Legal education, which focuses on judicial opinions, not instruments of persuasion, is partly to blame. Yet forceful writing is one of the most potent weapons of legal advocacy. In Writing to Win, Steve Stark, a former teacher of writing at Harvard Law, who has taught thousands of aspiring and practicing lawyers, has written the only book on the market that applies the universal principles of vigorous prose to the job of making a case--and winning it.Writing to Win focuses on the writing of lawyers, not judges, and includes dozens of examples of effective (and ineffective) real-life writing--as well as models drawn from advertising, journalism, and fiction. It deals with the problems lawyers face in writing, from organization to strengthening and editing prose; teaches ways of improving arguments; addresses litigation and technical writing in all its forms; and covers the writing attorneys must perform in their practice, from memos and letters to briefs and contracts. Each chapter opens with a succinct set of rules for easy reference.No other legal writing book on the market is as practical, as focused on results, as well written as Writing to Win.

    "Read the memoir first . . . (or) you might select one of my mother's recipes and foolishly believe that because the recipe is included in a cookbook, it must be something to eat".--Pat McManus.

    Written by a master bladesmith, this book tells you how to set up your forge, select your materials, fashion grips and hilts, grind edges and much more!

    Taking examples from the plays of Aeschylus, Sophocles and Euripides, The Poetics introduces into literary criticism such central concepts as mimesis (‘imitation’), hamartia (‘error’), and katharsis (‘purification’). Aristotle explains how the most effective tragedies rely on complication and resolution, recognition and reversals, centring on characters of heroic stature, idealized yet true to life. One of the most powerful, perceptive and influential works of criticism in Western literary history, the Poetics has informed serious thinking about drama ever since.Malcolm Heath’s lucid English translation makes the Poetics fully accessible to the modern reader. It is accompanied by an extended introduction, which discusses the key concepts in detail and includes suggestions for further reading.

    A look at the truth behind some of the world's biggest secrets.

    The play is set in a beach bungalow. The young man who lives there has pulled a lost young woman from the ocean. Soon, she finds herself trapped in his life and torn between her need to come to rest somewhere and her certainty that all human relationships turn eventually into nightmares. The struggle between his tolerant and gently ironic approach to life and her strategy of suspicion and attack becomes a kind of war about love and creation which neither can afford to lose. This is an offbeat, wonderful love story. Note: The play contains a wealth of excellent monologue and scene material.

    Along the way, he also addressed Batman with his multi-layered ARKHAM ASYLUM and his literary "Gothic" storyline. Callahan examines all five works in detail, drawing out their evolving themes and exploring Morrison's sometimes difficult texts in plain language. Rounding out the volume: an exclusive interview with Morrison, a foreword by popular comics writer Jason Aaron, and an appendix addressing Morrison's even earlier, shorter work. From Sequart Research & Literacy Organization. More info at http: //Sequart.org

    Its directionless New York City author arrives in town to defend the book and finds that it has inspired a group of local teens to rebel in strange and unexpected ways. A timely and unforgettable drama about the failure of urban and heartland America to understand each other, The Metal Children explores what happens when fiction becomes a matter of life and death.

    Applicable to comedians, actors, public speakers and anyone who needs to think on their toes.From The Improv Handbook:The problem for improvisers is anxiety. faced with a lot of nameless eyes staring at us, and feeling more than anything else like prey, we are likely to want to display very consistent behavior, so that anyone who looks at us, looks away and then looks back sees the same thing. Thus we become boring, we fade into the background, and we cease to be of interest.The Improv Handbook provides everything someone interested in improvisational comedy needs to know, as written by a husband and wife comedy duo with years of experience and teaching in the field. in addition to providing a comprehensive history of improvisational theater as a backdrop, it also looks at modern theories and practices of improvisation on a global scale, including how the form of comedy has evolved differently in different parts of the world, from Europe to the UK to the Chicago scene. The Improv Handbook also contains an essential performance segment that details different formats of improvisation. Chapter topics include Theatresports, Micetro, Gorilla Theatre, and the inventions of Keith Johnstone and Del Close as well as other popular forms of improv, like those on "Whose Line is it Anyway." The core section of the book is called simply, "How to Improvise" and delves into issues of spontaneity, the fundamentals of storytelling, working together, upping the ante, and character development. The book concludes with sections on how to improvise in front of an audience and- just as crucially- how to attract an audience in the first place.

