George combines clear, intelligent, and functional advice on fiction writing with anecdotes from her own life, the story of her journey to publication, and inside information on how she meticulously researches and writes her novels. George's solid understanding of craft is conveyed in the enticing manner of a true storyteller, making Write Away not only a marvelous, interesting, and informative book but also a glimpse inside the world of a beloved writer.

    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.

    English Usage

    Whether investigating the asterisk (*) and dagger (†)--which alternately illuminated and skewered heretical verses of the early Bible--or the at sign (@), which languished in obscurity for centuries until rescued by the Internet, Keith Houston draws on myriad sources to chart the life and times of these enigmatic squiggles, both exotic (¶) and everyday (&).From the Library of Alexandria to the halls of Bell Labs, figures as diverse as Charlemagne, Vladimir Nabokov, and George W. Bush cross paths with marks as obscure as the interrobang (‽) and as divisive as the dash (--). Ancient Roman graffiti, Venetian trading shorthand, Cold War double agents, and Madison Avenue round out an ever more diverse set of episodes, characters, and artifacts.Richly illustrated, ranging across time, typographies, and countries, Shady Characters will delight and entertain all who cherish the unpredictable and surprising in the writing life.

    Here, Peter Elbow emphasizes that the essential activities underlying good writing and the essential exercises promoting it are really not difficult at all.Employing a cookbook approach, Elbow provides the reader (and writer) with various recipes: for getting words down on paper, for revising, for dealing with an audience, for getting feedback on a piece of writing, and still other recipes for approaching the mystery of power in writing. In a new introduction, he offers his reflections on the original edition, discusses the responses from people who have followed his techniques, how his methods may differ from other processes, and how his original topics are still pertinent to today's writer. By taking risks and embracing mistakes, Elbow hopes the writer may somehow find a hold on the creative process and be able to heighten two mentalities--the production of writing and the revision of it.From students and teachers to novelists and poets, Writing with Power reminds us that we can celebrate the uses of mystery, chaos, nonplanning, and magic, while achieving analysis, conscious control, explicitness, and care in whatever it is we set down on paper.

    Use them to pry, chip, yank and sift good characters out of the place where they live in your memory, your imagination and your soul.Award-winning author Orson Scott Card explains in depth the techniques of inventing, developing and presenting characters, plus handling viewpoint in novels and short stories. With specific examples, he spells out your narrative options–the choices you'll make in creating fictional people so "real" that readers will feel they know them like members of their own families.You'll learn how to: draw the characters from a variety of sources, including a story's basic idea, real life–even a character's social circumstances make characters show who they are by the things they do and say, and by their individual "style" develop characters readers will love–or love to hate distinguish among major characters, minor characters and walk-ons, and develop each one appropriately choose the most effective viewpoint to reveal the characters and move the storytelling decide how deeply you should explore your characters' thoughts, emotions and attitudes

    From the first descent of the larynx into the throat (why you can talk but your dog can't), to the fine lost art of swearing, Bryson tells the fascinating, often uproarious story of an inadequate, second-rate tongue of peasants that developed into one of the world's largest growth industries.

    This text for advanced grammar courses is a comprehensive description of sentence structure that encourages students to recognise and use their innate language expertise as they study the systematic nature of sentence grammar.

    This work serves as an introduction to basic composition skills through systematic integration of paragraph organization, rhetoric, grammar, sentence structure and the writing process.

    In it we find Derrida at work on his systematic deconstruction of Western metaphysics. The book's first half, which includes the celebrated essay on Descartes and Foucault, shows the development of Derrida's method of deconstruction. In these essays, Derrida demonstrates the traditional nature of some purportedly nontraditional currents of modern thought—one of his main targets being the way in which "structuralism" unwittingly repeats metaphysical concepts in its use of linguistic models.The second half of the book contains some of Derrida's most compelling analyses of why and how metaphysical thinking must exclude writing from its conception of language, finally showing metaphysics to be constituted by this exclusion. These essays on Artaud, Freud, Bataille, Hegel, and Lévi-Strauss have served as introductions to Derrida's notions of writing and différence—the untranslatable formulation of a nonmetaphysical "concept" that does not exclude writing—for almost a generation of students of literature, philosophy, and psychoanalysis.Writing and Difference reveals the unacknowledged program that makes thought itself possible. In analyzing the contradictions inherent in this program, Derrida goes on to develop new ways of thinking, reading, and writing,—new ways based on the most complete and rigorous understanding of the old ways. Scholars and students from all disciplines will find Writing and Difference an excellent introduction to perhaps the most challenging of contemporary French thinkers—challenging because Derrida questions thought as we know it.

    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.

    Presenting its subject in five parts, the text provides grounding in the elements and applications of classical rhetoric; the strategies and tactics of argumentation; the effective presentation and organization of discourses; the development of power, grace, and felicity in expression; and the history of rhetorical principles. Numerous examples of classic and contemporary rhetoric, from paragraphs to complete essays, appear throughout the book, many followed by detailed analyses. The fourth edition of Classical Rhetoric for the Modern Student features a new section on the Progymnasmata (classical composition exercises), a new analysis of a color advertisement in the Introduction, an updated survey of the history of rhetoric, and an updated section on External Aids to Invention.

    Starting with the Vikings’ kennings and Beowulf and ending with Stevenson and Oscar Wilde, the book traverses a landscape of ‘precursors,’ cross-cultural borrowings, and genres of expression, all connected by Borges into a vast interpretive web. This is the most surprising and useful of Borges’s works to have appeared posthumously.”Borges takes us on a startling, idiosyncratic, fresh, and highly opinionated tour of English literature, weaving together countless cultural traditions of the last three thousand years. Borges’s lectures — delivered extempore by a man of extraordinary erudition — bring the canon to remarkably vivid life. Now translated into English for the first time, these lectures are accompanied by extensive and informative notes by the Borges scholars Martín Arias and Martín Hadis.

    Complete with self-critique questions to help you assess your work, these exercises challenge you to experiment with the diverse writing styles as you clarify your own.Make the most of Josip Novakovich's insightful, mind-expanding workshop and come away with a stronger voice, a broader perspective and better fiction.

    From the essay, Standing by Words, Berry writes, “Two epidemic illnesses of our time—upon both of which virtual industries of cures have been founded—are the disintegration of communities and the disintegration of persons. That these two are related (that private loneliness, for example, will necessarily accompany public confusion) is clear enough. What seems not so well understood, because not so much examined, is the relation between these disintegrations and the disintegration of language. My impression is that we have seen, for perhaps a hundred and fifty years, a gradual increase in language that is either meaningless or destructive of meaning. And I believe that this increasing unreliability of language parallels the increasing disintegration, over the same period, of persons and communities.” Out-of-print for more than fifteen years, Standing by Words offers a masterfully written argument for the literary tradition.