Живу мечтой, иду к мечте
Книга в раздел "начинающему писателю" 
Приведу несколько мыслей, которые я для себя выделила.
Из главы "HOW TO RAISE THE EMOTIONAL STAKES":
A cut finger doesn't magnify a character very much. Ghastly physical torture can become unbearable to imagine, so that the reader refuses to remain engaged with the story and you lose him completely. The most powerful uses of physical and emotional pain are somewhere between the trivial and the unbearable.
Собственно, поэтому я не могу читать некоторые книги. В главе также приводится пример, как подать жесть, чтобы это не было невыносимо для читателя.
Из главы "VOICES. WHO IS TELLING YOUR STORY?":
In fact, there are so many possibilities that I find that when I'm at the keyboard telling a story, it's almost as if I'm acting. I'm "in character," improvising the performance of my story using words and syntax that one of the characters in my tale might use. This makes sense when I'm using a first-person narrator. The narrative voice has to sound like the first-person narrator; if it doesn't, it's a flaw in the author's technique.
But I find myself writing "in character" even when I'm using third person, even when the narrator isn't a specific person at all. I usually write in a voice similar to the voice of the viewpoint character, even though that character is not the narrator. In reading other writers' work, I find that, as often as not, they do the same thing.
Из главы "OMNISCIENT VS. LIMITED POINT OF VIEW":
As an omniscient narrator, you float over the landscape wherever you want, moving from place to place in the twinkling of an eye. You pull the reader along with you like Superman taking Lois Lane out for a flight, and whenever you see something interesting, you explain to the reader exactly what's going on. You can show the reader every character's thoughts, dreams, memories, and desires; you can let the reader see any moment of the past or future.
The limited third-person narrator, on the other hand, doesn't fly freely over the landscape. Instead, the limited narrator is led through the story by one character, seeing only what that character sees; aware of what that character (the "viewpoint character"
thinks and wants and remembers, but unable to do more than guess at any other character's inner life. You can switch viewpoint characters from time to time, but trading viewpoints requires a clear division-a chapter break or a line space. The limited third-person narrator can never change viewpoints in mid-scene.
The limited third-person strategy is to trade time for distance. Sure, we spend more time getting through the same amount of story, but in return we get a much deeper, more intense involvement with the lives of the viewpoint characters. The omniscient narrator is always there, tugging at our hands, pulling us from place to place. We see everything and everybody as the narrator sees them, not as the characters see them. We are always outside looking in.
Вообще, главы о плюсах, минусах и возможных сложностях при разных типах повествования очень полезные. Кстати, как ни странно, я никогда не пыталась писать от первого лица - всегда от третьего в разных вариациях, а сейчас окончательно определилась - только повествование в третьем лице от нескольких героев. И для моего сюжета больше подходит, и накосячить сложнее))
Приведу несколько мыслей, которые я для себя выделила.
Из главы "HOW TO RAISE THE EMOTIONAL STAKES":
A cut finger doesn't magnify a character very much. Ghastly physical torture can become unbearable to imagine, so that the reader refuses to remain engaged with the story and you lose him completely. The most powerful uses of physical and emotional pain are somewhere between the trivial and the unbearable.
Собственно, поэтому я не могу читать некоторые книги. В главе также приводится пример, как подать жесть, чтобы это не было невыносимо для читателя.
Из главы "VOICES. WHO IS TELLING YOUR STORY?":
In fact, there are so many possibilities that I find that when I'm at the keyboard telling a story, it's almost as if I'm acting. I'm "in character," improvising the performance of my story using words and syntax that one of the characters in my tale might use. This makes sense when I'm using a first-person narrator. The narrative voice has to sound like the first-person narrator; if it doesn't, it's a flaw in the author's technique.
But I find myself writing "in character" even when I'm using third person, even when the narrator isn't a specific person at all. I usually write in a voice similar to the voice of the viewpoint character, even though that character is not the narrator. In reading other writers' work, I find that, as often as not, they do the same thing.
Из главы "OMNISCIENT VS. LIMITED POINT OF VIEW":
As an omniscient narrator, you float over the landscape wherever you want, moving from place to place in the twinkling of an eye. You pull the reader along with you like Superman taking Lois Lane out for a flight, and whenever you see something interesting, you explain to the reader exactly what's going on. You can show the reader every character's thoughts, dreams, memories, and desires; you can let the reader see any moment of the past or future.
The limited third-person narrator, on the other hand, doesn't fly freely over the landscape. Instead, the limited narrator is led through the story by one character, seeing only what that character sees; aware of what that character (the "viewpoint character"
thinks and wants and remembers, but unable to do more than guess at any other character's inner life. You can switch viewpoint characters from time to time, but trading viewpoints requires a clear division-a chapter break or a line space. The limited third-person narrator can never change viewpoints in mid-scene.The limited third-person strategy is to trade time for distance. Sure, we spend more time getting through the same amount of story, but in return we get a much deeper, more intense involvement with the lives of the viewpoint characters. The omniscient narrator is always there, tugging at our hands, pulling us from place to place. We see everything and everybody as the narrator sees them, not as the characters see them. We are always outside looking in.
Вообще, главы о плюсах, минусах и возможных сложностях при разных типах повествования очень полезные. Кстати, как ни странно, я никогда не пыталась писать от первого лица - всегда от третьего в разных вариациях, а сейчас окончательно определилась - только повествование в третьем лице от нескольких героев. И для моего сюжета больше подходит, и накосячить сложнее))