Authors will learn to how to cut through pop culture noise and win over a jaded modern audience by rediscovering the heart of writing: shaping stories that ring true to our shared understanding of human nature. Providing conversational advice that spans multiple disciplines - from fiction to film to creative nonfiction - Matt Bird's insightful techniques allow characters to come alive and stories to reach a new level of appeal.

    Written by new and established voices of Science Fiction and Fantasy, Alchemy With Words offers something for writers at all levels. Its sage advice will help you avoid many amateur mistakes. Explore World Building, Religions, Food, Fighting & Weaponry and much more, to craft an exceptional story.

    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.

    Writers are often told to write scenes, dramatize, cut exposition, cut summary-but it's misguided advice. The truth is good writing almost always requires both showing and telling. The trick is finding the right balance of scene and summary-the two basic components of creative prose. "Showing and Telling" shows you how to employ each of these essential techniques in the appropriate places within a narrative. You'll learn how to: write scenes and cut exposition compress time and summarize background information create graceful transitions effectively inject interpretation and more Complete with examples from bestsellers and interactive exercises, this comprehensive guide offers an in-depth look at scene development, the role of reflection in storytelling, the art of summarizing, and how to bring it all together.

    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.

    That sheet grew into a pamphlet, and the pamphlet grew into a book—the first edition of the Manual of Style, published in 1906. Now in its fifteenth edition, The Chicago Manual of Style—the essential reference for authors, editors, proofreaders, indexers, copywriters, designers, and publishers in any field—is more comprehensive and easier to use than ever before.Those who work with words know how dramatically publishing has changed in the past decade, with technology now informing and influencing every stage of the writing and publishing process. In creating the fifteenth edition of the Manual, Chicago's renowned editorial staff drew on direct experience of these changes, as well as on the recommendations of the Manual's first advisory board, composed of a distinguished group of scholars, authors, and professionals from a wide range of publishing and business environments.Every aspect of coverage has been examined and brought up to date—from publishing formats to editorial style and method, from documentation of electronic sources to book design and production, and everything in between. In addition to books, the Manual now also treats journals and electronic publications. All chapters are written for the electronic age, with advice on how to prepare and edit manuscripts online, handle copyright and permissions issues raised by technology, use new methods of preparing mathematical copy, and cite electronic and online sources.A new chapter covers American English grammar and usage, outlining the grammatical structure of English, showing how to put words and phrases together to achieve clarity, and identifying common errors. The two chapters on documentation have been reorganized and updated: the first now describes the two main systems preferred by Chicago, and the second discusses specific elements and subject matter, with examples of both systems. Coverage of design and manufacturing has been streamlined to reflect what writers and editors need to know about current procedures. And, to make it easier to search for information, each numbered paragraph throughout the Manual is now introduced by a descriptive heading.Clear, concise, and replete with commonsense advice, The Chicago Manual of Style, fifteenth edition, offers the wisdom of a hundred years of editorial practice while including a wealth of new topics and updated perspectives. For anyone who works with words, whether on a page or computer screen, this continues to be the one reference book you simply must have.What's new in the Fifteenth Edition:* Updated material throughout to reflect current style, technology, and professional practice* Scope expanded to include journals and electronic publications* Comprehensive new chapter on American English grammar and usage by Bryan A. Garner (author of A Dictionary of Modern American Usage)* Updated and rewritten chapter on preparing mathematical copy* Reorganized and updated chapters on documentation, including guidance on citing electronic sources* Streamlined coverage of current design and production processes, with a glossary of key terms* Descriptive headings on all numbered paragraphs for ease of reference* New diagrams of the editing and production processes for both books and journals, keyed to chapter discussions* New, expanded Web site with special tools and features for Manual users at www.chicagomanualofstyle.org.

    Filled with professional tips and a wealth of instructive examples, this valuable, easy-to-use handbook can help you solve any and all writing problems.

    This volume explores the most common male and female archetypes, provides instructions for using them to create original characters and gives examples of how other authors have brought such archetypes to life in novels, films and television.

    Cooper, Brian James Freeman, Joe R. Lansdale, Bruce McAllister, Vonda N. McIntyre, William F. Nolan, Michael Reaves, Melissa Scott, Michael Dillon Scott, Vanessa Vaughn and others.This collection of storytelling secrets from top genre writers—including winners of Nebula, Hugo, Edgar, and Bram Stoker awards—is essential for any writer looking to take a leap beyond the ordinary.

