The art of fiction is considered under a wide range of headings, such as the Intrusive Author, Suspense, the Epistolary Novel, Time-shift, Magic Realism and Symbolism, and each topic is illustrated by a passage or two taken from classic or modern fiction. Drawing on writers as diverse as Henry James and Martin Amis, Jane Austen and Fay Weldon and Henry Fielding and James Joyce, David Lodge makes accesible to the general reader the richness and variety of British and American fiction. Technical terms, such as Interior Monologue, Metafiction, Intertextuality and the Unreliable Narrator, are lucidly explained and their applications demonstrated.Bringing to criticism the verve and humour of his own novels, David Lodge has provided essential reading for students of literature, aspiring writers, and anyone who wishes to understand how literature works.Beginning (Jane Austen, Ford Madox Ford) --The intrusive author (George Eliot, E.M. Forster) --Suspense (Thomas Hardy) --Teenage Skaz (J.D. Salinger) --The epistolary novel (Michael Frayn) --Point of view (Henry James) --Mystery (Rudyard Kipling) --Names (David Lodge, Paul Auster) --The stream of consciousness (Virginia Woolf) --Interior monologue (James Joyce) --Defamiliarization (Charlotte Bronte) --The sense of place (Martin Amis) --Lists (F. Scott Fitzgerald) --Introducing a character (Christopher Isherwood) --Surprise (William Makepeace Thackeray) --Time-shift (Muriel Spark) --The reader in the text (Laurence Sterne) --Weather (Jane Austen, Charles Dickens) --Repetition (Ernest Hemingway) --Fancy prose (Vladimir Nabokov) --Intertextuality (Joseph Conrad) --The experimental novel (Henry Green) --The comic novel (Kingsley Amis) --Magic realism (Milan Kundera) --Staying on the surface (Malcolm Bradbury) --Showing and telling (Henry Fielding) --Telling in different voices (Fay Weldon) --A sense of the past (John Fowles). Imagining the future (George Orwell) --Symbolism (D.H. Lawrence) --Allegory (Samuel Butler) --Epiphany (John Updike) --Coincidence (Henry James) --The unreliable narrator (Kazuo Ishiguro) --The exotic (Graham Greene) --Chapters etc. (Tobias Smollett, Laurence Sterne, Sil Walter Scott, George Eliot, James Joyce) --The telephone (Evelyn Waugh) --Surrealism (Leonora Carringotn) --Irony (Arnold Bennett) --Motivation (George Eliot) --Duration (Donald Barthelme) --Implication (William Cooper) --The title (George Gissing) --Ideas (Anthony Burgess) --The non-fiction novel (Thomas Carlyle) --Metafiction (John Barth) --The uncanny (Edgar Allen Poe) --Narrative structure (Leonard Michaels) --Aporia (Samuel Beckett) --Ending (Jane Austen, William Golding)

     (Note: both books (1) How to Write Descriptions of Eyes and Faces and (2) How to Write Descriptions of Hair and Skin are now available in a single, unabridged volume for readers interested in both buying both books together at a cheaper price than buying them individually: How to Write Descriptions of Eyes, Faces, Hair, Skin. ASIN: B00670OUGW.) Here, you get more help than you could possibly imagine on describing eyes and faces. Each section centers on a type of description, such as Eye Color (for example, "Crystal blue eyes"), or Appearance of the Eye (for example, "Beady eyes," or "Bedroom eyes"), or Actions Involving the Eyes (for example, "Darting eyes" or "Gawking"). Each section lists its descriptive terms alphabetically with full explanations. You can read the lists to learn new terms, or you can look up a specific term. The eye section starts with the location of colors in the iris. Through examples, you learn how physical description starts with an accurate, detailed picture of everything you see, which you condense for your fiction. You learn about the appearance of the eyes, actions involving the eyes, and how to describe eyelids, eyebrows, and eyelashes. All of this leads into more than 2,000 words explaining 82 different color names to assign to eyes that are black, blue, brown, gray, green, hazel, or violet. The face section shows how to describe facial shapes, forehead, ears, cheekbones, nose, lips, chin, and facial hair, if any. You learn about facial expressions, such as simpering or sneering, and things like the differences between a frown and a scowl. You also get a section on how the face shows different emotions. For example, you can look up "Anger" and read about common physical signs of anger such as blood rising beneath the skin, the forehead tightening, the eyes narrowing, and the nose wrinkling in disgust. Who may benefit from this book? Anyone who wants a quick prompt or idea so as not to lose his writing momentum. Readers for whom English is a second language may enjoy the in-depth explanations of American English terms. Authors in genres that demand much physical description (for example, fantasy fiction and romance fiction) may also find this book useful. How to Write Descriptions of Eyes and Faces is about 15,000 words in total. Thank you for reading.

