The reader is encouraged to toss off words such as ?disestablishmentarianism, ? ?descant, ? and ?autodidactic? ?words that will make the user sound learned, intellectual, and wise. For those who want to improve the quality and sophistication of their speech and writing, this is the book to keep on the nightstan

    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.

    The 501 most commonly used Russian verbs are listed in table form, one verb per page, and conjugated in all tenses, identified by English infinitive forms. Verbs are both regular and irregular, and are presented alphabetically for easy reference in the Cyrillic alphabet. Added material related to verbs and verb usage is also presented, including lists of hundreds more regular verbs, idiomatic verb usage, and more.

    Avoidingtraditional thesauruses’ mundane synonym choices,Peter E. Meltzer puts each word—whether it’s protrepic,apostrophize, iracund, or emulous—in context by usingexamples from a broad range of contemporary books,periodicals, and newspapers. His new introductionmakes the case for why we should widen our vocabularyand use the one right word. This groundbreakingthesaurus remains a unique venture, one that enrichesyour writing while helping you find the perfect word.

    In clear precise language, this guide discusses the various types of stories we tell, their specific parts, and how they are assembled. Say good-bye to staring at the blank page waiting for lightning to strike. Just put a few coins in the Plot Machine and design better stories faster.

    The handbook includes profiles of fifty creative writing programs, guidance through the application process, advice from current students and professors including George Saunders, Aimee Bender, Tracy K. Smith, and Geoffrey Wolff, and the most comprehensive listings of graduate writing programs in and outside the United States. The handbook also includes special sections about Low-Residency writing programs, Ph.D. programs, publishing in literary journals, and workshop and teaching advice.In a remarkably concise, user-friendly fashion, The Creative Writing MFA Handbook answers as many questions as possible, and is packed with information, advice, and experience.

    If its purpose is to entertain or to provoke thought, it makes readers want to come back for more.Revised and updated, this guide covers four essential aspects of good writing:Individual words - spelling variations, hyphenation, frequently confused homonyms, frequently misused words and phrases, irregular plurals and negatives, and uses of capitalization and type style to add special meaningsPunctuation - the role of each mark in achieving clarity and affecting tone, and demonstration of how misuses can lead to ambiguitySyntax and structure - agreement of subject and verb, parallel construction, modifiers, tenses, pronouns, active versus passive voice, and moreStyle - advice on the less hard-and-fast areas of clarity and tone, including sentence length and order, conciseness, simplification, reading level, jargon and cliches, and subtletyFilled with self-test exercises and whimsical literary quotations, "Grammatically Correct" steers clear of academic stuffiness, focusing instead on practical strategies and intuitive explanations.Discussions are designed to get to the heart of a concept and provide a sufficient sense of when and how to use it, along with examples that show what ambiguities or misinterpretations might result if the rules are not followed. In cases where there is more than one acceptable way to do something, the approach is not to prescribe one over another but simply to describe the options.Readers of this book will never break the rules of language again - unintentionally."

    And the writers we revere—from Homer, Shakespeare, Austen, and others—each made a unique technical breakthrough that can be viewed as both a narrative and neuroscientific advancement. Literature’s great invention was to address problems we could not solve: not how to start a fire or build a boat, but how to live and love; how to maintain courage in the face of death; how to account for the fact that we exist at all. Wonderworks reviews the blueprints for twenty-five of the most significant developments in the history of literature. These inventions can be scientifically shown to alleviate grief, trauma, loneliness, anxiety, numbness, depression, pessimism, and ennui, while sparking creativity, courage, love, empathy, hope, joy, and positive change. They can be found throughout literature—from ancient Chinese lyrics to Shakespeare’s plays, poetry to nursery rhymes and fairy tales, and crime novels to slave narratives. A “refreshing and remarkable” (Jay Parini, author of Borges and Me: An Encounter) exploration of the new literary field of story science, Wonderworks teaches you everything you wish you learned in your English class, and “contains many instances of critical insight....What’s most interesting about this compendium is its understanding of imaginative representation as a technology” (The New York Times).

    Don't be one of them. Using examples of misuse from leading newspapers, prominent public figures and famous writers, among others, language gurus Ross Petras and Kathryn Petras explain how to avoid these perilous pitfalls in the English language. Each entry also includes short histories of how and why these mistake have happened, some of the (often surprisingly nasty) debates about which uses are (and are not) mistakes, and finally, how to use these words correctly ... or why to not use them at all. By the end of this book, every literati will be able to confidently, casually, and correctly toss in an "a priori" or a "limns" without hesitation.

    From the North Pole to New Guinea, from Easter Island to Tibet, Howard Rheingold explores more than forty familiar and obscure languages to discover genuinely useful (rather than simply odd) words that can open up new ways of understanding and experience life.

    Mangled Moments of Western Civilization from Term Papers & Blue Book Exams Did You Know:Cesar was assassinated on the Yikes of March when he is reported to have said, "Me too, Brutus!"Stalin, Roosevelt, Churchill, and Truman were known as the "Big Three"Rasputin was a pheasant by birthJudyism had one big God named YahooWestward expansion ended at Custard's Last StandMarie Curie won the Noel Prize for inventing the radiatorThe Civil Rights movement turned the corner with Martin Luther Junior's famous "If I Had a Hammer" speech

    I fell for it hook, line, and sinker."--CLEVELAND PLAIN DEALER

    I have to talk myself into bravery with every sentence, agreed Cynthia Ozick, sometimes every syllable. E. B. White said he admired anyone who has the guts to write anything at all.An author who has taught writing for more than thirty years,In The Courage to Write, Ralph Keyes, an author who has taught writing for more than thirty years, assures us that anxiety is felt by writers at every level, especially when they dare to do their best. He describes the sequence of courage points through which all writers must pass, from the challenge of identifying a worthwhile project to the mixture of pride and panic they feel when examining a newly published book or article.Keyes also offers specifics on how to root out dread of public performance and of the judgment of family and friends, make the best use of writers' workshops and conferences, and handle criticism of works in progress. Throughout, he includes the comments of many accomplished writers -- Pat Conroy, Amy Tan, Rita Dove, Isabel Allende, and others -- on how they transcended their own fears to produce great works.

    Keeping it teachable and flexible, the material allows for full and innocent immersion as well as raising inductive questions to develop critical and analytical skills. Students will be led to understand poetry as a means of imaginatively extending their own experience and indeed, probing the possibilities of the self. This latest incarnation of the landmark text facilitates a thorough study of poetry.

    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.