(Note: both books (1) How to Write Descriptions of Eyes and Faces and (2) How to Write Descriptions of Hair and Skin are now available in a single, unabridged volume for readers interested in both buying both books together at a cheaper price than buying them individually: How to Write Descriptions of Eyes, Faces, Hair, Skin. ASIN: B00670OUGW.) Here, you get more help than you could possibly imagine on describing eyes and faces. Each section centers on a type of description, such as Eye Color (for example, "Crystal blue eyes"), or Appearance of the Eye (for example, "Beady eyes," or "Bedroom eyes"), or Actions Involving the Eyes (for example, "Darting eyes" or "Gawking"). Each section lists its descriptive terms alphabetically with full explanations. You can read the lists to learn new terms, or you can look up a specific term. The eye section starts with the location of colors in the iris. Through examples, you learn how physical description starts with an accurate, detailed picture of everything you see, which you condense for your fiction. You learn about the appearance of the eyes, actions involving the eyes, and how to describe eyelids, eyebrows, and eyelashes. All of this leads into more than 2,000 words explaining 82 different color names to assign to eyes that are black, blue, brown, gray, green, hazel, or violet. The face section shows how to describe facial shapes, forehead, ears, cheekbones, nose, lips, chin, and facial hair, if any. You learn about facial expressions, such as simpering or sneering, and things like the differences between a frown and a scowl. You also get a section on how the face shows different emotions. For example, you can look up "Anger" and read about common physical signs of anger such as blood rising beneath the skin, the forehead tightening, the eyes narrowing, and the nose wrinkling in disgust. Who may benefit from this book? Anyone who wants a quick prompt or idea so as not to lose his writing momentum. Readers for whom English is a second language may enjoy the in-depth explanations of American English terms. Authors in genres that demand much physical description (for example, fantasy fiction and romance fiction) may also find this book useful. How to Write Descriptions of Eyes and Faces is about 15,000 words in total. Thank you for reading.

    We’re all being swept along by a tidal wave of history, and it’s easy to feel helpless. But we’re not helpless: we have minds, and imaginations, and the ability to visualize other worlds and valiant struggles. And writing can be an act of resistance that reminds us that other futures and other ways of living are possible.Full of memoir, personal anecdote, and insight about how to flourish during the present emergency, Never Say You Can’t Survive is the perfect manual for creativity in unprecedented times.

    The bestselling grammar book has been updated and revised to include the latest and greatest on the basics and subtleties of English, and features a new chapter on the language of the Internet.

    You want to write great poems. You want to write poems that challenge, inspire and awe. You want to write poems that forever alter your audience, that forever alter yourself. Those poems take guts. Glitter in the Blood: A Poet's Manifesto to Better, Braver Writing will put you in constant contact with your guts. Pushcart prize nominated and highly accomplished performance poet Mindy Nettifee is not going to lead you step-by-step up a how-to staircase. With this collection of essays, prompts and exercises, Mindy is giving you the wrench you need to open up the blood and let it flow into your writing.

    It is a must read for anyone serious about writing or understanding how the process works.

    The authors mix inspirational anecdotes with practical guidance on how to find a voice, develop characters and plot,make revisions, and overcome writer's block. Fun writing prompts will help young writers jump-start their own projects, and encouragement throughout will keep them at work.

    Allowing you to combine the various elements that make up your writing project, from outlines to research to note, Scrivener helped author Nicole Dionisio write two novels in a single year. Our manual outlines how to use Scrivener to make your writing better, and is useful for writers of all stripes – which includes you. It is 48 hours before your dissertation is due and, despite the chaos, you are trying to complete the final edits, because it’s the only choice you have.There is one problem — and it isn’t the pile of unclean dishes housing sea-green mold and chatty-vermin that has become your sink — it is your computer and it is time. You should be going faster then this, you put your blood-shot pounding head in your hands and groan, “Why am I going so slow? This computer is brand new... what is the problem?”It isn’t your computer’s specs. It is your writing process. It is because you have not yet started using Scrivener.It is opening up a new webpage or PDF every 15 minutes to fact-check research. It is switching back and forth be- tween this research, your outline, your bibliography, and your draft. It is waiting for your files to load, bouncing be- tween them, and getting lost in the quantity of windows on your computer screen or document.Scrivener has two key features: it loads all documents at once and it has many visual organizational tools. Scrivener has optimum productivity, thus it gives writers more time to actually write and accomplish their goals.This manual outlines: -Planning your manuscript-Importing existing documents into Scrivener-Collecting your notes-Organizing files and documents within Scrivener-Keeping track of your characters for fiction writing-Bringing it all together and writing your manuscript-The editing process, including sharing with beta readers.-Publishing your masterpiece online

    13,000 first printing.

