The romance arc is made up of its own story beats, and the external plot and theme need to be braided to the romance arc—not the other way around. Told in conversational (and often irreverent) prose, Romancing the Beat can be read like you are sitting down to coffee with romance editor and author Gwen Hayes while she explains story structure. The way she does with her clients. Some of whom are regular inhabitants of the New York Times and USA Today bestseller lists. Romancing the Beat is a recipe, not a rigid system. The beats don’t care if you plot or outline before you write, or if you pants your way through the drafts and do a “beat check” when you’re revising. Pantsers and plotters are both welcome. So sit down, grab a cuppa, and let’s talk about kissing books.

    It’s the harmful debris of your education—a mixture of half-truths, myths, and false assumptions that prevents you from writing well. Drawing on years of experience as a writer and teacher of writing, Verlyn Klinkenborg offers an approach to writing that will change the way you work and think. There is no gospel, no orthodoxy, no dogma in this book. What you’ll find here isn’t the way to write. Instead, you’ll find a way to clear your mind of illusions about writing and discover how you write. Several Short Sentences About Writing is a book of first steps and experiments. They will revolutionize the way you think and perceive, and they will change forever the sense of your own authority as a writer. This is a book full of learning, but it’s also a book full of unlearning—a way to recover the vivid, rhythmic, poetic sense of language you once possessed. An indispensable and unique book that will give you a clear understanding of how to think about what you do when you write and how to improve the quality of your writing.

    A personable and funny book on how to write about your life in essay and memoir, by Adair Lara, whom Anne Lamott (Bird by Bird) calls San Francisco's legendary writer and teacher

    Lewis' The Chronicles of Narnia. Enchanted by its fantastic world as a child, prominent critic Laura Miller returns to the series as an adult to uncover the source of these small books' mysterious power by looking at their creator, Clive Staples Lewis. What she discovers is not the familiar, idealized image of the author, but a more interesting and ambiguous truth: Lewis's tragic and troubled childhood, his unconventional love life, and his intense but ultimately doomed friendship with J.R.R. Tolkien.Finally reclaiming Narnia "for the rest of us," Miller casts the Chronicles as a profoundly literary creation, and the portal to a life-long adventure in books, art, and the imagination.

    One of the best ways to get around the problem is to surround yourself with ideas. "1,000 Creative Writing Prompts for Seasons: Ideas for Blogs, Scripts, Stories and More" gives you exactly one thousand idea-generating prompts that focus on the coldest, warmest, toughest and funniest days of the four seasons. This book covers many different aspects of spring, summer, fall and winter including weather, nature, holidays, festivals, the five senses, science, literature, entertainment and more! These 1,000 prompts work for blogs, scripts, stories, poems, essays, songs and anything else that requires you to stare down writer's block and put pen to paper anyway. Originally geared for the classroom, these prompts can be used by any writer from 5 to 105 to get the ideas they need when they need them. Author Bryan Cohen has written over a dozen books of writing prompts including "1,000 Character Writing Prompts: Villains, Heroes and Hams for Scripts, Stories and More," "500 Writing Prompts for Kids: First Grade through Fifth Grade" and "The Writing Prompts Workbook Series." His books have sold over 15,000 copies. He lives in Chicago.

    Hall knows. Now, in this entertaining, revelatory book, he reveals how bestsellers work, using twelve twentieth-century blockbusters as case studies—including The Godfather, Gone with the Wind, To Kill a Mockingbird, and Jaws. From tempting glimpses inside secret societies, such as submariners in The Hunt for Red October, and Opus Dei in The Da Vinci Code, to vivid representations of the American Dream and its opposite—the American Nightmare—in novels like The Firm and The Dead Zone, Hall identifies the common features of mega-bestsellers. Including fascinating and little-known facts about some of the most beloved books of the last century, Hit Lit is a must-read for fiction lovers and aspiring writers alike, and makes us think anew about why we love the books we love.

    There’s a famous piece of writing advice—offered by Ernest Hemingway, Stephen King, and myriad writers in between—not to use -ly adverbs like “quickly” or “fitfully.” It sounds like solid advice, but can we actually test it? If we were to count all the -ly adverbs these authors used in their careers, do they follow their own advice compared to other celebrated authors? What’s more, do great books in general—the classics and the bestsellers—share this trait?In Nabokov’s Favorite Word Is Mauve, statistician and journalist Ben Blatt brings big data to the literary canon, exploring the wealth of fun findings that remain hidden in the works of the world’s greatest writers. He assembles a database of thousands of books and hundreds of millions of words, and starts asking the questions that have intrigued curious word nerds and book lovers for generations: What are our favorite authors’ favorite words? Do men and women write differently? Are bestsellers getting dumber over time? Which bestselling writer uses the most clichés? What makes a great opening sentence? How can we judge a book by its cover? And which writerly advice is worth following or ignoring?

    From the origins and evolution of the romance novel to establishing a vital story framework to writing that last line to seeking out appropriate publishers, everything you ever wanted to know about writing a romance novel is here.In addition to a comprehensive breakdown of more than thirty romance subgenres, including such categories as historical, inspirational, Regency, and sweet traditional, you'll discover how to:Steer clear of cliches and stereotypes by studying the genreCraft engaging and realistic heroes and heroines readers will adoreConvincingly develop the central couple's blossoming relationshipAdd conflict by utilizing essential secondary characters like the "other woman"Use tension and timing to make your love scenes sizzle with sensualityGet your characters to happily-ever-after with an ending readers will always rememberlus, read a sample query letter, cover letter, and synopsis, and learn how to properly prepare you romance novel for submission to agents and editors. On Writing Romance has everything you need to leave readers swooning!