    The Weird and the Eerie are closely related but distinct modes, each possessing its own distinct properties. Both have often been associated with Horror, yet this emphasis overlooks the aching fascination that such texts can exercise. The Weird and the Eerie both fundamentally concern the outside and the unknown, which are not intrinsically horrifying, even if they are always unsettling. Perhaps a proper understanding of the human condition requires examination of liminal concepts such as the weird and the eerie. These two modes will be analysed with reference to the work of authors such as H.P. Lovecraft, H.G. Wells, M.R. James, Christopher Priest, Joan Lindsay, Nigel Kneale, Daphne Du Maurier, Alan Garner and Margaret Atwood, and films by Stanley Kubrick, Jonathan Glazer and Christoper Nolan.

    Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.

    Under Erika Knight's guidance even those who have never picked up a crochet hook before will soon be making gorgeous projects and all the while learning new techniques and adding to their skills. Each of the 20 projects in the book will teach you a new stitch, technique, or trick, and will build on and consolidate crochet techniques already learned in the preceding projects, until you have mastered a wide repertoire of skills and completed and enviable collection of crocheted items.Simple Crocheting showcases the incredible variety of finishes that different crochet techniques can produce. Erika begins with simple scarves and hats that are chic accessories as well as being the perfet items to practice basic stitches. She then takes you through the dense textures of double and treble crochet---which make excellent bags, purses, and even a laptop case---and then moves on to the more intricate, deilcate lace and cluster stitches---perfect for heirloom shawls and antique-style cushions. Freeform or random crochet takes the craft to a more demanding level and projects like the edge-to-edge cardigan will provide a new chlalenge for all creative crocheters. With exquisite photography by Yuki Sugiura that perfectly shows each of the beautiful designs, and supported with clear diagrams and illustrations, Erika Knight has created the ultimate book for all enthusiasts of this remarkable craft.

    Using examples from his own work and that of other celebrated mystery writers, the author discusses the planning and writing of successful mystery fiction.

    Beginning with its first publication as a cautionary tale on the perils of seduction, written in reaction to the licentiousness of the court of Louis XIV, Orenstein traces the many lives the tale has lived since then, from its appearance in modern advertisements for cosmetics and automobiles, the inspiration it brought to poets such as Anne Sexton, and its starring role in pornographic films. In Little Red Riding Hood Uncloaked, Red appears as seductress, hapless victim, riot grrrrl, femme fatale, and even she-wolf, as Orenstein shows how through centuries of different guises, the story has served as a barometer of social and sexual mores pertaining to women. Full of fascinating history, generous wit, and intelligent analysis, Little Red Riding Hood Uncloaked proves that the story of one young girl's trip through the woods continues to be one of our most compelling modern myths.

    The exciting pieces come from an international array of artists, each with a unique perspective. The stylishly varied collection has a little bit of everything: the cups range from handbuilt to wheel-thrown, practical to sculptural, round to square. Benjamin Schulman's "Stacked Teacup Set" takes a strictly functional approach, while Heather O'Brien's "Dessert Cups on Stand" focuses on aesthetic form rather than usefulness. Annette Gates' "Espresso Shot Cups with Rubies" has a surface design of simple abstract lines and dots of glaze and jewels. Some are whimsical, others starkly conceptual. Every one is a treat for the eye.