    He describes what it was like to interview the mighty Robert Moses; what it felt like to begin discovering the extent of the political power Moses wielded; the combination of discouragement and exhilaration he felt confronting the vast holdings of the Lyndon B. Johnson Library and Museum in Austin, Texas; his encounters with witnesses, including longtime residents wrenchingly displaced by the construction of Moses’ Cross-Bronx Expressway and Lady Bird Johnson acknowledging the beauty and influence of one of LBJ’s mistresses. He gratefully remembers how, after years of loneliness, he found a writers’ community at the New York Public Library’s Frederick Lewis Allen Room and details the ways he goes about planning and composing his books. Caro recalls the moments at which he came to understand that he wanted to write not just about the men who wielded power but about the people and the politics that were shaped by that power. And he talks about the importance to him of the writing itself, of how he tries to infuse it with a sense of place and mood to bring characters and situations to life on the page. Taken together, these reminiscences–some previously published, some written expressly for this book–bring into focus the passion, the wry self-deprecation, and the integrity with which this brilliant historian has always approached his work.

    How does an artist accomplish such an achievement, connecting deeply with an audience never met? In this groundbreaking book, one of our culture’s beloved artists offers a detailed account of her own creative process, inspirations, and unexpected connections. Patti Smith, a National Book Award-winning author, first presents an original and beautifully crafted tale of obsession—a young skater who lives for her art, a possessive collector who ruthlessly seeks his prize, a relationship forged of need both craven and exalted. She then takes us on a second journey, exploring the sources of her story. We travel through the South of France to Camus’s house, and visit the garden of the great publisher Gallimard where the ghosts of Mishima, Nabokov, and Genet mingle. Smith tracks down Simone Weil’s grave in a lonely cemetery, hours from London, and winds through the nameless Paris streets of Patrick Modiano’s novels. Whether writing in a café or a train, Smith generously opens her notebooks and lets us glimpse the alchemy of her art and craft in this arresting and original book on writing.The Why I Write series is based on the Windham-Campbell Lectures, delivered annually to commemorate the awarding of the Donald Windham-Sandy M. Campbell Literature Prizes at Yale University.

    With Unless It Moves the Human Heart, the revered novelist, essayist, playwright, and respected writing teacher offers a guidebook for aspiring authors, a memoir, and an impassioned argument for the necessity of writing in our world. In the tradition of Anne Lamott’s Bird by Bird, Rosenblatt’s Unless It Moves the Human Heart provides practical insights and advice on the craft, exquisitely presented by one of contemporary literature’s living treasures.

    "Writing Hard Stories" encourages all writers as they work through their challenging stories. It features some of the country s most admired writers discussing their treks through dark memories and breakthrough moments, and it demonstrates the healing power of putting words to experience. A unique compilation of authentic stories about the death of a partner, parent, or child; about violence and shunning; and about the process of writing, the book will serve as a tool for teachers of writing and give readers an intimate look into the lives of the authors they love."

    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.

    William Safire, the author of the New York Times Magazine column "On Language," homes in on the "essential misrules of grammar," those mistakes that call attention to the major rules and regulations of writing. He tells you the correct way to write and then tells you when it is all right to break the rules. In this lighthearted guide, he chooses the most common and perplexing concerns of writers new and old. Each mini-chapter starts by stating a misrule like "Don't use Capital letters without good REASON." Safire then follows up with solid and entertaining advice on language, grammar, and life. He covers a vast territory from capitalization, split infinitives (it turns out you can split one if done meaningfully), run-on sentences, and semi-colons to contractions, the double negative, dangling participles, and even onomatopoeia. Originally published under the title Fumblerules.

    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.