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

    Tom Chiarella shows you how. Whether it's an argument, a love scene, a powwow among sixth graders or scientists in a lab, this book demonstrates how to write dialogue that sounds authentic and original. You'll learn ways to find ideas for literary discussions by tuning in to what you hear every day. You'll learn to use gestures instead of speech, to insert silences that are as effective as outbursts, to add shifts in tone, and other strategies for making conversations more compelling. Nuts and bolts are covered, too - formatting, punctuation, dialogue tags - everything you need to get your characters talking.

    Turn on a single lamp and read it while you're alone in an otherwise dark room or while someone sleeps next to you. Say it over to yourself in a place where silence reigns and the din of culture-the constant buzzing noise that surrounds you-has momentarily stopped. This poem has come from a great distance to find you." So begins this astonishing book by one of our leading poets and critics. In an unprecedented exploration of the genre, Hirsch writes about what poetry is, why it matters, and how we can open up our imaginations so that its message-which is of vital importance in day-to-day life-can reach us and make a difference. For Hirsch, poetry is not just a part of life, it is life, and expresses like no other art our most sublime emotions. In a marvelous reading of world poetry, including verse by such poets as Wallace Stevens, Elizabeth Bishop, Pablo Neruda, William Wordsworth, Sylvia Plath, Charles Baudelaire, and many more, Hirsch discovers the meaning of their words and ideas and brings their sublime message home into our hearts. A masterful work by a master poet, this brilliant summation of poetry and human nature will speak to all readers who long to place poetry in their lives but don't know how to read it.

    It's the unique worldview that intrigues readers–persuading them to empathize with your characters and invest in their tale. It's the masterful concealing and revealing of detail that keeps pages turning and plots fresh. It's the hidden agenda that makes narrators complicated and compelling.It's also something most writers struggle to understand. In The Power of Point of View, RITA Award-winning author Alicia Rasley first teaches you the fundamentals of point of view (POV)–who is speaking, why, and what options work best within the conventions of your chosen genre. Then, she takes you deeper to explain how POV functions as a crucial piece of your story–something that ultimately shapes and drives character, plot, and every other component of your fiction.Through comprehensive instruction and engaging exercises, you'll learn how to:choose a point of view that enhances your characters and plots and encourages reader involvementnavigate the levels of a character's point of view, from objective viewing to action to emotioncraft unusual perspectives, including children, animal narrators, and villainsA story changes depending on who's telling it, and The Power of Point of View will help you determine which of your characters can make your story come to life.

    For as long as students have been studying her fiction as literature, writers have been looking to her to answer the profound questions of what makes a story good, a novel successful, a writer an artist. On Writing presents the answers in seven concise chapters discussing the subjects most important to the narrative craft, and which every fiction writer should know, such as place, voice, memory, and language. But even more important is what Welty calls “the mystery” of fiction writing—how the writer assembles language and ideas to create a work of art.Originally part of her larger work The Eye of the Story but never before published in a stand-alone volume, On Writing is a handbook every fiction writer, whether novice or master, should keep within arm's reach. Like The Elements of Style, On Writing is concise and fundamental, authoritative and timeless—as was Eudora Welty herself.

    Brian McDonald, an award winning screenwriter who has taught his craft at several major studios, supplies writers with tools to make their work more effective and provides readers and audiences a deeper understanding of the storyteller's art. When people think of a screenplay, they usually think about dialogue-the "visible ink" that is readily accessible to the listener, reader, or viewer. But a successful screenplay needs Invisible Ink as well, the craft below the surface of words. Invisible Ink lays out the essential elements of screenplay structure, using vivid examples from famous moments in popular movies as well as from one of his own popular scripts. You will learn techniques for building a compelling story around a theme, making your writing engage audiences, creating appealing characters, and much more. Praise for Invisible Ink: ..".If I manage to reach the summit of my next story it will be in no small part due to having read Invisible Ink." -Andrew Stanton (cowriter Toy Story, Toy Story 2, A Bug's Life, Monsters, Inc., and cowriter/director Finding Nemo and WALL-E) ..".Brian McDonald uses his deep understanding of story and character to pass on essential truths about dramatic writing. Ignore him at your peril." -Jim Taylor (Academy Award-winning screenwriter of Sideways and Election) ..". I recommend this fine handbook on craft to any writer, apprentice or professional, working in any genre or form." -Dr. Charles Johnson (National Book Award-winning author of Middle Passage) "If you want to write scripts, listen to Brian. The guy knows what he's talking about." -Paul Feig (creator of NBC's Freaks and Geeks, co-executive producer The Office) "With Invisible Ink Brian McDonald has written us a book to keep and heed forever because through the simple, graceful, graspable, original wisdom of it, we might just save our screenwriting lives." -Stewart Stern (Screenwriter of Rebel Without a Cause)

