These nineteen essays introduce the rich and until now largely unexplored tradition of women's experimental fiction in the twentieth century. The writers discussed here range from Gertrude Stein to Christine Brooke-Rose and include, among others, Virginia Woolf, Jean Rhys, Jane Bowles, Marguerite Young, Eva Figes, Joyce Carol Oates, and Marguerite Duras. "Friedman and Fuchs demonstrate the breadth of their research, first in their introduction to the volume, in which they outline the history of the reception of women's experimental fiction, and analyze and categorize the work not only of the writers to whom essays are devoted but of a number of others, too; and second in an extensive and wonderfully useful bibliography."--Emma Kafalenos, The International Fiction Review "After an introduction that is practically itself a monograph, eighteen essayists (too many of them distinguished to allow an equitable sampling) take up three generations of post-modernists."--American Literature "The editors see this volume as part of the continuing feminist project of the `recovery and foregrounding of women writers.' Friedman and Fuchs's substantive introduction excellently synthesizes the issues presented in the rest of the volume."--Patrick D. Murphy, Studies in the Humanities Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The great challenge in writing a feature-length screenplay is sustaining audience involvement from page one through 120. Screenwriting: The Sequence Approach expounds on an often-overlooked tool that can be key in solving this problem. A screenplay can be understood as being built of sequences of about fifteen pages each, and by focusing on solving the dramatic aspects of each of these sequences in detail, a writer can more easily conquer the challenges posed by the script as a whole. The sequence approach has its foundation in early Hollywood cinema (until the 1950s, most screenplays were formatted with sequences explicitly identified), and has been rediscovered and used effectively at such film schools as the University of Southern California, Columbia University and Chapman University. This book exposes a wide audience to the approach for the first time, introducing the concept then providing a sequence analysis of eleven significant feature films made between 1940 and 2000: The Shop Around The Corner / Double Indemnity / Nights of Cabiria / North By Northwest / Lawrence of Arabia / The Graduate / One Flew Over the Cuckoo's Nest / Toy Story / Air Force One / Being John Malkovich / The Fellowship of the Ring

Get the Knowledge Without the College! You are a writer. You dream of sharing your words with the world, and you're willing to put in the hard work to achieve success. You may have even considered earning your MFA, but for whatever reason--tuition costs, the time commitment, or other responsibilities--you've never been able to do it. Or maybe you've been looking for a self-guided approach so you don't have to go back to school. This book is for you. DIY MFA is the do-it-yourself alternative to a Master of Fine Arts in creative writing. By combining the three main components of a traditional MFA--writing, reading, and community--it teaches you how to craft compelling stories, engage your readers, and publish your work. Inside you'll learn how to: • Set customized goals for writing and learning. • Generate ideas on demand. • Outline your book from beginning to end. • Breathe life into your characters. • Master point of view, voice, dialogue, and more. • Read with a "writer's eye" to emulate the techniques of others. • Network like a pro, get the most out of writing workshops, and submit your work successfully. Writing belongs to everyone--not only those who earn a degree. With DIY MFA, you can take charge of your writing, produce high-quality work, get published, and build a writing career.

‘Postmodernism’ and ‘feminism’ have become familiar terms since the 1960s, developing alongside one another and clearly sharing many strong points of contact. Why then have the critical debates arising out of these movements had so little to say about each other? Patricia Waugh addresses the relationship between feminist and postmodernist writing and theory through the insights of psychoanalysis and in the context of the development of modern fiction in Britain and America. She attempts to uncover the reasons why women writers have been excluded from the considerations of postmodern art. Her route takes her through the theorization of self offered by Freud and Lacan and on to the concept of subjectivity articulated by Kleinian and later object-relations psychoanalysts. She argues that much women’s writing has been inappropriately placed and interpreted within a predominantly formalist-orientated aesthetic and a post-Freudian/liberal, individualist conceptualization of subjectivity and artistic expression. This tendency has been intensified in discussions of postmodernism, and a new feminist aesthetic is thus badly needed. In the second part of the book Patricia Waugh analyses the work of six ‘traditional’ and six ‘experimental’ writers, challenging the restrictive definitions of ‘realist’, ‘modernist’, ‘postmodernist’ in the light of the theoretical position developed in part one. Authors covered include: Woolf (viewed as a postmodernist ‘precursor’ rather than a ‘high’ modernist), Drabble, Tyler, Plath, Brookner, Paley, Lessing, Weldon, Atwood, Walker, Spark, Russ, and Piercy.

There is no secret formula for plot - but there is a pattern that has proved satisfying to readers and movie-goers for years. Once you have an understanding of this underlying structure you can apply it to a novel or screenplay in any genre. In Plot Basics you'll see: How to break down your plot into four quarters and decide what must happen in each - applying the 'rule of three' to give a strong through-line with rising action and suspense. How to divide these into eight sequences that enable you to tell your story with maximum dramatic effect - including six major turning points plus a midpoint and a climax. What individual story elements belong in each of the eight sequences and how to develop them. You can use the eight sequences method to plot a story from scratch. Apply it to edit the first draft of a novel or screenplay you already have. Or use it to take apart a story you've started but which isn't working. When you know what needs to go where in a story, you can get on with the fun part of writing and create something for readers or movie-goers to enjoy - safe in the knowledge that your plot works.

Sometimes the best way to let one know what something is, is to let one know what it isn't. Today's typical academic book in eschatology provides the reader with a brief history of the various positions in the field followed by why certain positions should be considered the better options. This is not that book. Over the course of twelve chapters, six sequences will be presented from the three major sources in the New Testament regarding the subject, i.e., Paul's letters to the Thessalonians, the Olivet Discourse, and John's visions in Revelation. Through a careful reconciliation of those six sequences, Dr. Steven R. Bates will show that there's only one sequence of end-times, which he has labeled "The Post-Armageddon, Premillennial Resurrection." He asserts that had any other sequence of end-times been correct, whether pre-tribulationism, pre-wrath, mid-tribulationism, historic pre-millennialism, post-millennialism, a-millennialism, preterism, or any other sequence that one could possibly imagine, then the proponents of that postulation should be able to take the same six sequences from Scripture and reconcile them precisely with one another, sentence by sentence, and prove whatever sequence they propose. But, of course, no one will ever attempt such an endeavor because it's theoretically impossible. Scripture's six sequences only confirm one sequence, and it is the one which has been presented in The Sequence.

What happenes when a woman looks into a mirror? Does she see her face or does she see herself? Jenijoy La Belle finds that women--both in literature and in life--interact with their reflected images for reasons that far transcend the gratification of vanity. In this thought-provoking account of the role played by the mirror in women's self-conceptions, La Belle focuses attention on literature of the last two hundred years in which a woman confronts her looking glass, and through her perception of how she looks, begins to consider who she is.