[It] was due the next day. We were out at our family cabin in Bolinas, and he was at the kitchen table close to tears, surrounded by binder paper and pencils and unopened books on birds, immobilized by the hugeness of the task ahead. Then my father sat down beside him, put his arm around my brother's shoulder, and said. 'Bird by bird, buddy. Just take it bird by bird.'"With this basic instruction always in mind, Anne Lamott returns to offer us a new gift: a step-by-step guide on how to write and on how to manage the writer's life. From "Getting Started,' with "Short Assignments," through "Shitty First Drafts," "Character," "Plot," "Dialogue." all the way from "False Starts" to "How Do You Know When You're Done?" Lamott encourages, instructs, and inspires. She discusses "Writers Block," "Writing Groups," and "Publication." Bracingly honest, she is also one of the funniest people alive.If you have ever wondered what it takes to be a writer, what it means to be a writer, what the contents of your school lunches said about what your parents were really like, this book is for you. From faith, love, and grace to pain, jealousy, and fear, Lamott insists that you keep your eyes open, and then shows you how to survive. And always, from the life of the artist she turns to the art of life.

    A story's use of time, plot, character, and other elements of fiction are analyzed, and readers are challenged to see each story's flaws and strengths. Careful endnotes bring attention to the ways in which various writers use language. Bell urges writers to develop the habit of thinking about form and finding the form that best suits their subject matter and style. His direct and practical advice allows writers to find their own voice and imagination.

    Despite this, little has been written to help authors hone their craft to truly connect with this audience. Writing Great Books for Young Adults gives writers the advice they need to tap this incredible market. Topics covered include: Listening to the voices of youthMeeting your young protagonist Developing a writing styleConstructing plotsTrying on points of view Agent Regina Brooks has developed award-winning authors across the YA genre, including a Coretta Scott King winner. She attends more than 20 conferences each year, meeting with authors and teaching.

    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.

    The Portable MFA gives you all of the essential information you would learn in the MFA program in one book. Covering fiction, memoirs, personal essays, magazine articles, poetry, and playwriting, this book provides you with:Inspiration and tips on revision, stamina, and productivityClear instruction on the craft behind the artDetailed reading lists to expand your literary horizonsExercises to improve your writing endeavorsBy heeding the advice in The Portable MFA, you will gain the wisdom and experience of some of today's greatest teachers, all for just the price of a book.

    You can jump-start your plot and bring your characters and scenes vibrantly alive on the page - by watching your favorite movies and learning from the storytelling tricks of great filmmakers.With this workbook, based on award-winning author/ screenwriter Alexandra Sokoloff’s internationally acclaimed Screenwriting Tricks For Authors blog and workshops, you'll learn how to use techniques of film writing such as:- the High Concept Premise- the Three-Act, Eight-Sequence Structure- the Storyboard Grid- the Index Card Method of Plotting- as well as tricks of film pacing and suspense, character arc and drive, visual storytelling, and building image systems - to structure and color your novel for maximum emotional impact, unbearable suspense and riveting pacing, no matter what genre you're writing in.You'll create your own personalized workbook of genre tricks based on your favorite books and movies and tailored to your own brand of storytelling, and a collage book to build visual image systems. And the emphasis on premise is invaluable for crafting that all-important query and pitch.In this rapidly changing world of publishing, more and more agents and editors are looking for novels that have the pacing, emotional excitement, and big, unique, "high concept" premises of Hollywood movies (and the potential for that movie or TV sale!). And if you're indie publishing, it's even more important to craft and polish your book to stand out from the crowd.Whether you're just starting to develop a book or script, or rewriting for maximum impact, this workbook will guide you through an easy, effective and fun process to help you make your book or script the best it can be.Includes detailed film breakdowns and analysis as well as chapters and resources on how to get a literary agent, writing a query letter, professional networking, and screenwriting contests.For sample chapters please visit http://screenwritingtricks.comTABLE OF CONTENTSIntroductionPART ONE: STORY STRUCTURE1. The Master List2. What's Your Premise?3. What is "High Concept"?4. The Three-Act, Eight-Sequence Structure5. The Index Card Method and Story Elements Checklist6. Elements of Act I7. Hero/ine, Protagonist, Main Character8. Protagonist Case Study: Jake Gittes9. What Makes a Great Villain?10. Villains, Part 2: The Forces of Antagonism11. Elements of Act Two12. Elements of Act Two, Part 213. Elements of Act Three14. What Makes a Great Climax?15. Visual Storytelling16. Creating Suspense17. Plants and Payoffs18. The Big Twist19. Character Introductions20. Fairy Tale Structure21. Meta Structure22. Your First Draft is Always Going to Suck23. Top Ten Things I Know About Editing24. Life is a Pitch MeetingPART TWO: STORY BREAKDOWNS25. Harry Potter and the Sorcerer's Stone26. Romancing the Stone27. Chinatown28. The Mist29. Act Climaxes and Turning PointsPART THREE: THE BUSINESS30. How Do I Get a Literary Agent?31. Internet Resources for Writers32. So You Want to Know About Screenwriting33. Recommended ReadingFigure 1: Story Grid

