Did you know that people in Bolivia have a word that means "I was rather too drunk last night and it's all their fault"? That there's no Italian equivalent for the word "blue"? That the Dutch word for skimming stones is "plimpplamppletteren"? This delightful book, which draws on the collective wisdom of more than 254 languages, includes not only those words for which there is no direct counterpart in English ("pana po'o" in Hawaiian means to scratch your head in order to remember something important), but also a frank discussion of exactly how many Eskimo words there are for snow and the longest known palindrome in any language ("saippuakivikauppias"--Finland). And all right, what in fact is "tingo"? In the Pascuense language of Easter Island, it's to take all the objects one desires from the house of a friend, one at a time, by asking to borrow them. Well, of course it is. Enhanced by its ingenious and irresistible little Schott's Miscellany/Eats Shoots and Leaves package and piquant black-and-white illustrations throughout, The Meaning of Tingo is a heady feast for word lovers of all persuasions. Viva Tingo!

    Dangling modifiers, gerunds, punctuation marks--it's enough to make you want to drop out of high school. Swearing and sex on the other hand, well, these time-honored pastimes warm the cockles of our hearts. Now, The Elements of F*cking Style drags English grammar out of the ivory tower and into the gutter, injecting a dull subject with a much-needed dose of color.This book addresses everything from common questions ("What the hell is a pronoun?") to philosophical conundrums ("Does not using paragraphs or periods make my thesis read like it was written by a mental patient?"). Other valuable sections include:•All I've got in this world are my sentences and my balls, and I don't break 'em for nobody•A colon is more than an organ that gets cancer•Words your bound to f*ck upOne glance at your friend's blog should tell you everything you need to know about the sorry state of the English language. This book gives you the tools you need to stop looking like an idiot on message boards and in interoffice memos. Grammar has never before been so much f*cking fun.

    36 pages of chapter summaries, quotes, character analysis, themes, and more – everything you need to sharpen your knowledge of On Writing: A Memoir of the Craft. This detailed literature summary also contains Topics for Discussion and a Free Quiz on On Writing: A Memoir of the Craft by Stephen King.

    Now at last here's a feast for them and other verbivores. Eat up!-Barbara WallraffSenior Editor at The Atlantic Monthly and author of Word CourtPraise for A Word a Day"AWADies will be familiar with Anu Garg's refreshing approach to words: words are fun and they have fascinating histories. The people who use them have curious stories to tell too, and this collection incorporates some of the correspondence received by the editors at the AWAD site, from advice on how to outsmart your opponent in a duel (or even a truel) to a cluster of your favorite mondegreens."-John Simpson, Chief Editor, Oxford English Dictionary"A banquet of words! Feast and be nourished!"-Richard Lederer, author of The Miracle of LanguageWritten by the founder of the wildly popular A Word A Day Web site (www.wordsmith.org), this collection of unusual, obscure, and exotic English words will delight writers, scholars, crossword puzzlers, and word buffs of every ilk. The words are grouped in intriguing categories that range from "Portmanteaux" to "Words That Make the Spell-Checker Ineffective." each entry includes a concise definition, etymology, and usage example-and many feature fascinating and hilarious commentaries by A Word A Day subscribers and the authors.

    We all have to learn the SAME skills. But no matter where you’re starting…Even if you have NO story ideas, NO characters, and NO experience, you can finish a complete working plot outline in just SEVEN tiny lessons.If you have ever labored to come up with a GOOD way to start a story…If you have ever stumbled, lost and frustrated, through the MIDDLE of your book…If you have ever wondered,”How do I find an idea worth writing?“…Stop Struggling. Help Is Here.

    The story begins in 1973, in the offices of The Atlantic Monthly, in Boston, where a young freelance writer named Tracy Kidder came looking for an assignment. Richard Todd was the editor who encouraged him. From that article grew a lifelong association. Before long, Kidder’s The Soul of a New Machine, the first book the two worked on together, had won the Pulitzer Prize. It was a heady moment, but for Kidder and Todd it was only the beginning of an education in the art of nonfiction.Good Prose explores three major nonfiction forms: narratives, essays, and memoirs. Kidder and Todd draw candidly, sometimes comically, on their own experience—their mistakes as well as accomplishments—to demonstrate the pragmatic ways in which creative problems get solved. They also turn to the works of a wide range of writers, novelists as well as nonfiction writers, for models and instruction. They talk about narrative strategies (and about how to find a story, sometimes in surprising places), about the ethical challenges of nonfiction, and about the realities of making a living as a writer. They offer some tart and emphatic opinions on the current state of language. And they take a clear stand against playing loose with the facts. Their advice is always grounded in the practical world of writing and publishing.Good Prose—like Strunk and White’s The Elements of Style—is a succinct, authoritative, and entertaining arbiter of standards in contemporary writing, offering guidance for the professional writer and the beginner alike. This wise and useful book is the perfect companion for anyone who loves to read good books and longs to write one.

