2. What type of view of a scene can the writer have to avoid over-describing a scene?
(a) An insignificant view.
(b) A narrow view.
(c) A descriptive view.
(d) A broad view.

3. What is the purpose of reviewing work after it is complete?
(a) Making sure the story is good.
(b) Finding a way to make the story shorter.
(c) Finding bits to change.
(d) Making sure that the idea shines through.

4. How does a writer try to evoke emotions from a reader?
(a) Length of dialogue.
(b) Imagery.
(c) All of these.
(d) Diction.

5. Through which viewpoint can the writer enter only one character's mind?
(a) First person omniscient.
(b) Omniscient.
(c) Limited omniscient.
(d) Second person.

6. What must a character be given to create motivation?
(a) The ability to win or lose.
(b) The choice between life and death.
(c) A romantic ultimatum.
(d) The choice between happiness and unhappiness.

7. Which point of view does Knight believe to provide the most flexibility?
(a) First.
(b) Third.
(c) Second.
(d) Detached.

8. If a writer has an idea but the phrasing is escaping him, what next course of action does Knight suggest should be next?
(a) Skip this part entirely.
(b) Consult a thesaurus or rhyming dictionary.
(c) Stop and take a break.
(d) Continue and come back to this part later.

9. What type of market is subject to cycles and fads?
(a) Commercial fiction.
(b) Western short stories.
(c) Commercial non-fiction.
(d) Contemporary fiction.

10. What does Knight suggest is most important to consult when a writer hits a troublesome spot?
(a) Dictionary or thesaurus.
(b) His creative side.
(c) A professional editor.
(d) Another author.

11. What does Knight describe as having emotional sensitivity?
(a) Short story.
(b) Prose.
(c) Imagery.
(d) Poetry.

12. What does Knight say about mismatching mood and tone?
(a) It can only work when the mood is comical.
(b) It can only work when the mood and tone are still somewhat similar.
(c) Sometimes it can be effective.
(d) It can never be effective.

13. What does Knight suggest as being significant when dealing with an editor?
(a) Writers should not edit their books at all.
(b) Writers should avoid seeking professional editors.
(c) Writers need to listen to editors.
(d) Writers should take what editors say lightly.

14. What is described as not allowing a story to be bogged down by overly complex sentences?
(a) Variety.
(b) Diction.
(c) Word placement.
(d) Fluency.

15. What is a consequence of not following an editor's advice?
(a) Not finding a good market for publication.
(b) Not being published.
(c) Getting published in the wrong genre.
(d) Publishing a bad story.