If an editor or agent (or reader) loses interest after a page or two, you've lost him or her completely, even if the middle of your novel is brilliant and the ending phenomenal. Noah Lukeman, an agent in Manhattan, has taken this advice and created a book that examines just what this means, and I have to tell you, it's one of the best I've read. I've written (and seen published) pretty close to a dozen novels in as many years -- some are still to be published and will be out shortly; others are already out of print after four years. But I wish I had read Lukeman's book, The First Five Pages, when I began writing fiction. I'm glad I did now. It has helped, immediately. I'm already embarrassed about some of the goofs I made in my writing -- and I've been revising recent prose with his advice in mind. First off, Lukeman is a literary agent who once was an editor, and his editorial eye is sharp. If every novelist and short story writer in this country had Lukeman as an editor, we'd have a lot more readable prose out there. He writes: Many writers spend the majority of their time devising their plot. What they don't seem to understand is that if their execution -- if their prose -- isn't up to par, their plot may not even be considered.This bears repeating, because in all the books I've read on writing, this is an element that is most often forgotten in the rush to come up with snappy ideas and sharp plot progressions. You can always send a hero on a journey, after all, but if no reader wants to follow him, you've wasted your time. In a tone that can be a bit professorial at times, Lukeman brings what prose is -- and how it reads to others -- into sharp focus. He deals with dialogue, style, and, most importantly, sound. Sound. How does prose sound? It must have rhythm, its own kind of music, in order to draw the reader into the fictive dream. Lukeman's tips and pointers are genuinely helpful, and even important with regard to the sound of the prose itself. Lukeman also brings in on-target exercises for writers of prose and the wonderful advice for novelists to read poetry -- and often. Those first five pages are crucial, for all concerned. But forget the editor and agent and reader. They are important for you, the writer, because they determine the sharpness of your focus, the completeness of your vision, the confidence you, as a writer, need to plunge into a three- or four- or five-hundred-page story. The First Five Pages should be on every writer's shelf. This is the real thing.P#151;Douglas Clegg Douglas Clegg is the author of numerous novels and stories, including The Halloween Man and the collection The Nightmare Chronicles. In addition, Clegg is the author of the world's first publisher-sponsored Internet email novel, Naomi.

    Each was used by a Harvard student on his or her application and is followed with analysis by the staff of the Harvard Crimson, who help give perspective on what works well, what is a necessary evil, and what detracts from an otherwise compelling essay. With pointers on avoiding common essay pitfalls and stepping back to evaluate strengths applicants never realized they had, Fifty Successful Harvard Application Essays is an inspiration for every student trying to find the one thing that sets him or her apart from the crowd.

    -Winner of the Agatha Award for Best Nonfiction Book-Finalist for the Anthony and the Macavity awards

    Literary Criticism. The two discussions in WHAT WE SHOULD HAVE KNOWN took place at the offices of n+1 in the summer of 2007. Eleven n+1 editors and contributors--including Caleb Crain, Meghan Falvey, Mark Greif, and Ilya Bernstein--met to talk frankly about regrets they have (or don't have) about college--what they wish they had read or had not read, listened to or not listened to, thought or not thought, been or not been. The idea for the discussions was prompted by a desire to give college students a directed guide, of some sort, to the world of literature, philosophy, and thought that they might not otherwise receive from the current highly specialized university environment. They were also an attempt to answer the "canon"-based approach to college study in two ways: by identifying canonical books produced by our contemporaries or near-contemporaries--something conservative writers have always refused to do--and, second, by articulating a better reason to read the best books ever written than that they authorize and underwrite a system of brutal economic competition and inequality.

