Pithy, provocative, poignant advice on a variety of self-help topics—in four well-chosen words.

    He sent his journals, a novel-in-progess, and copies of all his poems to his mentor, Columbia professor Mark Van Doren, for safe keeping, fully expecting to write little, if anything, ever again.? It was a relatively short-lived resolution, for Merton almost immediately found himself being assigned writing tasks by his Abbot?one of which was the autobiographical essay that blossomed into his international best-seller The Seven Storey Mountain. That book made him famous overnight, and for a time he struggled with the notion that the vocation of the monk and the vocation of the writer were incompatible. Monasticism called for complete surrender to the absolute, whereas writing demanded a tactical withdrawal from experience in order to record it.? He eventually came to accept his dual vocation as two sides of the same spiritual coin and used it as a source of creative tension the rest of his life.? Merton's thoughts on writing have never been compiled into a single volume until now. Robert Inchausti has mined the vast Merton literature to discover what he had to say on a whole spectrum of literary topics, including writing as a spiritual calling, the role of the Christian writer in a secular society, the joys and mysteries of poetry, and evaluations of his own literary work. Also included are fascinating glimpses of his take on a range of other writers, including Henry David Thoreau, Flannery O'Connor, Dylan Thomas, Albert Camus, James Joyce, and even Henry Miller, along with many others.

    Lyne's techniques, which he developed through twenty years of teaching poetry workshops, flow from an understanding that poetry is an art form open to everyone. We all can-and should-write poetry.In this enchanting and inspiring volume, Lyne will introduce you to the pleasures and surprises of writing poetry, and his methods and insights will help you tap into your own unique voice and perspective to compose poems of your own in as little as a few minutes. Whether you are an experienced writer looking for new techniques and sources of inspiration or a novice poet who has never written a poem in your life, Writing Poetry from the Inside Out will help you to craft the poems you've always longed to write.

    Drawing on the Method acting theory that theater professionals have used for decades, this in-depth guide explains seven characterization techniques and adapts them for the novelist's use. In this unique and practical book, you'll discover concepts that will help you understand and communicate the behavior, motivation, and psychology of every fictional character you create. Examples from classic and contemporary novels show you how these techniques have been used to dazzling effect by Jane Austen, Mark Twain, Steve Martini, Anne Rivers Siddons, and others. These simple yet highly effective techniques will help you: * Create characters whose distinctive traits become plot components * Determine each character's specific objectives and motivations * Write natural-sounding dialogue rich in meaning * Endow your characters with three-dimensional emotional lives * Use character to bring action sequences to exuberant life * Write convincingly about any character facing any circumstance

    What does it mean to give shapelessness a form? How can a poem explore both the natural world and the inner world? Phillips demonstrates the restless qualities of the imagination by reading and examining poems by Ashbery, Bogan, Frost, Niedecker, Shakespeare, and others, and by considering other art forms, such as photography and the blues. The Art of Daring is a lyrical, persuasive argument for the many ways that writing and living are acts of risk. "I think it's largely the conundrum of being human that makes us keep making," Phillips writes. "I think it has something to do with revision—how, not only is the world in constant revision, but each of us is, as well."

    And now Jon Franklin, himself a two-time Pulitzer Prize winner and undisputed master of the great American nonfiction short story, shares the secrets of his success. Franklin shows how to make factual pieces come alive by applying the literary techniques of complication/resolution, flashback, foreshadowing, and pace. He illustrates his points with a close analysis and annotation of two of his most acclaimed stories, so that the reader can see, step-by-step, just how they were created. This lively, easy-to-follow guid combines readability and excitement with the best of expository prose and illuminates the techniques that beginning journalists—and more experienced ones, too—will find immensely helpful:Stalking the true short storyDrafting an effective outlineStructuring the rough copyPolishing like a proand the tips, tools, and techniques that will put your stories on the cutting edge

    Advice for selecting and buying a handgun, discussions of the importance of self-protection, and methods of concealing weapons accompany a discussion of the mental attitude required in case of an armed encounter, and advice on how to avoid violent encounters entirely. Including the new concealed carry laws recently passed in Kansas and Nebraska, this updated edition provides a new context for the need to safely carry a weapon since the aftermath of Hurricane Katrina and the breakdown of adequate law enforcement that ensued. In addition to providing an updated list of handguns suitable for concealed carry, this practical guide also includes more information about the psychological ramifications of using deadly force against another human being.

    A fascinating collection of six essays, written for the William Empson Lectures in Oxford, each exploring an aspect of writerly contemplation.