    The authors explore picturebooks as a specific medium or genre in literature and culture, one that prepares children for other media of communication, and they argue that picturebooks may be the most influential media of all in the socialization and representation of children. Spanning an international range of children's books, this book examine such favorites as Curious George and Frog and Toad Are Friends, along with the works of authors and illustrators including Maurice Sendak and Tove Jansson, among others. With 116 illustrations, How Picturebooks Work offers the student of children's literature a new methodology, new theories, and a new set of critical tools for examining the picturebook form

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    Written for the practicing professional just starting out or looking to learn new tricks of the trade, this revised and expanded edition contains updated industry statistics and benchmark figures, features a new chapter on e-marketing, and provides new information about using financial information to make key management decisions. Highly practical forms and sample contracts are included for up-to-the-minute advice.

    It has little to do with the rigid daily calendar diary you may have kept as a child or the factual travelogue you wrote to recall the Grand Canyon. Instead, it is a tool for tapping the full power of your inner resources.The New Diary is as much for those who already keep a journal as it is for those who have never kept one. It does not tell you the "right" way to keep a diary; rather, it offers numerous possibilities for using the diary to achieve your own purposes. It is a place for you to clarify goals, visualize the future, and focus your engergies; a means of freeing your intuition and imagination; a workbook for exploring your dreams, your past, and your present life.It is for everyone seeking concrete methods for dealing with personal problems. It is for women and men interested in achieving self-reliance and inner liberation, for artists and writers seeking new techniques for overcoming blocks to creativity.

    Allowing you to combine the various elements that make up your writing project, from outlines to research to note, Scrivener helped author Nicole Dionisio write two novels in a single year. Our manual outlines how to use Scrivener to make your writing better, and is useful for writers of all stripes – which includes you. It is 48 hours before your dissertation is due and, despite the chaos, you are trying to complete the final edits, because it’s the only choice you have.There is one problem — and it isn’t the pile of unclean dishes housing sea-green mold and chatty-vermin that has become your sink — it is your computer and it is time. You should be going faster then this, you put your blood-shot pounding head in your hands and groan, “Why am I going so slow? This computer is brand new... what is the problem?”It isn’t your computer’s specs. It is your writing process. It is because you have not yet started using Scrivener.It is opening up a new webpage or PDF every 15 minutes to fact-check research. It is switching back and forth be- tween this research, your outline, your bibliography, and your draft. It is waiting for your files to load, bouncing be- tween them, and getting lost in the quantity of windows on your computer screen or document.Scrivener has two key features: it loads all documents at once and it has many visual organizational tools. Scrivener has optimum productivity, thus it gives writers more time to actually write and accomplish their goals.This manual outlines: -Planning your manuscript-Importing existing documents into Scrivener-Collecting your notes-Organizing files and documents within Scrivener-Keeping track of your characters for fiction writing-Bringing it all together and writing your manuscript-The editing process, including sharing with beta readers.-Publishing your masterpiece online

    Writers must learn to tolerate the early stages, the dreamlike and irrational states of mind, and then to move from jottings and ideas to a messy first draft, and onward  into the work of revision. Understanding these stages is key.The Kite and the String urges writers to let playfulness and spontaneity breathe life into the work—letting the kite move with the winds of feeling—while still holding on to the string that will keep it from flying away. Alice Mattison attends also to the difficulties of protecting writing time, preserving solitude, finding trusted readers, and setting the right goals for publication. The only writing guide that takes up both the stages of creative work and developing effective attitudes while progressing through them, plus strategies for learning more about the craft, The Kite and the String responds to a pressing need for writing guidance at all levels.

    As the always clear and direct Stein explains here, This is not a book of theory. It is a book of usable solutions--how to fix writing that is flawed, how to improve writing that is good, how to create interesting writing in the first place. With examples from bestsellers as well as from students' drafts, Stein offers detailed sections on characterization, dialogue, pacing, flashbacks, trimming away flabby wording, the so-called triage method of revision, using the techniques of fiction to enliven nonfiction, and more.