    In this new book, his first update, Perret offers readers a treasure trove of guidelines and suggestions covering a broad range of comedy writing situations, along with many all-important insights into the selling of one’s work. Perret covers all aspects of comedy writing in his uniquely knowledgeable and anecdotal fashion.

    There are more, but these are the most common, and the most universal, which means by understanding how to craft them, most readers will respond to them. Some will resonate more with you than others. That’s true with all readers, too. The important element to remember is to use hooks wisely and judiciously through your manuscript and to understand their intent. Why? Because hooks help guide your reader deeper and deeper into your book. They are road signs that intentionally entice and direct them to turn the page and keep reading. The intention of the first line of your book is to get the second line read. The intention of the second line is to compel the reader to read until the end of the first paragraph. The intention of the first paragraph is to get the first page read. The intention of the end of the first page is to get your reader to turn the page and keep going. But it doesn’t stop there. The intention of the end of a chapter or scene is to compel the reader to keep reading, at least begin the next scene or chapter where you thread in hooks. The intention of the end of your book is to entice the reader to pick up the next book in the series or, if you’re writing a stand alone or single title book, to feel compelled to find more of your books or find out about you as an author. The strongest hooks raise questions or reactions in a reader. A reaction, whether reluctant or not, is subconsciously drawn that makes the reader want to discover more. It’s not the kinds of questions raised that will take the reader to the end of the book to discover the answers, though some may have elements of that included. No, it’s smaller increments of curiosity we’re raising with our word choices and strategic use of hooks. We’re seeking the kinds of responses that pay off for both reader and author.

    Whether you're crafting a novel, composing an e-mail, or creating a technical report, Mastering the Craft of Writing presents 52 practical techniques to improve your prose. Spend a week with each technique, or use this book as a go-to reference. Either way, you'll have the tools to enliven your writing and delight your readers. Write with economy: Eliminate wordiness, use strong verbs to drive your sentences, and don't trust modifiers. Write with emphasis: Use punctuation for effect, structure sentences and paragraphs for coherency and flow, and employ repetition to make your point. Write with distinction: Use your imagination to create the unexpected, add a light-hearted touch to your writing, and go beyond clarity to eloquence and grace. With exercises, entertaining asides, and a wealth of useful information, Mastering the Craft of Writing is an invaluable resource for any writer. Once you master these techniques, you'll want to use them in everything you write.

    And once you've got an idea, what then? Ideas without a plan, without a purpose, are no more than pleasant thoughts. In The Writer's Idea Book, Jack Heffron, former senior editor at Writer's Digest Books and Story Press, will help you find the answer. Utilizing over 400 prompts and exercises, you'll generate intriguing ideas and plumb their possibilities to turn them into something amazing. The Writer's Idea Book will give you the insight and the self-awareness to create and refine ideas that demand to be transformed into greater works, the kind of compelling, absorbing writing that will have other writers asking "where do you get those ideas?"