    Some of the most prominent professionals in TV broadcasting and at major newspapers and magazines-people who really should know better-are guilty of making all-too-common grammatical errors. In this delightfully amusing, clever guide, Thomas Parrish points out real-life grammar gaffes from top-notch publications such as the New York Times and the New Yorker to illustrate just how widespread these errors are. With red pen in hand, Parrish's fictional friend the Grouchy Grammarian leads the charge, examining the forty-seven most common mistakes in English and imparting the basics of good grammar with a charming mixture of fussiness and common sense. All of which makes The Grouchy Grammarian the most entertaining, accessible how-not-to guide you'll ever read.

    When showing our characters’ feelings, we often use the first idea that comes to mind, and they end up smiling, nodding, and frowning too much.If you need inspiration for creating characters’ emotional responses that are personalized and evocative, this ultimate show-don’t-tell guide for emotion can help. It includes: Body language cues, thoughts, and visceral responses for 130 emotions that cover a range of intensity from mild to severe, providing innumerable options for individualizing a character’s reactions A breakdown of the biggest emotion-related writing problems and how to overcome them Advice on what should be done beforedrafting to make sure your characters’ emotions will be realistic and consistent Instruction for how to show hidden feelings and emotional subtext through dialogue and nonverbal cues And much more! The Emotion Thesaurus, in its easy-to-navigate list format, will inspire you to create stronger, fresher character expressions and engage readers from your first page to your last.

    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.

    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.

    Characters paralyzed by the meaninglessness of modern life still have to drink water from time to time.” —Kurt Vonnegut“‘The cat sat on the mat’ is not the beginning of a story, but ‘the cat sat on the dog’s mat’ is.” —John Le CarréNothing is more inspiring for a beginning writer than listening to masters of the craft talk about the writing life. But if you can’t get Vladimir Nabokov, Virginia Woolf, and Gabriel García Márquez together at the Algonquin, The Modern Library Writer’s Workshop gives you the next best thing. Stephen Koch, former chair of Columbia University’s graduate creative writing program, presents a unique guide to the craft of fiction. Along with his own lucid observations and commonsense techniques, he weaves together wisdom, advice, and inspiring commentary from some of our greatest writers. Taking you from the moment of inspiration (keep a notebook with you at all times), to writing a first draft (do it quickly! you can always revise later), to figuring out a plot (plot always serves the story, not vice versa), Koch is a benevolent mentor, glad to dispense sound advice when you need it most. The Modern Library Writer’s Workshop belongs on every writer’s shelf, to be picked up and pored over for those moments when the muse needs a little help finding her way.

    In his novels and stories, in letters to editors, friends, fellow artists, and critics, in interviews and in commissioned articles on the subject, Hemingway wrote often about writing. And he wrote as well and as incisively about the subject as any writer who ever lived…This book contains Hemingway’s reflections on the nature of the writer and on elements of the writer’s life, including specific and helpful advice to writers on the craft of writing, work habits, and discipline. The Hemingway personality comes through in general wisdom, wit, humor, and insight, and in his insistence on the integrity of the writer and of the profession itself.—From the Preface by Larry W. Phillips

    instructional book for students or anyone who needs to learn business communications.

    It covers everything from questions of truth and ethics to questions of craft and the crucial retrospective voice. An appendix provides information on legal issues.Judith Barrington, an award-winning memoir writer and acclaimed writing teacher, is attuned to the forces, both external and internal, that work to stop a writer; her tone is respectful of the difficulties and encouraging of taking risks. Her nimble prose, her deep belief in the importance of this genre, and her delight in the rich array of memoirists writing today make this book more than the typical "how-to" creative writing book. In this second edition the author has added new material and reflects on issues raised since Writing the Memoir was written, early in the memoir boom."No student of memoir writing could fail to learn from this wise, pragmatic, and confiding book. One hears on every page the voice of an intelligent and responsive teacher, with years of thinking about memoir behind her."--Vivian GornickJudith Barrington is the author of Lifesaving: A Memoir and numerous individual memoirs which have been published in literary magazines and anthologies. She is the author of three volumes of poetry: Trying to Be an Honest Woman, History and Geography, and Horses and the Human Soul (forthcoming in 2002). She has taught creative writing for the past twenty years.

    Clearly explaining the letters as symbols of precise sounds of speech, the book begins with the earliest known alphabetic inscriptions (circa 1800 b.c.), recently discovered by archaeologists in Egypt, and traces the history of our alphabet through the ancient Phoenicians, Greeks, and Romans and up through medieval Europe to the present day. But the heart of the book is the twenty-six fact-filled “biographies” of letters A through Z, each one identifying the letter’s particular significance for modern readers, tracing its development from ancient forms, and discussing its noteworthy role in literature and other media. We learn, for example, why letter X may have a sinister and sexual aura, how B came to signify second best, why the word mother in many languages starts with M. Combining facts both odd and essential, Letter Perfect is cultural history at its most accessible and enjoyable.