Techniques of the Selling Writer (51 page)

Feelings:
6–9

—role in story,
10

—manipulation of,
36–41

Ferber, Edna:
3

Fiction, defined:
136

Fink, David:
44

Finn, Huck:
225

Finnegans Wake
:
137

Fischer, John:
264

Fisher, Lawrence V.:
312

Flashback:
107–108
,
158–60

Flaubert, Gustave:
4

Forbidden, the:
243–44

Foster-Harris:
viii
,
274
,
312

Freedom and production:
285–86

From Here to Eternity
:
248

Fuller, Edmund:
41

Gantry, Elmer
:
225

Gardner, Erle Stanley:
3
,
261

Gault, William Campbell:
306

Gestalt
:
218

Goal:
85–87
,
90
,
93–94
,
105–106
,
205–10
,
230–31

—real vs. stated,
205–10

—scene,
105–106

—strong vs. weak,
86

—types,
86

—weak,
93–94

Gold Medal Books:
2
,
266

Goldoni, Carlo:
22

Good Earth, The
:
248

Graff, Henry F.:
275

Grammar:
32
,
34

Grit and Steel
:
276

Grove, Fred:
312

Grove Press:
265

Hamling, Bill (William L.):
vii

Hammer, Mike:
246

Hammett, Dashiell:
75

Happiness:
166

Hardware World
:
276

Harper's
:
264

Hecht, Ben:
261

Hemingway, Ernest:
3
,
75

Hero:
249–51
; vs. focal character,
45

Heroine:
254

Hockman, Ned (Charles Nedwin):
viii

Hogan, Ben:
3

Holiday
:
276

Holmes, Oliver Wendell:
202

Holmes Sherlock:
215

Hooks:
89

Hustler, The
:
245

Ideas, how to develop:
269–73

Identification:
239–48

Importance of Feeling Inferior, The
:
239

Impossible, the:
243–44

Incident:
4

Indirect discourse:
108

Inertia:
306

Ingersoll, Robert G.:
250

Initiative:
3

Insight:
238–39

Interest:
105

Involvement, emotional:
259

Ionesco, Eugene:
261

Jaffe, Rona:
264

James, William:
237

Kaderli, Elizabeth Land:
312

Kaufman, George:
213

Keeping in touch:
289–90

Keith, Harold:
312

Kelland, Clarence Budington:
248

Kenyon Review
:
301

Lack as factor in direction:
231

Lady of the Lake, The
:
116

Language faults:
32–35

Lawrence, Jerome:
258

Learning to write:
1–21

Level vs. rising action:
176

Little, Brown & Co.:
266

Live copy:
25–30

Loafing:
272

Look of the Old West, The
:
274

Lost World, The
:
247

Macbeth
:
245

Macgowan, Kenneth:
120

Magic secrets:
3

Making lists:
271–72

Man with the Golden Arm, The
:
245

Manuscript preparation:
317–20

March, William:
46

Marketing:
310
; factors involved in,
262–69

Material, selection of:
262–69

—categories,
267

—character age,
266–67

—character sex,
267

—complexity,
264

—reader philosophy,
264–66

—scope,
263

—settings,
267

—strength,
263

—timespan,
264

—treatment,
268

McCall's
:
2
,
265

McGee, Travis:
242

McHugh, Vincent:
11

Meaning:
22
,
30–32

Menace:
155

Men's Digest
:
2

Middle:
166–87

Miller, Henry:
116

Modern Clinical Psychiatry
:
239

Modern Researcher, The
:
275

Modern Romances
:
267

Morality:
125–30

Motivating stimulus:
60–68

Motivation-reaction unit:
1
,
53–54
,
77–83

Movement:
67–70

Names:
228

National Geographic
:
276

Nerve as talent:
258

Nouns:
25–27

Novel, defined:
11

Noyes, Arthur P.:
239

Objective:
132–35

Objectivist thinking:
14–18

Objectivity:
40

Opening:
10
,
137–46

Opponent:
132–35

Organizing production:
284–309

Orientation of reader:
41

Pace:
113–14
,
180–85

Palmer, Arnold:
3

Palmer, Raymond:
vii

Palmer, Stuart:
239

Paracelsus, Philippus Aureolus:
5

Pasteur, Louis:
18

Pavlov, Ivan:
196

Peripheral material:
165

Pitfalls:
1–2
,
12–14

Planning:
279–83

Playboy
:
2
,
244
,
265

Plot:
4
,
176–77
,
281–83

Polishing:
294–98

Preparation:
262–83

Pressure:
175

Prewitt, Robert E. Lee:
245

Primer of Playwriting
, A:
120

Production:
284–90
; psychology of,
299–309

Professional Writing Program, University of Oklahoma:
