Dorothea Brande's 'Becoming a Writer' remains evergreen decades after it was first written. Brande believed passionately that although people have varying amounts of talent, anyone can write. She also insists that writing can be both taught and learned. This is Dorothea Brande's legacy to all those who have ever wanted to express their ideas in written form. A sound, practical, inspirational and charming approach to writing, it fulfills on finding 'the writer's magic.'
Dorothea Brande's 'Becoming a Writer' remains evergreen decades after it was first written. Brande believed passionately that although people have varying amounts of talent, anyone can write. She also insists that writing can be both taught and learned. This is Dorothea Brande's legacy to all those who have ever wanted to express their ideas in written form. A sound, practical, inspirational and charming approach to writing, it fulfills on finding 'the writer's magic.'Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
American author, lecturer and magazine editor, Dorothea Brande, was the youngest of five children born to Frederick S. and Alice P. Thompson of Chicago, Illinois. Alice Dorothea Alden Thompson was born in Englewood, a Chicago community, on 12 January, 1892. Both of her parents were originally from Maine and had previously lived in Delaware where her three oldest siblings were born. Her father was employed as a manager at local business in the Chicago area. Brande attended the Universities of Michigan and Chicago, earning her Phi Beta Kappa key at the former. She went on to work as a newspaper reporter in Chicago and later as circulation manager for American Mercury magazine during the time of H.L. Mencken and George Jean Nathan. In the 1930s she became an associate editor of Bookman magazine and later its successor (1934), the American Review. In the years to come Brande would also operate a nationwide correspondence school for aspiring writers and tour on the lecture circuit. In 1916 she married fellow Chicago newspaper reporter Herbert Brande. Herbert would later gain some notoriety as an editorial writer. Their marriage ended in divorce sometime before 1930. In 1936 she married Seward B. Collins (1899-1952), who at the time was American Review's editor. Her inspirational book, 'Wake Up and Live' (1936) was written during the Great Depression and was a best seller and her most successful book. She was also the author of 'Becoming a Writer' (1934), 'Most Beautiful Lady' (1935), 'Letters to Philippa' (1937), 'My Invincible Aunt' (1938) and others.
Inhaltsangabe
Foreword by John Gardner In Introduction
1. The Four Difficulties The Difficulty of Writing at All; The "One-Book Author"; The Occasional Writer; The Uneven Writer; The Difficulties Not in Technical Equipment.
2. What Writers are Like Cultivating a Writer's Temperament; False and Real Artists; The Two Sides of a Writer; "Dissociation" Not Always Psychopathic; Everyday Examples of Dual Personality; The Slough of Despond
3. The Advantages of Duplicity The Process of Story Formation; The "Born Writer"; Unconscious and Conscious; The Two Persons of the Writer; The Transparent Barrier; Keep Your Own Counsel; Your "Best Friend and Severest Critic"; The Right Recreation; Friends and Books; The Arrogant Intellect; The Two Selves Not at War; The First Exercise
4. Interlude: On Taking Advice Save Your Energy; Imagination Versus Will in Changing Habits; Displacing Old Habits; A Demonstration; The Right Frame of Mind
5. Harnessing the Unconscious Wordless Daydreams; Toward Effortless Writing; Double Your "Output"
6. Writing on Schedule Engaging to Write; A Debt of Honor; Extending the Exercise; Succeed, or Stop Writing
7. The First Survey Reading Your Work Critically; The Pitfalls of Imitation; Discovering Your Strength; A Footnote for Teachers
8. The Critic at Work on Himself A Critical Dialogue Be Specific in Suggestions Correction After Criticism The Conditions of Excellence Dictating a Daily Regime
9. Readings as a Writer Read Twice Summary Judgment and Detailed Analysis The Second Reading Points of Importance
10. On Imitation Imitating Technical Excellence How to Spend Words Counteracting Monotony Pick Up Fresh Words
11. Learning to See Again The Blinders of Habit Causes of Repetitiousness Recapturing Innocence of Eye A Stranger in the Streets The Rewards of Virtue
12. The Source of Originality The Elusive Quality Originality Not Imitation The "Surprise Ending" Honesty, the Source of Originality Trust Yourself "Your Anger and My Anger" One Story, Many Versions Your Inalienable Uniqueness A Questionnaire
13. The Writer's Recreation Busmen's Holidays Wordless Recreation Find Your Own Stimulus A Variety of Time-Fillers
14. The Practice Story A Recapitulation The Contagiousness of Style Find Your Own Style The Story in Embryo The Preparatory Period Writing Confidently A Finished Experiment Time for Detachment The Critical Reading
15. The Great Discovery The Five-Finger Exercises of Writing The Root of Genius Unconscious, Not Subconscious The Higher Imagination Come to Terms with the Unconscious The Artistic Coma and the Writer's Magic
16. The Third Person, Genius The Writer Not Dual But Triple The Mysterious Faculty Releasing Genius Rhythm, Monotony, Silence A Floor to Scrub
17. The Writer's Magic X Is to Mind as Mind to Body Hold Your Mind Still Practice in Control The Story Idea as the Object The Magic in Operation Inducing the "Artistic Coma" Valedictory
In Conclusion: Some Prosaic Pointers Typewriting Have Two Typewriters Stationery At the Typerwriter: WRITE! For Coffee Addicts Coffee Versus Maté Reading Book and Magazine Buying
1. The Four Difficulties The Difficulty of Writing at All; The "One-Book Author"; The Occasional Writer; The Uneven Writer; The Difficulties Not in Technical Equipment.
