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.

    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.

    From adjectives and exclamation points to dialect and hoopetedoodle, Elmore Leonard explains what to avoid, what to aspire to, and what to do when it sounds like "writing" (rewrite).Beautifully designed, filled with free-flowing, elegant illustrations and specially priced, Elmore Leonard's 10 Rules of Writing is the perfect writer's—and reader's—gift.

    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.

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

    In the pages of The Poetry Home Repair Manual, Kooser brings those decades of experience to bear. Here are tools and insights, the instructions (and warnings against instructions) that poets—aspiring or practicing—can use to hone their craft, perhaps into art. Using examples from his own rich literary oeuvre and from the work of a number of successful contemporary poets, the author schools us in the critical relationship between poet and reader, which is fundamental to what Kooser believes is poetry’s ultimate purpose: to reach other people and touch their hearts. Much more than a guidebook to writing and revising poems, this manual has all the comforts and merits of a long and enlightening conversation with a wise and patient old friend—a friend who is willing to share everything he’s learned about the art he’s spent a lifetime learning to execute so well.

    Anderson has written 160 books—nearly fifteen million words!—most of them by dictating into a hand-held recorder while hiking. Award-winning novelist and short story writer Martin L. Shoemaker dictates chapters and stories while driving, turning his daily commute into a productive work session. These two die-hard “dictators,” share their techniques and insights into how dictation can help you *Improve your writing productivity *Use otherwise lost time to brainstorm, plot, develop characters, write articles, and more *Get inspired by leaving your confined office and getting a fresh perspective elsewhere *Stay in shape while writing On Being a Dictator, part of the Million Dollar Writing Series, will help you think outside the box, consider a different writing method, and up your game in the fast-paced ever-changing world of publishing.

    Although the rules of composition popularized in William Strunk Jr. and E. B. White's Elements of Style have been de rigueur for decades, they won't exactly set your writing free.To the rescue comes Spunk & Bite, a guide to bold and radiant language and style. The secret, according to bestselling author and former publishing executive Arthur Plotnik, is to embrace those qualities that composition rulebooks sidestep, among them, surprise, personality, engagement, edge, and fearlessness. Drawing on selections from today's most exciting writers: Jonathan Franzen, Sandra Cisneros, Bill Bryson, Maureen Dowd, and many dozens more.Plotnik reveals the tricks and techniques that make prose fresh, forceful, and publishable. For all types of writing: novels, articles, poems, ad copy, blogs, and even e-mails,this uncommon handbook reveals how to make your words so fetching that readers beg for more.

    Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it.   Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.

    With the techniques and anecdotes in The Right to Write, readers learn to make writing a natural, intensely personal part of life. Cameron's instruction and examples include the details of the writing processes she uses to create her own bestselling books. She makes writing a playful and realistic as well as a reflective event. Anyone jumping into the writing life for the first time and those already living it will discover the art of writing is never the same after reading The Right to Write.

    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.

    Writers must learn to tolerate the early stages, the dreamlike and irrational states of mind, and then to move from jottings and ideas to a messy first draft, and onward  into the work of revision. Understanding these stages is key.The Kite and the String urges writers to let playfulness and spontaneity breathe life into the work—letting the kite move with the winds of feeling—while still holding on to the string that will keep it from flying away. Alice Mattison attends also to the difficulties of protecting writing time, preserving solitude, finding trusted readers, and setting the right goals for publication. The only writing guide that takes up both the stages of creative work and developing effective attitudes while progressing through them, plus strategies for learning more about the craft, The Kite and the String responds to a pressing need for writing guidance at all levels.

    Distinguished from the  detached formal essay by its friendly, conversational tone, its loose structure, and its drive toward candor and self-disclosure, the personal essay seizes on the minutiae of daily life-vanities, fashions, foibles, oddballs, seasonal rituals, love and  disappointment, the pleasures of solitude, reading, taking a walk -- to offer insight into the human condition and the great social and political issues of the day. The Art of the Personal Essay is the first anthology to celebrate this fertile genre. By presenting more than seventy-five personal essays, including influential forerunners from ancient Greece, Rome, and the Far East, masterpieces from the dawn of the personal essay in the sixteenth century, and a wealth of the finest personal essays from the last four centuries, editor Phillip Lopate, himself an acclaimed essayist, displays the tradition of the personal essay in all its historical grandeur, depth, and diversity.

    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.

    It includes: how to test your premise, some easy steps to develop your character and define your story question from that character, how to hit your major plot points, and how to write a scene outline. Concise, clear, and action-oriented, this book is all about plotting, simplified.