is

I have heard people say that the short story was one of the most difficult literary forms, and I've always tried to decide why people feel this way about what seems to me to be one of the most natural and fundamental ways of human expression. After all, you begin to hear and tell stories when you're a child, and there doesn't seem to be anything very compli­cated about it. I suspect that most of you have been telling stories all your lives, and yet here you sit­come to find out how to do it.

Then last week, after I had written down some of these serene thoughts to use here today, my calm was shattered when I was sent seven of your manuscripts to read.
After this experience, I found myself ready to ad­mit, if not that the short story is one of the most diffi­cult literary forms, at least that it is more difficult for some than for others.
I still suspect that most people start out with some kind of ability to tell a story but that it gets lost along the way. Of course, the ability to create life with words is essentially a gift. If you have it in the first place, you can develop it; if you don't have it, you might as well forget it.

But I have found that the people who don't have it are frequently the ones hell-bent on writing stories. I'm sure anyway that they are the ones who write the books and the magazine articles on how-to-write­short-stories. I have a friend who is taking a corre­spondence course in this subject, and she has passed a few of the chapter
headings on to me-such as, "The Story Formula for Writers," "How to Create Characters," "Let's Plot!" This form of corruption is costing her twenty-seven dollars.

I feel that discussing story-writing in terms of plot, character, and theme is like trying to describe the ex­pression on a face by saying where the eyes, nose, and mouth are. I've heard students say, "I'm very good with plot, but I can't do a thing with character," or, "I have this theme but I don't have a plot for it," and once I heard one say, "I've got the story but I don't have any technique."
Technique is a word they all trot out. I talked to a writers' club once, and during the question time, one good soul said, "Will you give me the technique for the frame-within-a-frame short story?" I had to admit I was so ignorant I didn't even know what that was, but she assured me there was such a thing because she had entered a contest to write one and the prize was fifty dollars.
But setting aside the people who have no talent for it, there are others who do have the talent but who flounder around because they don't really know what a story is.

I suppose that obvious things are the hardest to de­fine. Everybody thinks he knows what a story is. But if you ask a beginning student to write a story, you're liable to get almost anything—a reminiscence, an episode, an opinion, an anecdote, anything under the sun but a story. A story is a complete dramatic action -and in good stories, the characters are shown through the action and the action is controlled through the characters, and the result of this is mean­ing that derives from the whole presented experience. I myself prefer to say that a story is a dramatic event that involves a person because he is a person, and a particular person-that is, because he shares in the general human condition and in some specific human situation. A story always involves, in a dramatic way, the mystery of personality. I lent some stories to a country lady who lives down the road from me, and when she returned them, she said, "Well, them sto­ries just gone and shown you how some folks would do," and I thought to myself that that was right; when you write stories, you have to be content to start exactly there-showing how some specific folks will do, will do in spite of everything.
Now this is a very humble level to have to begin on, and most people who think they want to write sto­ries are not willing to start there. They want to write about problems, not people; or about abstract issues, not concrete situations. They have an idea, or a feel­ing, or an overflowing ego, or they want to Be a Writer, or they want to give their wisdom to the world in a simple-enough way for the world to be able to absorb it. In any case, they don't have a story and they wouldn't be willing to write it if they did; and in the absence of a story, they set out to find a theory or a formula or a technique.

Now none of this is to say that when you write a story, you are supposed to forget or give up any moral position that you hold. Your beliefs will be the light by which you see, but they will not be what you see and they will not be a substitute for seeing. For the writer of fiction, everything has its testing point in the eye, and the eye is an organ that eventually in­volves the whole personality, and as much of the world as can be got into it. It involves judgment. Judgment is something that begins in the act of vi­sion, and when it does not, or when it becomes sepa­rated from vision, then a confusion exists in the mind which transfers itself to the story.
Fiction operates through the senses, and I think one reason that people find it so difficult to write sto­ries is that they forget how much time and patience is required to convince through the senses. No reader who doesn't actually experience, who isn't made to feel, the story is going to believe anything the fiction writer merely tells him. The first and most obvious characteristic of fiction is that it deals with reality through what can be seen, heard, smelt, tasted, and touched.

Now this is something that can't be learned only in the head; it has to be learned in the habits. It has to become a way that you habitually look at things. The fiction writer has to realize that he can't create com­passion with compassion, or emotion with emotion, or thought with thought. He has to provide all these things with a body; he has to create a world with weight and extension.
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Professor Guerrero's Blog

Co-author of East of Tiffany's, 13 short stories that will warm your heart - See 101 reviews in Amazon.com and 37 in Barnes and Noble.

on KINDLE on NOOK

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