    At her death in 1964, O'Connor left behind a body of unpublished essays and lectures as well as a number of critical articles that had appeared in scattered publications during her too-short lifetime. The keen writings comprising Mystery and Manners, selected and edited by O'Connor's lifelong friends Sally and Robert Fitzgerald, are characterized by the directness and simplicity of the author's style, a fine-tuned wit, understated perspicacity, and profound faith.The book opens with "The King of the Birds," her famous account of raising peacocks at her home in Milledgeville, Georgia. Also included are: three essays on regional writing, including "The Fiction Writer and His Country" and "Some Aspects of the Grotesque in Southern Fiction"; two pieces on teaching literature, including "Total Effect and the 8th Grade"; and four articles concerning the writer and religion, including "The Catholic Novel in the Protestant South." Essays such as "The Nature and Aim of Fiction" and "Writing Short Stories" are widely seen as gems.This bold and brilliant essay-collection is a must for all readers, writers, and students of contemporary American literature.

    From Sherwood Anderson to Virginia Woolf, this anthology encompasses a rich global and historical mix of the very best works of short fiction and presents them in a way students will find accessible, engaging, and relevant. The book's unique integration of biographical and critical background gives students a more intimate understanding of the works and their authors.Contents:Part I. Introduction. The art of the short story.-- Part II. Stories [A-J]. Chinua Achebe: Dead men's path ; Author's perspective, Achebe: modern Africa as the crossroads of culture -- Sherwood Anderson: Hands ; Author's perspective, Anderson: Words not plot give form to a short story -- Margaret Atwood: Happy endings ; Author's perspective, Atwood: On the Canadian identity -- James Baldwin: Sonny's blues ; Author's perspective, Baldwin: Race and the African-American writer -- Jorge Luis Borges: The garden of forking paths ; Author's perspective, Borges: Literature as experience -- Albert Camus: The guest ; Author's perspective, Camus: Revolution and repression in Algeria -- Raymond Carver: Cathedral ; A small, good thing ; Author's perspective, Carver: Commonplace but precise language -- Willa Cather: Paul's case ; Author's perspective, Cather: Art as the process of simplification -- John Cheever: The swimmer ; Author's perspective, Cheever: Why I write short stories -- Anton Chekhov: The lady with the pet dog ; Misery ; Author's perspective, Chekhov: Natural description and "The center of gravity" -- Kate Chopin: The storm ; The story of an hour ; Author's perspective, Chopin: My writing method -- Sandra Cisneros: Barbie-Q ; Author's perspective, Cisneros: Bilingual style -- Joseph Conrad: The secret sharer ; Author's perspective, Conrad: The condition of art -- Stephen Crane: The open boat ; Author's perspective, Crane: The sinking of the Commodore -- Ralph Ellison: A party down at the square ; Author's perspective, Ellison: Race and fiction -- William Faulkner: Barn burning ; A rose for Emily ; Author's perspective, Faulkner: The human heart in conflict with itself -- F. Scott Fitzgerald: Babylon revisited ; Author's perspective, Fitzgerald: On his own literary aims -- Gustave Flaubert: A simple heart ; Author's perspective, Flaubert: The labor of style -- Gabriel García Marquez: A very old man with enormous wings ; Author's perspective, García Marquez: My beginnings as a writer -- Charlotte Perkins Gilman: The yellow wallpaper ; Author's perspective, Gilman: Why I wrote "The yellow wallpaper" -- Nikolai Gogol: The overcoat ; Author's perspective, Gogol: On realism -- Nadine Gordimer: A company of laughing faces ; Author's perspective, Gordimer: How the short story differs from the novel -- Nathaniel Hawthorne: Young Goodman Brown ; The birthmark ; Author's perspective, Hawthorne: On the public failure of his early stories -- Ernest Hemingway: A clean, well-lighted place ; Author's perspective, Hemingway: One true sentence -- Zora Neale Hurston: Sweat ; Author's perspective, Hurston: Eatonville when you look at it -- Shirley Jackson: The lottery ; Author's perspective, Jackson: The public reception of "The lottery" -- Henry James: The real thing ; Author's perspective, James: The mirror of a consciousness -- Ha Jin: Saboteur ; Author's perspective, Jin: Deciding to write in English -- James Joyce : Araby ; The dead ; Author's perspective, Joyce: Epiphanies. Contents: Part II[ Cont.]