unique style. For each piece of fiction, the author makes many choices, consciously or subconsciously, which combine to form the writer's unique style. The components of style are numerous, but include point of view, choice of narrator, fiction-writing mode, person and tense, grammar, punctuation, word usage, sentence length and structure, paragraph length and structure, tone, imagery, chapter usage, and title selection. Narrator The narrator is the story teller. The main character in the book can also be the narrator. Point of view Point of view is the perspective (or type of personal or non-personal "lens") through which a story is communicated. Narrative point of view or narrative perspective describes the position of the narrator, that is, the character of the storyteller, in relation to the story being told. Tone The tone of a literary work expresses the writer's attitude toward or feelings about the subject matter and audience. Suspension of disbelief Suspension of disbelief is the reader's temporary acceptance of story elements as believable, regardless of how implausible they may seem in real life. Authors' views on writing Ernest Hemingway wrote "Prose is architecture, not interior decoration." Stephen King, in his non-fiction, part autobiographical, part self-help writing memoir, On Writing: A Memoir of the Craft, he gives readers helpful advice on honing their craft: "Description begins in the writer's imagination, but should finish in the reader's." Creative Writing 101: According to Kurt Vonnegut Kurt Vonnegut the author of praised novels Cat's Cradle, Slaughterhouse-Five, and Breakfast of Champions, has given his readers, from his short story collection, Bagombo Snuff Box, eight rules on how to write a successful story. The list can be found in the Introduction of the collection. "Now lend me your ears. Here is Creative Writing 101: Use the time of a total stranger in such a way that he or she will not feel the time was wasted. Give the reader at least one character he or she can root for. Every character should want something, even if it is only a glass of water. Every sentence must do one of two things—reveal character or advance the action. Start as close to the end as possible. Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of. Write to please just one person. If you open a window and