2. What Writers are Like Cultivating a Writer's Temperament; False and Real Artists; The Two Sides of a Writer; "Dissociation" Not Always Psychopathic; Everyday Examples of Dual Personality; The Slough of Despond
3. The Advantages of Duplicity The Process of Story Formation; The "Born Writer"; Unconscious and Conscious; The Two Persons of the Writer; The Transparent Barrier; Keep Your Own Counsel; Your "Best Friend and Severest Critic"; The Right Recreation; Friends and Books; The Arrogant Intellect; The Two Selves Not at War; The First Exercise
4. Interlude: On Taking Advice Save Your Energy; Imagination Versus Will in Changing Habits; Displacing Old Habits; A Demonstration; The Right Frame of Mind
5. Harnessing the Unconscious Wordless Daydreams; Toward Effortless Writing; Double Your "Output"
6. Writing on Schedule Engaging to Write; A Debt of Honor; Extending the Exercise; Succeed, or Stop Writing
7. The First Survey Reading Your Work Critically; The Pitfalls of Imitation; Discovering Your Strength; A Footnote for Teachers
8. The Critic at Work on Himself A Critical Dialogue Be Specific in Suggestions Correction After Criticism The Conditions of Excellence Dictating a Daily Regime
9. Readings as a Writer Read Twice Summary Judgment and Detailed Analysis The Second Reading Points of Importance
10. On Imitation Imitating Technical Excellence How to Spend Words Counteracting Monotony Pick Up Fresh Words
11. Learning to See Again The Blinders of Habit Causes of Repetitiousness Recapturing Innocence of Eye A Stranger in the Streets The Rewards of Virtue
12. The Source of Originality The Elusive Quality Originality Not Imitation The "Surprise Ending" Honesty, the Source of Originality Trust Yourself "Your Anger and My Anger" One Story, Many Versions Your Inalienable Uniqueness A Questionnaire
13. The Writer's Recreation Busmen's Holidays Wordless Recreation Find Your Own Stimulus A Variety of Time-Fillers
14. The Practice Story A Recapitulation The Contagiousness of Style Find Your Own Style The Story in Embryo The Preparatory Period Writing Confidently A Finished Experiment Time for Detachment The Critical Reading
15. The Great Discovery The Five-Finger Exercises of Writing The Root of Genius Unconscious, Not Subconscious The Higher Imagination Come to Terms with the Unconscious The Artistic Coma and the Writer's Magic
16. The Third Person, Genius The Writer Not Dual But Triple The Mysterious Faculty Releasing Genius Rhythm, Monotony, Silence A Floor to Scrub
17. The Writer's Magic X Is to Mind as Mind to Body Hold Your Mind Still Practice in Control The Story Idea as the Object The Magic in Operation Inducing the "Artistic Coma" Valedictory
In Conclusion: Some Prosaic Pointers Typewriting Have Two Typewriters Stationery At the Typerwriter: WRITE! For Coffee Addicts Coffee Versus Maté Reading Book and Magazine Buying
Bibliography Index
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