. Stories [K-W]. Franz Kafka: Before the law ; The metamorphosis ; Author's perspective, Kafka: Discussing The metamorphosis -- D.H. Lawrence: Odour of Chrysanthemums ; The rocking-horse winner ; Author's perspective, Lawrence: The novel is the bright book of life -- Ursula K. Le Guin: the ones who walk away from Omelas ; Author's perspective, Le Guin: On "The ones who walk away from Omelas" -- Doris Lessing: A woman on a roof ; Author's perspective, Lessing: My beginnings as a writer -- Jack London: To build a fire ; Author's perspective, London: Defending the factuality of "To build a fire" -- Katherine Mansfield: Miss Brill ; The garden-party ; Author's perspective, Mansfield: On "The garden-party" -- Bobbie Ann Mason: Shiloh ; Author's perspective, Mason: Minimalist fiction -- Guy de Maupassant: The necklace ; Author's perspective, Maupassant: The realist method -- Herman Melville: Bartleby, the scrivener : a story of Wall-Street ; Author's perspective, Melville: American literature -- Yukio Mishima: Patriotism ; Author's perspective, Mishima: Physical courage and death -- Alice Munro: How I met my husband ; Author's perspective, Munro: How I write short stories -- Joyce Carol Oates: where are you going, where have you been? ; Author's perspective, Oates: Productivity and the critics -- Flannery O'Connor: A good man is hard to find ; Revelation ; Author's perspective, O'Connor: The element of suspense in "A good man is hard to find" -- Edgar Allan Poe: The fall of the House of Usher ; The Tell-tale heart ; Author's perspective, Poe: The tale and its effect -- Katherine Anne Porter: Flowering Judas ; Author's perspective, Porter: Writing "Flowering Judas" -- Leslie Marmon Silko: The man to send rain clouds ; Author's perspective, Silko: the basis of "The man to send rain clouds" -- Isaac Bashevis singer: Gimpel the Fool ; Author's perspective, Singer: The character of Gimpel -- Leo Tolstoy: The death of Ivan Ilych ; Author's perspective, Tolstoy: The moral responsibility of art -- John Updike: Separating ; Author's perspective, Why write? -- Alice Walker: Everyday use ; Author's perspective, Walker: The Black woman writer in America -- Eudora Welty: Why I live at the P.O. ; Author's perspective, Welty: The plot of the short story -- Edith Wharton: Roman fever ; Author's perspective, Wharton: The subject of short stories -- Virginia Woolf: A haunted house ; Author's perspective, Woolf: Women and fiction. Contents: Part III. Writing. The elements of short fiction -- Writing about fiction -- Critical approaches to literature. Formalist criticism: Light and darkness in "Sonny's Blues" / Michael Clark -- Biographical criticism: Chekhov's attitude to romantic love / Virginia Llewellyn Smith -- Historical criticism: The Argentine context of Borges's fantastic fiction / John King -- Psychological criticism: The father-figure in "The tell-tale heart" / Daniel Hoffman -- Mythological criticism: Myth in Faulkner's "Barn Burning" / Edmond Volpe -- "Sociological criticism: Money and labor in "The rocking-horse winner" / Daniel P. Watkins -- Gender criticism: Gender and pathology in "The yellow wallpaper" / Juliann Fleenor -- Reader-response criticism: An Eskimo "A Rose for Emily" / Stanley Fish -- Deconstructionist criticism: The death of the author / Roland Barthes -- Cultural studies: What is cultural studies? / Makr Bauerlein. Part IV. Glossary of literary terms.

    Learn the five types of conflict that keep readers hooked, the two elements EVERY scene must have, know when scenes are going to be good (or bad) BEFORE you write them, discover how to misdirect most of your readers most of the time, and much more. Holly Lisle's How To Write Page-Turning Scenes is a funny, relaxed, and comprehensive start-to-finish course with a step-by-step process that includes worksheets, examples, and how-to advice for writers of every genre, and for every experience level---from absolute beginner needing basics, to the published pro looking to notch up suspense and bring in new readers while thrilling existing ones.