    It is offered in the conviction that God in His common grace bestowed a great deal of practical wisdom about public discourse on the ancient practitioners of rhetoric, and that we must hold what they taught up against the final standard of Scripture.Definitions of rhetoric vary in the classical writers, but adapting one of them, with a peculiarly Christian backdrop and understanding, provides us with our working definition of rhetoric: "the art of a good man speaking well." And in this "art," you want three things to line up. You want convergence of ethos, pathos, and logos.Logos: Logic is the foundation for logos. Logic deals with statements and their relationships with one another. For diligent speakers, and especially for those diligent students who are not all that confident, the inclination is to put all your eggs in the basket of content preparation. Logos is a great place to begin, but ethos and pathos are just as important.Ethos: Give yourself to the cultivation of your character, but beware of the dangers of affectation. The problems attendant to this will be avoided if your first concern is that of worship, study, helping, giving, and so forth. If someone goes off to a good liberal arts college and comes back home with a tweed jacket with patches on the elbows, a pipe, and faux accent, and is twice as much of a snot as when he left home, the problem is ethos. Remember, a person cannot be a good speaker without being a good person, and this means that in the Christian worldview, ethos is holiness.Pathos: We do not play with words, we work with them. And because we live in a fallen world, we fight dragons with them. Believe what you say, and say what you believe. And if you do not feel it at any level, this means you do not really believe it. This means there should be a correspondence between the content of what you are saying and how you are affected by it. If you shed false tears, then you are a manipulative, deceitful, treacherous hazard to the republic. Do not try to affect a group of hearers by anything that does not affect you first.As a stand-alone text, this book can be used over the course of a term or semester. As a supplement or companion, it can be used in conjunction with some of the historic texts for the study of classic rhetoric, extended over the course of a year. Besides ethos, pathos, and logos, this book also covers the five canons of rhetoric, fallacies, the composition of arguments, copiousness, and presentation, among other things. Each of the thirty-one chapters contains a lesson, exercises, and review questions, along with suggested reading material and excerpts from the classical masters of the art of rhetoric.

    With these proven, practical coaching-conversation techniques, school leaders can engage their school communities to work collaboratively toward total transformation. This research-based handbook helps school leaders:Develop open, reflective conversations with staff members Motivate staff Adopt new habits for working with teachers, staff, and students Utilize the power of committed listening and non-judgmental feedback Create positive changes in how people think and interact

     You know it’s been rattling around in your head since you were young. You want to write a book because the call of the muse has been getting stronger. And, perhaps you have heard You Must Write a Book. The two keys to success for aspiring authors is consistency and a little bit of time. Honorée Corder and Brian D. Meeks are full-time authors who have written over three dozen books combined, both fiction and non-fiction. Honorée is an expert in non-fiction and Brian has penned tomes across five fiction genres. They’ve combined their knowledge to lay out the best practices and answer the most common questions they hear from new authors. The Nifty Fifteen will take you from the blank page to finished book by wiping away the fear that is born of not knowing where to begin. In addition, you’ll be given access to Brian’s Beautiful Gears, which is a session by session look at how he wrote his 13th novel in just fifteen minutes per day. You’ll see the unedited work with all of its errors to show how a full-time author is worried about one thing…get the first rough draft out. The edited version, all polished up and without the daily comments, will also be made available upon its release. Lastly you’ll be given exercises that will make the process easy to undertake. Everyone has a story to tell. It just takes a little time each day, so why not give The Nifty Fifteen a read.

    Admired for its clarity and zest, Impro lays bare the techniques and exercises used to foster spontaneity and narrative skill for actors. These techniques and exercises were evolved in the actors' studio, when he was Associate Director of the Royal Court and then in demonstrations to schools and colleges and ultimately in the founding of a company of performers called The Theatre Machine.Divided into four sections, 'Status', 'Spontaneity', 'Narrative Skills' and 'Masks and Trance', arranged more or less in the order a group might approach them, the book sets out the specific approaches which Johnstone has himself found most useful and most stimulating. The result is a fascinating exploration of the nature of spontaneous creativity.