    Offers advice for would-be science fiction writers, covering such topics as setting, plot, character, and dialogue, as well as the mechanics of grammar, tense, sentence structure, and paragraph transition.

    Compelling opening scenes are the key to catching an agent or editor’s attention, and are crucial for keeping your reader engaged.As a writer, what you do in your opening pages, and how you do it, is a matter that cannot be left to chance. The First 50 Pages is here to help you craft a strong beginning right from the start. You’ll learn how to: introduce your main character establish your story world set up the plot’s conflict begin your hero’s inner journey write an amazing opening line and terrific first page and more This helpful guide walks you through the tasks your first 50 pages must accomplish in order to avoid leaving readers disoriented, frustrated, or bored. Don’t let your reader put your book down before ever seeing its beauty. Let The First 50 Pages show you how to begin your novel with the skill and intentionality that will land you a book deal, and keep readers’ eyes glued to the page.

    In a highly competitive publishing world, today’s writers need to stay ahead of the competition and make every sentence count. This book will help new writers who need an understanding of the writing process and it's also for seasoned writers who need inspiration. It’s a powerful tool.“I can honestly say that Shelly Lowenkopf wrote the book onfiction.” —Catherine Ryan Hyde, author of Pay It Forward and Jumpstart the World“Shelly Lowenkopf has cooked up literary gumbo for all writers. Once you’ve sampled it, you won’t be able to stop coming back for more.” —Ehrich Van Lowe, producer of The Cosby Show and author of Boyfriend from Hell.

    You will see how a work takes form and shape once you grasp the principles of momentum, tension, and immediacy. "Tension," Stern says, "is the mother of fiction. When tension and immediacy combine, the story begins." Dialogue and action, beginnings and endings, the true meaning of "write what you know," and a memorable listing of don'ts for fiction writers are all covered. A special section features an Alphabet for Writers: entries range from Accuracy to Zigzag, with enlightening comments about such matters as Cliffhangers, Point of View, Irony, and Transitions.

    It won't feed aspiring writers' dreams of fame and fortune. This book is about survival: how to generate ideas when you needed them yesterday, dialogue and plot on the quick, and what your manuscript is up against in the slush piles of the world. For non-fiction writers, Starve Better offers writing techniques such as how to get (relatively) high-paying assignments in second and third-tier magazines, how to react to your first commissioned assignment, and how to find gigs that pay NOW as the final notices pile up and the mice eat the last of the pasta in the cupboard. Humor, essays and some of the most widely read blog pieces from Nick Mamatas, author and editor of fiction that has caught the attention of speculative fiction's most prestigious awards, come together for the first time in a writers' guide that won't teach anyone how to get rich and famous... but will impart the most valuable skill in the business: how to starve better.Blurb: "Mamatas offers up a no-nonsense guide that should be required reading for all writers. Prepare to have some illusions shattered... because you need them shattered. A great resource from a guy with the experience to back up the advice." -Jeff VanderMeer, author of City of Saints and Madmen and FinchAbout the Author: Nick Mamatas is the author of three and a half novels, over seventy short stories, and hundreds of feature articles, and is also an editor and anthologist. His fiction has been nominated for the Bram Stoker and International Horror Guild awards and translated into German, Italian, and Greek; his editorial work with Clarkesworld earned the magazine World Fantasy and Hugo award nominations. Nick's reportage, short stories, and essays have appeared in venues such as Razor, Asimov's Science Fiction, Silicon Alley Reporter, the Village Voice, The Smart Set, The Writer, Poets & Writers and anthologies including Supernatural Noir and Lovecraft Unbound. He teaches at Western Connecticut State University in the MFA program in Creative and Professional Writing, was a visiting writer at Lake Forest College and the University of California, Riverside's Palm Desert Campus, and runs writing classes in the San Francisco Bay Area.