Basic Formulas Fiction (31 results)

Hardcover. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Condition: Good. Meets the good condition guidelines. Has wear. Five star seller - Buy with confidence!

hardcover. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Hardcover. Condition: Very Good. No Jacket. Missing dust jacket; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less 1.01.

textbook. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Condition: Good. Used book that is in clean, average condition without any missing pages.

Unknown. Condition: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condition: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Condition: New.

Paperback or Softback. Condition: New. The Basic Formulas of Fiction. Book.

Condition: New.

Condition: New.

Condition: As New. Unread book in perfect condition.

F5.

Condition: New. In.

Condition: As New. Unread book in perfect condition.

hardcover. Condition: Used, very good. Like new book in almost like new jacket. This is the revised (1960) edition, dark red hardcover, Univ of Oklahoma Press, 146pp. Book in perfect condition; dust jacket has very minimal wear, moderate foxing on spine. **We provide professional service and individual attention to your order, daily shipments, and sturdy packaging. FREE TRACKING ON ALL SHIPMENTS WITHIN USA.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. Stated First Edition. The dust jacket is protected by a Brodart mylar cover and is not price clipped. Not an ex-library copy. No remainder marks. No names or marks in the text. Most books shipped within 24 hours. All books mailed with Delivery Confirmation. All books mailed in heavy cardboard boxes. The dust jacket has some minor rubbing and creasing and the spine panel is lightly sunned. Near fine condition in very good dust jacket. Selling Used and Rare books on line since April 1998 and from our bookstore in the heart of the Bluegrass since 1984. ; 8vo.; xi, 153 pages.

Condition: Good. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

Condition: New.

Hardcover. Condition: Very Good. No Jacket. Octavo, hardcover, pages beginning to brown else VG in red boards. No dj. Text is clean and unmarked. Scarce first edition. Clean, Tight. 153 pp. What a story is, viewpoint (space and time), on character, the parts and the process, the finishing touches, analyses of stories. A great book if you intend to be a writer of short stories! . Book.

Hardcover. Condition: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Condition: New.

textbook. Condition: Acceptable. The item is showing use from the previous owner but works perfectly. Signs of previous ownership which could include: tears, scuffing, notes, excessive highlighting, gift inscriptions, slight water damage, a missing dust jacket, and library markings.

Cloth. Condition: Very Good. Dust Jacket Condition: Very Good. First Edition. Full red cloth, silver titling. Light general wear; jacket shows light rubbing and a bit of edgewear, small scuff at head of spine, but still very handsome. The author, an instructor at the U of OK, presents his formulas for salable popular fiction. The flap copy states his students sold 700,000 words to a wide range of periodicals and pulps in 1943.

Hardcover. 1st. 8vo. 153pp. SIGNED by the author on ffep. Red clot with silver lettering in near fine condition (owner stamp inside rear board; light wear). Foster-Harris, a 1950s writing instructor, presents his formulas for writing fiction stated in ".the baldest, simplest form to which they can be reduced." - non-Introduction. Next day shipping. Celebrating our 17th year - all domestic orders ship with Delivery Confirmation Tracking Number - Images available upon request.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. Leatherbound edition. Condition: New. Leather Binding on Spine and Corners with Golden leaf printing on spine. Bound in genuine leather with Satin ribbon page markers and Spine with raised gilt bands. Pages: 176. A perfect gift for your loved ones. Reprinted from 1944 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Resized as per current standards. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Language: English Pages: 176.

Paperback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days 257.

Hardback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days 420.

Taschenbuch. Condition: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - William Foster-Harris, along with Walter S. Campbell and Dwight V. Swain, created one of the most effective writer-training courses of all time. Their goal was to speed the progress of student-writers and shorten the time of study needed before becoming professional at their craft.The list of top-flight authors trained by Campbell and Harris includes, among others: Louis L'Amour, Mary Higgins Clark, Fred Grove, Tony Hillerman, Bill Gulick, William R. Scott, Ed Montgomery, Neal Barrett, and Bill Burchardt.While Campbell emphasized students take an analytical approach to learning their craft by studying published works, Harris did not analyze scenes, settings and characterizations as did Vestal. Instead, he was concerned mostly with the overall effect of the plot and how to achieve it.Once a student had completed the initial courses under Campbell, Harris took over to hone the skills of would-be fictioneers. His lab-type classes were weekly in-person interviews. He required the student to write one new 5,000-word short story each week, and Foster would then critique it. After the first week, the student would have several stories in the rewrite process together with each new one. When Foster deemed one to be ready, the student would submit it to the market of their choice - and if it sold, that brought a better mark from Foster.Plotting, which many beginners find the bugaboo of writing, Professor Harris considered no problem at all. 'The way to catch a plot,' he explains, 'is the way to catch a woman. Pretend not to be interested.' The student who complains that it is impossible to find a new plot because all the plots have been used, he told, 'You don't need a new plot. Just put a little parsley on the same old dish!'Dwight V. Swain joined the program in 1952. His contribution was through his experience in film scriptwriting, as well as extensive published work in pulp fiction. He expanded and simplified the Scene as both a building block and intrinsic glue for all stories - well beyond Campbell and Harris' foundation.Learn from Foster-Harris:the core equations for all plotsachieving the synthesis of writer, reader, and main character to make the story succeedcombining feeling and fact with each sentence to engage the reader with the story's movement through timefitting your story character to the story problem and vice-versadeveloping conflict within the character to make them real and humanthe four parts to the correct short storyuse of tags, pointers, and plants to define characters and move plot alongthe use of linked scenes to involve the reader into a single continuing experiencebuilding a short story into a novelette, and into a novel - and when you shouldn'tfive routine revisions and rewrites necessary to polish the first draftLearn from Dwight Swain:what three things are needed to develop a good novelthe first two items found at the start of any commercially successful novelthe three elements of any scenethe three elements of any scene's sequelhow moving copy requires interlocking motivation-reaction unitswhy you develop contrasting characters in your novelsthe three wishes and four desires all characters wantthe four tests for every scene and chapter in your novelGet Your Copy Now.