    This expert, one-of-a-kind handbook shows you how to:Ensure that your inheritance instructions will he carried out -- the way you want them to beProtect your child's inheritance from creditors, ex-spouses, addictions, tax troubles, mismanagement, squandering, and other risks of lossPrevent family conflict that can arise when parents die and children divide the "family money"Leave more money to your children and grandchildren, and less to the IRS -- and understand the hidden cost of a "death tax" repeal

    The Portable MFA gives you all of the essential information you would learn in the MFA program in one book. Covering fiction, memoirs, personal essays, magazine articles, poetry, and playwriting, this book provides you with:Inspiration and tips on revision, stamina, and productivityClear instruction on the craft behind the artDetailed reading lists to expand your literary horizonsExercises to improve your writing endeavorsBy heeding the advice in The Portable MFA, you will gain the wisdom and experience of some of today's greatest teachers, all for just the price of a book.

    In over 30 essays, written over 20 years, one of the world's great story-tellers meditates on story-telling. Warm, funny, generous, entertaining, and above all, deeply considered, they offer thoughts on a wide variety of topic, including the origin and composition of Philip's own stories, the craft of writing and the story-tellers who have meant the most to him. The art of story-telling is everywhere present in the essays themselves, in the instantly engaging tone, the vivid imagery and the striking phrases, the resonant anecdotes, the humour and learnedness. Together, they are greater than the sum of their parts.

    It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult.) The Story Grid is a tool with many applications: 1. It will tell a writer if a Story "works" or "doesn't work." 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story...the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation. Shawn Coyne is a twenty-five year book-publishing veteran. He's acquired, edited, published or represented works from James Bamford, John Brenkus, James Lee Burke, Barbara Bush, Dick Butkus, Harlan Coben, Nellie Connally, Michael Connelly, Robert Crais, Ben Crenshaw, Catherine Crier, Brett Favre, David Feherty, John Feinstein, Tyler Florence, Jim Gant, Col. David H. Hackworth, Jamie Harrison, Mo Hayder, William Hjortsberg, Stephen Graham Jones, Jon Krakauer, David Leadbetter, Alan Lomax, David Mamet, Troon McAllister, Robert McKee, Matthew Modine, Bill Murray, Joe Namath, John J. Nance, Jack Olsen, Scott Patterson, Steven Pressfield, Matthew Quirk, Anita Raghavan, Ian Rankin, Ruth Rendell, Jerry Rice, Giora Romm, Tim Rosaforte, William Safire, Dava Sobel, Michael Thomas, Nick Tosches, Ann Scott Tyson, Minette Walters, Betty White, Randy Wayne White, Steven White, and Don Winslow among many others. During his years as an editor at the Big Five publishing houses, as an independent publisher, as a literary agent both at a major Hollywood talent agency and as head of Genre Management Inc., and as a bestselling co-writer and ghostwriter, Coyne created a methodology called The Story Grid to teach the editing craft.

    4 is an elucidation of the writer's craft by a master practitioner. In a series of playful but expertly wrought essays, John McPhee shares insights he's gathered over his career and refined during his long-running course at Princeton University, where he has launched some of the most esteemed writers of several generations. McPhee offers a definitive guide to the crucial decisions regarding structure, diction, and tone that shape nonfiction pieces, and presents extracts from some of his best-loved work, subjecting them to wry scrutiny. The result is a vivid depiction of the writing process, from reporting to drafting to revising and revising, and revising.More than a compendium of advice, Draft No. 4 is enriched by personal detail and charming reflections on the life of a writer. McPhee describes his enduring relationships with The New Yorker and Farrar, Straus and Giroux, and recalls his early years at Time magazine. Enlivened by his keen sense of writing as a way of being in the world, Draft No. 4 is the long-awaited master class given by America's most renowned writing instructor.

    Your villain is.Are you fed up of drowning in two-dimensional villains? Frustrated with creating clichés? And failing to get your reader to root for your villain?In 13 Steps to Evil, you’ll discover: • How to develop a villain’s mindset• A step-by-step guide to creating your villain from the ground up• Why getting to the core of a villain’s personality is essential to make them credible • What pitfalls and clichés to avoid as well as the tropes your story needsFinally, there is a comprehensive writing guide to help you create superbad villains. Whether you’re just starting out or are a seasoned writer, this book will help power up your bad guy and give them that extra edge.These lessons will help you master and control your villainous minions, navigate and gain the perfect balance of good and evil, as well as strengthening your villain to give your story the tension and punch it needs.

    But as any writer can tell you, the blank page can be daunting. It's tough to know where to get started, what details to include in each scene, and how to move from the kernel of an idea to a completed manuscript. Writing great fiction isn't a gift reserved for the talented few. There is a craft to storytelling that can be learned, and studying writing techniques can be incredibly rewarding - both personally and professionally. Even if you don’t have ambitions of penning the next Moby-Dick, you'll find value in exploring all the elements of fiction. From evoking a scene to charting a plot to revising your drafts, Writing Great Fiction: Storytelling Tips and Techniques offers a master class in storytelling. Taught by award-winning novelist James Hynes, a former visiting professor at the famed Iowa Writers' Workshop, these 24 insightful lectures show you the ins and outs of the fiction writer's craft. Get tips for developing believable and memorable characters, explore how to craft plausible dialogue that serves the purposes of your narrative, compare the advantages of different points of view, and more. A wealth of exercises will inspire you to practice the many techniques you learn. Professor Hynes is an able guide, showing you what has worked for him and other novelists, and pointing out pitfalls to avoid. Writing Great Fiction is truly an exceptional course for anyone interested in storytelling.©2014 The Teaching Company, LLC (P)2014 The Great Courses