    “In the spirit of Annie Dillard's The Writing Life, Friedman...gives heartfelt counsel to those who need to be coaxed into the creative process."—Washington PostAn indispensable guide for writers that explores the emotional side of writing and offers insightful advice on overcoming writer’s block, procrastination, guilt, and more. Charting the emotional side of the writer's life, Writing Past Dark is a writing companion to reach for when you feel lost and want to regain access to the memories, images, and the ideas inside you that are the fuel of strong writing.Combining personal narrative and other writers' experiences, Bonnie Friedman explores a whole array of emotions and dilemmas writers face—envy, distraction, guilt, and writer's block—and shares the clues that can set you free so that you can write the book you’ve always dreamed of writing.Supportive, intimate, and reflective, Writing Past Dark is a comfort and resource for all writers.

    Long considered a classic in the field, WRITING IN GENERAL is the product of a lifetime of reflection by one of our best literary minds.

    What's the secret behind the successful and prolific careers of critically acclaimed novelists and short story writers Amy Bloom, Steve Almond, Jayne Anne Phillips, Alison Lurie, and others? Divine assistance? Otherworldly talent? An unsettlingly close relationship with the Muse? While the rest of us are staring at blank sheets of paper, struggling to come up with a first sentence, these writers are busy polishing off story after story and novel after novel. Despite producing work that may seem effortless, all of them have a simple technique for fending off writer's block: the writing exercise. In Now Write!, Sherry Ellis collects the personal writing exercises of today's best writers and lays bare the secret to their success. - In "The Photograph," Jill McCorkle divulges one of her tactics for handling material that takes plots in a million different directions; - National Book Award-nominee Amy Bloom offers "Water Buddies," an exercise for writers practicing their craft in workshops; - Steve Almond, author of My Life in Heavy Metal and Candyfreak, provides a way to avoiding purple prose in "The Five-Second Shortcut to Writing in the Lyric Register"; - and eighty-three more of the country's top writers disclose their strategies for creating memorable prose. Complemented by brief commentary from the authors themselves, the exercises in Now Write! are practical and hands-on. By encouraging writers to shamelessly steal proven techniques that have yielded books which have won National Book Awards, Pulitzers, and Guggenheim grants, Now Write! inspires the aspiring writer to write now.

    The Complete Guide to Article Writing provides a compass for freelancers and students of journalism looking to write successfully on a wide variety of topics and for many different markets -both in print and online. From researching and interviewing to writing features, reviews, news articles, opinion pieces, and even blog posts, this one-stop guide will illuminate the intricacies of article writing so you can produce entertaining, informative, and salable articles.- Learn how to write coherently, cohesively, and concisely.- Choose the proper structure for the article you want to write.- Weave narrative and fact seamlessly into your pieces.- Develop your freelance platform with the latest in social media outlets.- Pitch your ideas like a pro.- Develop a professional relationship with editors.- And much more!Modern journalism can be a treacherous terrain, but with The Complete Guide to Article Writing as your companion, you'll not only survive the journey -you'll be able to write pieces that inform, entertain, inspire, delight- and sell!

    His 1990 National Book Award-winning novel Middle Passage is a modern classic, revered as much for its daring plot as its philosophical underpinnings. For thirty-three years, Johnson taught and mentored students in the art and craft of creative writing. The Way of the Writer is his record of those years, and the coda to a kaleidoscopic, boundary-shattering career. Organized into six accessible, easy-to-navigate sections, The Way of the Writer is both a literary reflection on the creative impulse and a utilitarian guide to the writing process. Johnson shares his lessons and exercises from the classroom, starting with word choice, sentence structure, and narrative voice, and delving into the mechanics of scene, dialogue, plot and storytelling before exploring the larger questions at stake for the serious writer. What separates literature from industrial fiction? What lies at the heart of the creative impulse? How does one navigate the literary world? And how are philosophy and fiction concomitant? Luminous, inspiring, and imminently accessible, The Way of the Writer is a revelatory glimpse into the mind of the writer and an essential guide for anyone with a story to tell.

    Writing True serves as a valuable core textbook or a supplement for any creative writing or composition course with an emphasis on creative nonfiction. A solid pedagogical approach shows students how to be true to capturing the real world with integrity and creativity. The first part of the book, "Writing Creative Nonfiction," offers ten chapters of practical guidance, skill-building exercises, and ideas to help writers develop their creativity. The second part of the book, "Reading Creative Nonfiction," contains an anthology divided into Memoir, Personal Essay, Portrait, Essay of Place, and Literary Journalism. Selections include works by Nora Ephron, Tracy Kidder, Eric Liu, David Sedaris, and other well-known masters of the creative nonfiction genre. The anthology also includes a section entitled "Stories of Craft," with four prominent writers, including John Irving and Sue Miller, describing the challenges and rewards of writing creative nonfiction.