    Acknowledged by the publishing industry, authors and would-be writers as the indispensable companion to navigating the world of publishing.The 80+ articles provide inspirational and how-to guidance on writing for newspapers, magazines, scripts for film, radio and TV; advice on writing and submitting plays, poetry, non-fiction and fiction of all genres - from fantasy to thrillers to romance; how to contact publishers and agents; managing finances as a writer; negotiating legal issues, such as copyright; understanding the editing process; self-publishing and conventional routes; digital and print.NEW articles in the 2016 edition include:Alison Weir Historical fictionBen Schott On writingRose Prince Writing about foodSara Wheeler Travel WritingDanny Hahn Literary translationNick Spalding Being a hybrid authorMel Sherratt Successful self-publishing Mike Poulton Adapting works for the stageJulia Copus Being a published poetand pieces on: Writing theatre reviews, Graphic novels, Getting poetry published, Literary festivals, Greetings cardsEvery one of over 4,500 listings of who to contact, where and for which disciplines across the media, are reviewed and most updated, with new listings added every year.The combination of up-to-date listings information and expert advice, make the Yearbook a topical and reliable resource; the perfect gift for every writer every year.

    (assistant director) knowingly mumbles "Gone With the Wind in the morning, Dukes of Hazzard after lunch"? An oral tradition gathered and passed down for more than a hundred years, the language of moviemaking, like other secret lexicons, is the only accepted way of communicating on a set—and is all but unknown to the outside world. Technical, odd, colorful, mysterious, the working language of movies sheds light not only on the hugely complex process of making a film, but on the invisible hierarchies of a set, the unspoken etiquette between cast and crew, and the evolution of a process that's endlessly fascinating.Movie Speak is a book about language, but through language also a book about what it’s really like to be a director or a producer or an actor or a crew member. An Oscarwinning producer (The Sting), actor (who worked with Spielberg, Coppola, and Sydney Pollock), and director (Five Corners, Flyboys, My Bodyguard, and more), Tony Bill has been on sets for more than 30 years and brings a writer's love of language to this collection of hundreds of film terms. A futz. A cowboy. A Brodkin and a double Brodkin (a.k.a. screamer). Streaks ’n tips, a Lewinsky, Green Acres, rhubarb, a peanut, a Gary Coleman, snot tape, twin buttes, manmaker (and why you can yell for one if needed for a grip, but must whisper if it's for Tom Cruise)—these are the tricks of the trade.

    Telling True Stories presents their best advice—covering everything from finding a good topic, to structuring narrative stories, to writing and selling your first book. More than fifty well-known writers offer their most powerful tips, including: • Tom Wolfe on the emotional core of the story • Gay Talese on writing about private lives • Malcolm Gladwell on the limits of profiles • Nora Ephron on narrative writing and screenwriters • Alma Guillermoprieto on telling the story and telling the truth • Dozens of Pulitzer Prize–winning journalists from the Atlantic Monthly, New Yorker, New York Times, Los Angeles Times, Washington Post and more . . .The essays contain important counsel for new and career journalists, as well as for freelance writers, radio producers, and memoirists. Packed with refreshingly candid and insightful recommendations, Telling True Stories will show anyone fascinated by the art of writing nonfiction how to bring people, scenes, and ideas to life on the page.

    The notes gathered over a long career and polished to a sharp edge documented the teachings and directions that Hauser shared privately with a host of theatrical and cinematic figures, including Sir Alec Guinness, Richard Burton, Sir Ian McKellen, Dame Judi Dench, Kevin Spacey, and many others who called Hauser their director, mentor, teacher, or boss.Now, the former student has expanded and enhanced his mentor's private notes into a book-length format suitable for anyone searching for the timeless gems of the director s craft. Drawing on years of training, decades of experience, and the distilled wisdom of leading practitioners, Notes on Directing is filled with enduring good advice expressed in assertive, no-nonsense language. More than a how-to, this is a tool for directors looking to better translate the page to the stage or to the screen. With one hundred and thirty directives supported with explanatory commentary, helpful examples, and rare quotes, this deceptively slim volume has the impact of a privileged apprenticeship to a great master.Whether you are a student or a professional, a playgoer, moviegoer, or enthusiast, Notes on Directing provides a thrilling glimpse into the hidden process of creating a live, shared experience.

    Now, in the first book of its kind, successful entrepreneur Patrick Riley shows you how to boil all the elements of your business proposal into one persuasive page magnify your business potential in the process.

    With characteristic narrative panache, Ackroyd immerses us in sixteenth-century Stratford and the rural landscape–the industry, the animals, even the flowers–that would appear in Shakespeare’s plays. He takes us through Shakespeare’s London neighborhood and the fertile, competitive theater world where he worked as actor and writer. He shows us Shakespeare as a businessman, and as a constant reviser of his writing. In joining these intimate details with profound intuitions about the playwright and his work, Ackroyd has produced an altogether engaging masterpiece.