viii
,
312

Pronouns:
29

Proportion:
70–77

Quota:
286–87

Random House:
2

Ray, Marie Beynon:
239

Reaction in sequel:
100–101

Reader groups:
246–47

Real Confessions
:
2

Redbook
:
2
,
266

Repetition:
32–34

Research:
273–79

Revision:
290–94

Reynolds, Paul R.:
310

Rifles for Watie
:
312

Rogue
:
266

Rules people live by:
128

—trouble with,
9–12

—pay no attention to,
82

Sanders, Leonard:
312

Saturday Evening Post
:
2
,
276

Scholastic Newstime
:
2

Scene, defined:
84

—and sequel,
1
,
113–15

—common weaknesses,
93–96

—components,
85
,
104

—conflict,
85–86
,
87–89
,
90–91

—contents,
104

—disaster,
85–86
,
89–90
,
91–92

—functions,
85

—goal,
85–86
,
90
,
93–94
,
105–106

—structure,
85

—time as unifying factor,
85

—writing the,
103–109

Secret Diary
:
267

Secrets
:
266

Secrets of writing:
3–5

Selection of material:
23–24

Self-discipline:
260–61

Self-expression vs. entertainment:
265

Sensory perception:
25

Sequel, defined:
84
,
96

—and scene,
1
,
113–15

—compression,
110–11

—credibility,
112–13

—functions,
96–99

—logic as element of,
98

—structure,
100–103

—topic as unifying factor,
99–100

—transition,
111–12

—writing the,
109–13

Setting:
267
; bringing to life,
46–48

Side issues:
165

Significance, defined:
146–48

Simultaneity:
55

Sincerity:
260

Situation:
132

Slanting:
268–69

Smith, Helen Reagan:
312

Snead, Sam:
3

Specialization:
267–68

Spillane, Mickey:
246

Springboards:
273

Stakes:
175–76
,
179

Starting lineup:
131–35
; examples of,
280–83

Static scene:
169

Steinbeck, John:
3

Story:

—as character source,
216

—beginning (opening),
137–66

dangers,
158–60

end of,
163–66

essentials,
1

pattern,
1
,
4

—beginning hypothesis,
125

—categories,
267–68

—defined,
1
,
4
,
22
,
36
,
48
,
84
,
116–18
,
131
,
215
,
258
,
310
,
311
,
315

—elements,
132–34

—end,
187–213

—building climax,
188–99

weaknesses,
193–95

—resolution,
200–14

negative character,
210–11

—function and process,
117–18

—issue,
133

—material,
262–69

—middle,
166–87

build,
166–82

building climaxes,
180–82

reducing tension,
182–85

unity,
169–71

—outlining,
279–84

—question,
125–90

—reader satisfaction,
117
,
118–23

—world,
46–48

Stout, Rex:
225

Style:
32–35

Subjectivity:
14–18
,
46–48

Success, requirements for:
259–62

Summary:
74–77
,
108–109

Suspense:
71–75
,
77–83
,
164–66
,
176–77

Swope, Herbert Bayard:
13

Symbolization:
147–48

Talent, defined:
258

Tennyson, Alfred, Lord:
116

Tension:
119–30
,
171–85

Tevis, Walter:
245

Thompson, Mary Agnes:
312

Time, objective vs. subjective:
70–77

Time
:
276

Topic, defined:
99

Transition:
109
,
111–12

Traps:
1–21

Tropic of Capricorn
:
116

True Story
:
267

Twilight of Honor
:
312

Unattainable, the:
243–44

Understanding Other People
:
239

University of Oklahoma:
viii
,
312

Verbs:
27–29

Viewpoint:
155–57

Villain:
95
,
251–54

Virtue vs. courage:
248

Vital element:
165

Vividness:
25–30
; vs. brevity,
30

Wagner, Geoffrey:
265

Weeks, Mary Lyle:
312

Williams, Jeanne:
312

Williams, Race:
142

Williams, Tennessee:
179

Willingham, Calder:
179–248

Wish-fulfillment:
242–48

Wooden Horseshoe, The
:
312

Woolf, Virginia:
261

Words:
22–35

Work:
284–90

Worry:
166

Wouk, Herman:
261–99

Writer, The
:
317

Writer and His Markets, The
:
310

Writer, becoming a:
259–62

Writer's Digest
:
269
,
317

Writer's Notebook, A
:
261

Writing:

—can you learn,
2–3

—defined,
vii

—nerve as talent,
258

—talent,
3
,
258

—traps,
1–21

Yerby, Frank:
3

Yourself, need to be:
261–62