On Becoming a Novelist Test | Final Test - Easy

This set of Lesson Plans consists of approximately 127 pages of tests, essay questions, lessons, and other teaching materials.

On Becoming a Novelist Test | Final Test - Easy

This set of Lesson Plans consists of approximately 127 pages of tests, essay questions, lessons, and other teaching materials.
Buy the On Becoming a Novelist Lesson Plans
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This test consists of 15 multiple choice questions and 5 short answer questions.

Multiple Choice Questions

1. In the world of grants, Gardner writes in Chapter 2, who has a better chance than other artists?
(a) Painters.
(b) Musicians.
(c) Writers.
(d) Actors.

2. In Chapter 2, what does Gardner say the world has far more than it needs?
(a) Authors.
(b) Publishers.
(c) Writing teachers.
(d) Editors.

3. Which magazine does Gardner refer to as elegant and rather timid, perfect for selling clothes and fine china?
(a) The New York Times Book Review.
(b) The Oxford Journal.
(c) The New Yorker.
(d) The Atlantic.

4. What author of experimental fiction teaches at Rice?
(a) Max Apple.
(b) Thomas Pinchon.
(c) Kurt Vonnegut.
(d) Michael James.

5. What is one of the great questions of the moment which is addressed in The World According to Garp?
(a) Globalization.
(b) Feminism.
(c) Race relations.
(d) Environment.

6. What word does Gardner use to describe that teaching which tends to emphasize theme and design over feeling and authentic narrative?
(a) Amateur.
(b) Workshoppy.
(c) Developmental.
(d) Inverted.

7. Gardner writes in Chapter 2 that in a bad workshop, the teacher takes the place of the student's what?
(a) Internal critic.
(b) Ability to think.
(c) Assimilation.
(d) Critical imagination.

8. According to Gardner, most rejected fiction is rejected because it's not what?
(a) Subversive.
(b) Symbolic.
(c) Modern enough.
(d) Good.

9. Where is one of the oldest and best known writing workshops?
(a) Iowa.
(b) Kansas.
(c) Kentucky.
(d) New Hampshire.

10. What organization does Gardner suggest for help in locating good teachers, advice on fellowships, etc.?
(a) ACII.
(b) MFA programs.
(c) New Yorker.
(d) Poets & Writers.

11. Who does Gardner suggest writing to for information on reliable agents?
(a) ILAA.
(b) NROP.
(c) DRAA.
(d) AFJI.

12. In Chapter 2, Gardner writes that the "true young novelist has the stamina, patience, and single-mindedness of a" what?
(a) Mother.
(b) Mule.
(c) Draft horse.
(d) Elephant.

13. How did ancient poets get around means of survival, if not attaching themselves to kings?
(a) Farming.
(b) Teaching.
(c) Writing.
(d) Begging.

14. What teacher and poet is quoted as saying, "My object is to catch right now what will embarrass my students when they look at their poetry ten years from now"?
(a) Dave Smith.
(b) Julia Roberts.
(c) Allen Ginsberg.
(d) Robert Frost.

15. Where does the manuscript go after the literary editor is finished with it?
(a) Typesetter.
(b) Copy editor.
(c) Publisher.
(d) Author.

Short Answer Questions

1. What are the long pages from the typesetter, marked up by the proofreader for typographical errors?

2. Gardner claims in Chapter 3 that rejection by an agent means more than rejection by a what?

3. Gardner states in Chapter 2 that an individual style is developed as much by resistance as by what?

4. What is the name of the writer's conference where Gardner has frequently worked with writing assistants?

5. Who does Gardner say one can be fooled by the nature of imagining that the best way to become a writer is to be a seaman or a lumberjack?

(see the answer keys)

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