    Getting out... will be another matter. *** It was supposed to be just one more job: in, out, and millions the richer. But when four thieves break into THIS house, they discover the owners were ready. And waiting. Now, the thieves find themselves in a deadly maze of traps. Traps designed not only to steal their lives, but their sanity. The only way out is the front door. The only way to get there is to survive. And the only way to survive is to be willing to do anything, to suffer all... and to lose everything.

    In response, the technique of rhetoric rapidly developed, bringing virtuoso performances and a host of practical manuals for the layman. While many of these were little more than collections of debaters’ tricks, the Art of Rhetoric held a far deeper purpose. Here Aristotle establishes the methods of informal reasoning, provides the first aesthetic evaluation of prose style and offers detailed observations on character and the emotions. Hugely influential upon later Western culture, the Art of Rhetoric is a fascinating consideration of the force of persuasion and sophistry, and a compelling guide to the principles behind oratorical skill.

    Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni. Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience. In Story, McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the "magic" of story construction and the relationship between structure and character than Robert McKee.

    Michael G. Thompson, coauthor of Raising CainEmbarrassment. None of us escape it. Especially as kids, in school. How might our fear of failure, of not living up to expectations, be holding us back? How can our fear of embarrassment affect how we learn, how we teach, and how we live? Tom Newkirk argues that this emotional underlife, this subterranean domain of emotion, failure, and embarrassment, keeps too many students and teachers silent, hesitant, and afraid. I am absolutely convinced, Tom writes, that embarrassment is not only the true enemy of learning, but of so many other actions we could take to better ourselves. In this groundbreaking exploration, Newkirk offers practices and strategies that help kids and teachers alike develop a more resilient approach to embarrassment. I contend that if we can take on a topic like embarrassment and shame, we can come to a richer, more honest, more enabling sense of who we are and what we can do, he explains. So let's do battle. Let's name and identify the enemy that can haunt our days, disturb our sleep, put barriers up to learning, and drain joy from our lives-and maybe we can also learn how to rearrange some things in our own head so that we can be more generous toward ourselves.

    Everyone talks about it, yet no one seems able to define it. Voice has therefore been the most elusive aspect of the entire writing craft to teach. Until now. In this book, #1 bestselling writing teacher James Scott Bell reveals the true source of voice, and what any writer in any genre can do to capture it for their own work. In VOICE: The Secret Power of Great Writing you'll learn: • An actual working definition of voice that is simple yet powerful • Bell's original method for turning that definition into book-length voice power • How to vary voice from genre to genre, book to book • How to enhance voice with emotion, flow, and attitude • How to create vivid word pictures • Exercises to expand your voice and style • Example after example of voice in action Don't settle for good writing. Go for the unforgettable. The secret of voice will help you get there.

    Most students worry about what an admissions officer looks for in a writing sample. But that’s the wrong way to approach this vital component, says former college admissions officer Harry Bauld. At Brown and Columbia, he saw what prospective students often did wrong—and now tells you how to do it right.On Writing the College Application Essay is his inside guide to writing a college application essay that will stand out from the pack. Baum advises you on how to avoid platitudes and find your authentic voice, gives you tools and ideas that will spark your imagination, and shows you how to approach themes with originality and panache to make even the most tired topics—the ones most students should stay away from—fresh, such as:The trip (“I had to adjust to a whole new way of life.”)My favorite things (puppy dogs, freedom, and chocolate chip cookies)The pageant contestant (“I think World Peace is the most important issue facing us today.”)The jock (“Through wrestling I have learned to set goals and to work with people.”)The autobiography (“Hello, my name is . . . ”)Tales of my success (“But, finally, when I crossed the finish line . . . ”)Pet death (“As I watched Buttons’s life ebb away, I came to value . . . ”)Getting into the college of your dreams is tough. The competition is fierce. For more than twenty-five years, On Writing the College Application Essay has helped thousands of students improve their chances. Now, let it work for you.

    Le Guin generously shares the accumulated wisdom of a lifetime's work.