A treasure-trove of scene-writing wisdom from award-winning author and teacher Sandra Scofield To write a good scene, you have to know the following: - Every scene has an EVENT - Every scene has a FUNCTION in the narrative - Every scene has a STRUCTURE: a beginning, middle, and end - Every scene has a PULSE The Scene Book is a fundamental guide to crafting more effective scenes in fiction. In clear, simple language, Sandra Scofield shows both the beginner and the seasoned writer how to build better scenes, the underpinning of any good narrative.
The definitive handbook for the novelist who is ready to revise This wise and friendly guide shows writers how to turn first-draft manuscripts into the novels of their dreams. A critic, longtime teacher, and award-winning novelist, Sandra Scofield illustrates how to reread a work of fiction with a view of its subject and vision, and how to take it apart and put it back together again, stronger and deeper. Scofield builds her explanations around helpful concepts like narrative structure, character agency, and core scenes, using models from classic and contemporary writers. The detailed, step-by-step plan laid out in The Last Draft offers invaluable advice to both novice and experienced writers alike. In Scofield, they will find a seasoned, encouraging mentor to steer them through this emotional and intellectual journey.
In 1959, when Sandra Scofield was fifteen, she came home to stay in West Texas after years in Catholic boarding schools. She believed her presence would inspire her invalid mother to live. What she found-a fractured family; a distracted, dying mother-nudged her into the tumult of late adolescence and the awakening of her sexuality. More than forty years later, Scofield looks back on her Catholic girlhood and the ways in which her relationship with her mother was grounded in their intertwined aspirations for holiness, achievement, and love. Writing on the brink of old age, she looks back ruefully but without bitterness, forgiving both her mother's frailty and her own.
Frieda Harms was born into a farming family in Indian Territory in 1906. Widowed at thirty and left with three children in the midst of the Great Depression, she worked as a farmer, a railroad cook, a mill worker, and a nurse in four states. She died in 1983.Sandra Scofield spent most of her childhood with her grandmother Frieda and remained close to her in adulthood. When Frieda died, Sandra received her Bible and boxes of her photographs, letters, and notes. For thirty years, Sandra dipped into that cache.Sandra always sensed an undercurrent of hard feelings within her grandmother, but it was not until she sifted through Frieda’s belongings that she began to understand how much her life had demanded, and how much she had given. At the same time, questions in Sandra’s own history began to be answered, especially about the tug-of-war between her mother and grandmother. At last, in Mysteries of Love and Grief, Scofield wrestles with the meaning of her grandmother’s saga of labor and loss, trying to balance her need to understand with respect for Frieda’s mystery.
Having a busy life either with kids, work or all the many other things that come at you sometimes you just run out of time. You want to make nutritious, tasty meals for your family or for yourself but the clock is against you.You want to try something new only to look at a recipe and there is a list of ingredients as long as your arm, 30min prep time and 60 min cook time, really who has the time. We see meals made in 30 min but a lot of time it is full of pasta or television chefs telling you how easy it is when they have an army of people probably doing their prep.Inside this book are recipes and meal ideas from busy, everyday people like my mum, my aunty and my work colleagues-just trying to do it all. All of the recipes will have no more than 6-8 ingredients with very little fuss or mess.All recipes will have no more than 6-8 ingredient with very little fuss or mess.You add what you like and take out what you don't.
In twenty-five years of syndicated columns in small-town Texas newspapers between 1930 and 1960, Nellie Witt Spikes described her life on the High Plains, harking back to earlier times and reminiscing about pioneer settlement, farm and small-town culture, women’s work, and the natural history of the flatlands and canyons. Spikes’s life spanned the arrival of Euro-American settlers, the transition from ranching to farming, the drought and dust storms of the 1930s, and the irrigation revolution of the 1940s. Engaging and eloquent, her “As a Farm Woman Thinks” columns today conjure up a vivid portrait of a bygone era. Spikes’s best pieces, organized topically and then chronologically here by Geoff Cunfer, are illuminated by black-and-white historical photographs featuring people, landscapes, small towns, farms, and ranches that populated the caprock-and-canyon country of her West Texas. Cunfer’s introduction and editorial commentary provide context. For historians, As a Farm Woman Thinks enlarges our understanding of a wide land and its culture. For the rest of us, Spikes’s “poetry of place” still captures the spirit of the Plains and, decades later, inspires imagination and memory.
