This title explains the fundamentals of strong scene construction and how other useful fiction-writing techniques, such as character development, description, and transitions must function within the framework of individual scenes.

    L. Doctorow, and Frank Rich, into a useful guide not just for writers but for everyone who wants to put their best foot forward in writing prose. Dreyer offers lessons on the ins and outs of punctuation and grammar, including how to navigate the words he calls "the confusables," like tricky homophones; the myriad ways to use (and misuse) a comma; and how to recognize--though not necessarily do away with--the passive voice. (Hint: If you can plausibly add "by zombies" to the end of a sentence, it's passive.) People are sharing their writing more than ever--on blogs, on Twitter--and this book lays out, clearly and comprehensibly, everything writers can do to keep readers focused on the real reason writers write: to communicate their ideas clearly and effectively. Chock-full of advice, insider wisdom, and fun facts on the rules (and nonrules) of the English language, this book will prove invaluable to everyone who wants to shore up their writing skills, mandatory for people who spend their time editing and shaping other people's prose, and--perhaps best of all--an utter treat for anyone who simply revels in language.

    At once a memoir, meditation on the artistic process, and advice on craft, Still Writing is an intimate and eloquent companion to living a creative life.Through a blend of deeply personal stories about what formed her as a writer, tales from other authors, and a searching look at her own creative process, Shapiro offers her gift to writers everywhere: an elegant guide of hard-won wisdom and advice for staying the course. "The writer's life requires courage, patience, empathy, openness. It requires the ability to be alone with oneself. Gentle with oneself. To be disciplined, and at the same time, take risks." Writers--and anyone with an artistic temperament--will find inspiration and comfort in these pages. Offering lessons learned over twenty years of teaching and writing, Shapiro brings her own revealing insights to weave an indispensable almanac for modern writers.Like Anne Lamott's Bird by Bird, Virginia Woolf's A Writer's Diary, and Stephen King's On Writing, Dani Shapiro's Still Writing is a lodestar for aspiring scribes and an eloquent memoir of the writing life.

    It gives the background, insights, and specific procedures needed by all beginning writers. Here one can learn how to group words into copy that moves, movement into scenes, and scenes into stories; how to develop characters, how to revise and polish, and finally, how to sell the product.No one can teach talent, but the practical skills of the professional writer's craft can certainly be taught. The correct and imaginative use of these kills can shorten any beginner's apprenticeship by years.This is the book for writers who want to turn rejection slips into cashable checks.

    Trouble is, plot is where most writers fall down--but you don't have to be one of them. With this book, you'll learn how to create stories that build suspense, reveal character, and engage readers--one scene at a time.Celebrated writing teacher and author Martha Alderson has devised a plotting system that's as innovative as it is easy to implement. With her foolproof blueprint, you'll learn to devise a successful storyline for any genre. She shows how to:Use the power of the Universal StoryCreate plot lines and subplots that work togetherEffectively use a scene tracker for maximum impactInsert energetic markers at the right points in your storyShow character transformation at the book's climaxThis is the ultimate guide for you to write page-turners that sell!

    This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can save the cat!

    Using charts, examples, and movies, the author breaks these key elements down into understandable components and walks the reader through the process of laying this foundation in his or her own work.Learn what causes sagging middles and how to fix them, which goals are important, which aren’t and why, how to get your characters to do what they need for your plot in a believable manner, and how to use conflict to create a good story. GMC can be used not only in plotting, but in character development, sharpening scenes, pitching ideas to an editor, and evaluating whether an idea will work.Be confident your ideas will work before you write 200 pages.Plan a road map to keep your story on track.Discovery why your scenes aren’t working and what to do about it.Create characters that editors and readers will care about.

    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.

    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.

    And once you've got an idea, what then? Ideas without a plan, without a purpose, are no more than pleasant thoughts. In The Writer's Idea Book, Jack Heffron, former senior editor at Writer's Digest Books and Story Press, will help you find the answer. Utilizing over 400 prompts and exercises, you'll generate intriguing ideas and plumb their possibilities to turn them into something amazing. The Writer's Idea Book will give you the insight and the self-awareness to create and refine ideas that demand to be transformed into greater works, the kind of compelling, absorbing writing that will have other writers asking "where do you get those ideas?"

    Great storytelling is making readers care about your characters, the choices they make, and what happens to them. It's making your audience feel the tension and emotion of a situation right alongside your protagonist. And to tell a damn fine story, you need to understand why and how that caring happens. Using a mix of personal stories, pop fiction examples, and traditional storytelling terms, New York Times best-selling author Chuck Wendig will help you internalize the feel of powerful storytelling. In Damn Fine Story, you'll explore:Fretytag's Pyramid for visualizing story structure--and when to break away from traditional storytelling formsCharacter relationships and interactions as the basis of every strong plot--no matter the form or genreRising and falling tension that pulls the audience through to the climax and conclusion of the storyDeveloping themes as a way to craft characters with depthWhether you're writing a novel, screenplay, video game, comic, or even if you just like to tell stories to your friends and family over dinner, this funny and informative guide is chock-full of examples about the art and craft of storytelling--and how to write a damn fine story of your own.

    It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does in the age of e-mail and the Internet. Whether you want to write about people or places, science and technology, business, sports, the arts or about yourself in the increasingly popular memoir genre, On Writing Well offers you fundamental priciples as well as the insights of a distinguished writer and teacher. With more than a million copies sold, this volume has stood the test of time and remains a valuable resource for writers and would-be writers.

    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.

    Publish. Repeat. The No-Luck-Required Guide to Publishing In 2013, Johnny B. Truant and Sean Platt published 1.5 million words and made their full-time livings as indie authors. In Write. Publish. Repeat., they tell you exactly how they did it: how they created over 15 independent franchises across 50+ published works, how they turned their art into a logical, sustainable business, and how any independent author can do the same to build a sustainable, profitable career with their writing. Write. Publish. Repeat. explains the current self-publishing landscape and covers the truths and myths about what it means to be an indie author now and in the foreseeable future. It explains how to create books your readers will love and will want to return to again and again. Write. Publish. Repeat. details expert methods for building story worlds, characters, and plots, understanding your market (right down to your ideal reader), using the best tools possible to capture your draft, and explains proven best practices for editing. The book also discusses covers, titles, formatting, pricing, and publishing to multiple platforms, plus a bit on getting your books into print (and why that might not be a good idea!). But most importantly, Write. Publish. Repeat. details the psychology-driven marketing plan that Sean and Johnny built to shape their stories into "products" that readers couldn't help but be drawn into -- thus almost automatically generating sales -- and explores ways that smart, business-minded writers can do the same to future-proof their careers. This book is not a formula with an easy path to follow. It is a guidebook that will help you build a successful indie publishing career, no matter what type of writer you are ... so long as you're the type who's willing to do the work.

    As a result, writers will dig deep within and explore their own values and worldviews in order to create an effective story. Writers will come away with an extremely precise set of tools to work with--specific, useful techniques to make the audience care about their characters, and that make their characters grow in meaningful ways. They will construct a surprising plot that is unique to their particular concept, and they will learn how to express a moral vision that can genuinely move an audience.The foundations of story that Truby lays out are so fundamental they are applicable--and essential--to all writers, from novelists and short-story writers to journalists, memoirists, and writers of narrative non-fiction.