    Heroic characters can be broken down into sixteen archetypes. By following the guidelines of the archetypes presented in this comprehensive reference work, writers can create extraordinarily memorable characters and elevate their writing to a higher level. Throughout the book, the authors give examples of well-known heroes and heroines from television and film so the reader can picture the archetype in his or her mind.At the very core of a character, every hero can be traced back to one of the eight major archetypes, as can every heroine. The core archetype tells the writer the most basic instincts of heroes or heroines - how they think and feel, what drives them and how they reach their goals. Whether you are a seasoned professional or a novice, The Complete Writer's Guide to Heroes & Heroines will help you improve your own writing and help you create truly memorable characters.

    And when writers do focus on setting, they often pull readers out of the narrative and jolt their attention from the action on the page.A Writer's Guide to Active Setting will show you how to create vivid, detailed settings that bring your story to life. You'll learn how to deepen character development, anchor readers to a specific time and place, reveal backstory without slowing things down, elevate action sequences, and more.Drawing upon examples from authors writing across a variety of genres, Mary Buckham will illustrate exactly how the proper use of setting can dramatically improve your story. You'll learn what's effective about each passage and how you can use those techniques to make your story shine.-Takes an all too often overlooked technique, and elevates it to a next-level game changer for powerful fiction.- --Cathy Yardley, author of Rock Your Plot-A powerful combination of fresh insights, practical examples, and how-to advice on the often overlooked but critical element of setting...written in a quick-to-read and easy-to-understand style, and packed with useful application exercises.- --Kelly L. Stone, author of Thinking Write: The Secret to Freeing Your Creative Mind-If you're a writer, then Mary Buckham's book is a must-have tool for your writer's toolkit. Creating settings that are rich and believable is not an easy task, but with this book, I found that each chapter gave me great tips that I could immediately implement in my manuscript.- --Laurie G. Adams, author of Finding Atticus

    Part memoir, part master class by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer's craft, comprising the basic tools of the trade every writer must have. King's advice is grounded in his vivid memories from childhood through his emergence as a writer, from his struggling early career to his widely reported near-fatal accident in 1999 -- and how the inextricable link between writing and living spurred his recovery. Brilliantly structured, friendly and inspiring, On Writing will empower and entertain everyone who reads it -- fans, writers, and anyone who loves a great story well told.(back cover)

    Monsters are lurking in the woods, beneath the waves, and within our favorite books, films, and games--and there are good reasons why they appear so often. Monsters are manifestations of our fears and symbols of our society--not to mention they're a lot of fun--but each should serve a purpose and enhance the themes and tension in your fiction. In Writing Monsters, best-selling author Philip Athans uses classic examples from books, films, and the world around us to explore what makes monsters memorable--and terrifying. You'll learn what monsters can (and should) represent in your story and how to create monsters from the ground up. Writing Monsters includes: In-depth discussions of where monsters come from, what they symbolize, and how to best portray them in fiction Informative overviews of famous monsters, archetypes, and legendary creatures A Monster Creation Form to help you create your monster from scratch An annotated version of H.P. Lovecraft's chilling story "The Unnamable" Whether you write fantasy, science fiction, or horror, your vampires, ghouls, aliens, and trolls need to be both compelling and meaningful. With Writing Monsters, you can craft creatures that will wreak havoc in your stories and haunt your readers' imaginations--and nightmares.

    Unfortunately, many depictions of technical subjects in literature, film, and television are pure fiction. A basic understanding of biology, physics, engineering, and medicine will help you create more realistic stories that satisfy discerning readers.This book brings together scientists, physicians, engineers, and other experts to help you:Understand the basic principles of science, technology, and medicine that are frequently featured in fiction.Avoid common pitfalls and misconceptions to ensure technical accuracy.Write realistic and compelling scientific elements that will captivate readers.Brainstorm and develop new science- and technology-based story ideas.Whether writing about mutant monsters, rogue viruses, giant spaceships, or even murders and espionage, Putting the Science in Fiction will have something to help every writer craft better fiction.Putting the Science in Fiction collects articles from "Science in Sci-fi, Fact in Fantasy," Dan Koboldt's popular blog series for authors and fans of speculative fiction (dankoboldt.com/science-in-scifi). Each article discusses an element of sci-fi or fantasy with an expert in that field. Scientists, engineers, medical professionals, and others share their insights in order to debunk the myths, correct the misconceptions, and offer advice on getting the details right.

    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.