    We see how these brilliant minds get to work, the choices they have to make: rebuffing convention, stealing (or secreting away) time from the pull of husbands, wives, children, obligations, in order to create their creations.From those who are the masters of their craft (Eudora Welty, Lynn Fontanne, Penelope Fitzgerald, Marie Curie) to those who were recognized in a burst of acclaim (Lorraine Hansberry, Zadie Smith) . . . from Clara Schumann and Shirley Jackson, carving out small amounts of time from family life, to Isadora Duncan and Agnes Martin, rejecting the demands of domesticity, Currey shows us the large and small (and abiding) choices these women made--and continue to make--for their art: Isak Dinesen, "I promised the Devil my soul, and in return he promised me that everything I was going to experience would be turned into tales," Dinesen subsisting on oysters and Champagne but also amphetamines, which gave her the overdrive she required . . . And the rituals (daily and otherwise) that guide these artists: Isabel Allende starting a new book only on January 8th . . . Hilary Mantel taking a shower to combat writers' block ("I am the cleanest person I know") . . . Tallulah Bankhead coping with her three phobias (hating to go to bed, hating to get up, and hating to be alone), which, could she "mute them," would make her life "as slick as a sonnet, but as dull as ditch water" . . . Lillian Hellman chain-smoking three packs of cigarettes and drinking twenty cups of coffee a day--and, after milking the cow and cleaning the barn, writing out of "elation, depression, hope" ("That is the exact order. Hope sets in toward nightfall. That's when you tell yourself that you're going to be better the next time, so help you God.") . . . Diane Arbus, doing what "gnaws at" her . . . Colette, locked in her writing room by her first husband, Henry Gauthier-Villars (nom de plume: Willy) and not being "let out" until completing her daily quota (she wrote five pages a day and threw away the fifth). Colette later said, "A prison is one of the best workshops" . . . Jessye Norman disdaining routines or rituals of any kind, seeing them as "a crutch" . . . and Octavia Butler writing every day no matter what ("screw inspiration"). Germaine de Staël . . . Elizabeth Barrett Browning . . . George Eliot . . . Edith Wharton . . . Virginia Woolf . . . Edna Ferber . . . Doris Lessing . . . Pina Bausch . . . Frida Kahlo . . . Marguerite Duras . . . Helen Frankenthaler . . . Patti Smith, and 131 more--on their daily routines, superstitions, fears, eating (and drinking) habits, and other finely (and not so finely) calibrated rituals that help summon up willpower and self-discipline, keeping themselves afloat with optimism and fight, as they create (and avoid creating) their creations.

    Some mammoths were smaller than children. Owls are the dumbest birds in the world. Very few people with Tourette's syndrome swear. You can't get a six-pack from doing sit-ups. King Arthur's sword wasn't called Excalibur. Milk doesn't make your bones strong. There's no bones in your fingers. The Bible states that humans can't become angels. Humans have more than two nostrils. It's impossible to slide down a bannister. At a wedding, the bride doesn't walk down the aisle. Ties were invented for war, not fashion. Most Disney classics made almost no money. Slavery has only been illegal in the UK since 2010. George Washington wasn't the first American President. Velcro doesn’t exist. Nobody knows why we sleep.

    This little book is brief and easy to understand. It won’t bore you with mundane grammar rules or the crap you learn in English class, but offers concrete suggestions on how to improve your writing.From lighthearted pointers for beginners to hard-core truths about the craft, Put the Cat In the Oven is a must-have desk reference for anyone who refuses to put down the pen.

    Memorial, and later as a tribute to Walter Dean Myers, this stirring and inspirational poem is New York Times bestselling author and National Book Award finalist Jason Reynolds’s rallying cry to the young dreamers of the world.For Every One is just that: for every one. For every one person. For every one dream. But especially for every one kid. The kids who dream of being better than they are. Kids who dream of doing more than they almost dare to dream. Kids who are like Jason Reynolds, a self-professed dreamer. Jason does not claim to know how to make dreams come true; he has, in fact, been fighting on the front line of his own battle to make his own dreams a reality. He expected to make it when he was sixteen. Then eighteen. Then twenty-five. Now, some of those expectations have been realized. But others, the most important ones, lay ahead, and a lot of them involve kids, how to inspire them. All the kids who are scared to dream, or don’t know how to dream, or don’t dare to dream because they’ve NEVER seen a dream come true. Jason wants kids to know that dreams take time. They involve countless struggles. But no matter how many times a dreamer gets beat down, the drive and the passion and the hope never fully extinguish—because just having the dream is the start you need, or you won’t get anywhere anyway, and that is when you have to take a leap of faith. A pitch-perfect graduation, baby, or inspirational gift for anyone who needs to me reminded of their own abilities—to dream.

       With outrageous and uncensored profiles of everyone from William Shakespeare to Thomas Pynchon, Secret Lives of Great Authors tackles all the tough questions your high school teachers were afraid to ask: What’s the deal with Lewis Carroll and little girls? Is it true that J. D. Salinger drank his own urine? How many women?and men?did Lord Byron actually sleep with? And why was Ayn Rand such a big fan of Charlie’s Angels? Classic literature was never this much fun in school!

    Stephen King, Hemingway, Vonnegut, and Orwell detest it. Herman Melville, Henry James, and Rebecca Solnit love it. But why? When is it effective? Have we been misusing it? Should we even care?In Semicolon, Cecelia Watson charts the rise and fall of this infamous punctuation mark, which for years was the trendiest one in the world of letters. But in the nineteenth century, as grammar books became all the rage, the rules of how we use language became both stricter and more confusing, with the semicolon a prime victim. Taking us on a breezy journey through a range of examples—from Milton’s manuscripts to Martin Luther King Jr.’s “Letters from Birmingham Jail” to Raymond Chandler’s The Big Sleep—Watson reveals how traditional grammar rules make us less successful at communicating with each other than we’d think. Even the most die-hard grammar fanatics would be better served by tossing the rule books and learning a better way to engage with language.Through her rollicking biography of the semicolon, Watson writes a guide to grammar that explains why we don’t need guides at all, and refocuses our attention on the deepest, most primary value of language: true communication.

    Inventing the Truth offers wisdom from nine notable memoirists about their process (Ian Frazier searched through generations of family papers to understand his parents' lives), the hurdles they faced (Annie Dillard tackles the central dilemma of memoir: what to put in and what to leave out), and the unexpected joys of bringing their pasts to the page. Featured authors include Russell Baker on Growing Up; Jill Ker Conway on The Road from Coorain; Annie Dillard on An American Childhood; Ian Frazier on Family; Henry Louis Gates Jr. on Colored People; Alfred Kazin on A Walker in the City; Frank McCourt on Angela's Ashes; Toni Morrison on Beloved; and Eileen Simpson on Poets in Their Youth.