Over the past seven years, I have created 19 award-winning romance novels for two international publishers and over 1.2 million copies have been sold in 28 countries around the world in 23 languages. The good news is that romance fiction is as popular as it has ever been. Just look at the Amazon Bestsellers top 100 paid list. It is dominated by romance titles. Writing short romance Kindle books is an ideal home-based business, with minimal start-up costs. You work where and when you choose, writing the kind of romance stories that you love to read –and then publish them for free! What’s more, short fiction is fast to both read and to write. No more procrastination! You can create passive income from day one with short romance stories that only took you a few hours to write. This eBook guides you through an intense Masterclass on the key techniques that you need to start writing short romance fiction, which you can then publish on the Amazon Kindle platform. As a professional romance author, I have broken down the process of writing romance fiction into: A complete nine-step plan packed with the essential information you need to write your own short romance fiction, from understanding the different types of romance categories through to advanced story structure. A proven six-layer character development technique to help you to create compelling three-dimensional characters readers will love! As a bonus, I have included a section with practical advice on how to transform your manuscript into an eBook. This detailed Fast-Track guide has been designed to be around 40 minutes long, which means that there is no filler, just quality information from the start. Your complete starter plan is written in straightforward language and each step has been tried and tested. I know that it works because this is the system that I use to create my own award-winning romance fiction! Take a risk and learn How to Write Short Romance Kindle Books today – it could be the key to a new career and a brilliant entrepreneurial small business. It is much easier than you think. Just take that first step! NEW SPECIAL OFFER! This eBook is part of the ROMANCE SELF-PUBLISHING BOOK BUNDLE (Books One to Three): All the Information you need to Write, Publish and Promote your Romance Kindle Book. Available now at a great sale price. http://amzn.to/1NpEGx2

    Suitable for use by students, tutors, writers' groups or writers working alone, this book offers:A practical and inspiring section on the creative process, showing you how to stimulate your creativity and use your memory and experience in inventive ways in-depth coverage of the most popular forms of writing, in extended sections on fiction, poetry and life writing, including biography and autobiography, giving you practice in all three forms so that you might discover and develop your particular strengths a sensible, up-to-date guide to going public, to help you to edit your work to a professional standard and to identify and approach suitable publishers a distinctive collection of exciting exercises, spread throughout the workbook to spark your imagination and increase your technical flexibility and control a substantial array of illuminating readings, bringing together extracts from contemporary and classic writings in order to demonstrate a range of techniques that you can use or adapt in your own work.Creative Writing: A Workbook with Readings presents a unique opportunity to benefit from the advice and experience of a team of published authors who have also taught successful writing courses at a wide range of institutions, helping large numbers of new writers to develop their talents as well as their abilities to evaluate and polish their work to professional standards. These institutions include Lancaster University and the University of East Anglia, renowned as consistent producers of published writers.

    Here at last is a book by two professional editors to teach writers the techniques of the editing trade that turn promising manuscripts into published novels and short stories.In this completely revised and updated second edition, Renni Browne and Dave King teach you, the writer, how to apply the editing techniques they have developed to your own work. Chapters on dialogue, exposition, point of view, interior monologue, and other techniques take you through the same processes an expert editor would go through to perfect your manuscript. Each point is illustrated with examples, many drawn from the hundreds of books Browne and King have edited.

    Their motivations, their changes, their actions compel us to read on, anxiously trying to discern what will happen next.In Dynamic Characters, award-winning author and Writer's Digest columnist Nancy Kress explores the fundamental relationship between characterization and plot, illustrating how vibrant, well-constructed characters act as the driving force behind an exceptional story.Kress balances her writing instruction with hands-on checklists to help you build strong characters from the outside in. Blending physical, emotional and mental characterization, you'll learn to create characters that initiate exciting action, react to tense situations, make physical and emotional transformations, and power the plot from beginning to end.

    While some people persist in the belief that essays are stuffy and antiquated, the truth is that the personal essay is an ever-changing creative medium that provides an ideal vehicle for satisfying the human urge to document truths as we experience them and share them with others--to capture a bit of life on paper.Crafting the Personal Essay is designed to help you explore the flexibility and power of the personal essay in your own writing. This hands-on, creativity-expanding guide will help you infuse your nonfiction with honesty, personality, and energy. You'll discover:- An exploration of the basics of essay writing - Ways to step back and scrutinize your experiences in order to separate out what may be fresh, powerful, surprising or fascinating to a reader - How to move past private journaling and write for an audience - How to write eight different types of essays including memoir, travel, humor, and nature essays among others - Instruction for revision and strategies for getting published Brimming with helpful examples, exercises, and sample essays, this indispensable guide will help your personal essays transcend the merely private to become powerfully universal.

    Bellow. Strauss. Friedman. The University of Chicago has been the home of some of the most important thinkers of the modern age. But perhaps no name has been spoken with more respect than Turabian. The dissertation secretary at Chicago for decades, Kate Turabian literally wrote the book on the successful completion and submission of the student paper. Her Manual for Writers of Research Papers, Theses, and Dissertations, created from her years of experience with research projects across all fields, has sold more than seven million copies since it was first published in 1937.Now, with this seventh edition, Turabian’s Manual has undergone its most extensive revision, ensuring that it will remain the most valuable handbook for writers at every level—from first-year undergraduates, to dissertation writers apprehensively submitting final manuscripts, to senior scholars who may be old hands at research and writing but less familiar with new media citation styles. Gregory G. Colomb, Joseph M. Williams, and the late Wayne C. Booth—the gifted team behind The Craft of Research—and the University of Chicago Press Editorial Staff combined their wide-ranging expertise to remake this classic resource. They preserve Turabian’s clear and practical advice while fully embracing the new modes of research, writing, and source citation brought about by the age of the Internet.Booth, Colomb, and Williams significantly expand the scope of previous editions by creating a guide, generous in length and tone, to the art of research and writing. Growing out of the authors’ best-selling Craft of Research, this new section provides students with an overview of every step of the research and writing process, from formulating the right questions to reading critically to building arguments and revising drafts. This leads naturally to the second part of the Manual for Writers, which offers an authoritative overview of citation practices in scholarly writing, as well as detailed information on the two main citation styles (“notes-bibliography” and “author-date”). This section has been fully revised to reflect the recommendations of the fifteenth edition of The Chicago Manual of Style and to present an expanded array of source types and updated examples, including guidance on citing electronic sources.The final section of the book treats issues of style—the details that go into making a strong paper. Here writers will find advice on a wide range of topics, including punctuation, table formatting, and use of quotations. The appendix draws together everything writers need to know about formatting research papers, theses, and dissertations and preparing them for submission. This material has been thoroughly vetted by dissertation officials at colleges and universities across the country.This seventh edition of Turabian’s Manual for Writers of Research Papers, Theses, and Dissertations is a classic reference revised for a new age. It is tailored to a new generation of writers using tools its original author could not have imagined—while retaining the clarity and authority that generations of scholars have come to associate with the name Turabian.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    She followed with two other smash bestsellers: Cherry and Lit, which were critical hits as well.For thirty years Karr has also taught the form, winning graduate teaching prizes for her highly selective seminar at Syracuse, where she mentored such future hit authors as Cheryl Strayed, Keith Gessen, and Koren Zailckas. In The Art of Memoir, she synthesizes her expertise as professor and therapy patient, writer and spiritual seeker, recovered alcoholic and “black belt sinner,” providing a unique window into the mechanics and art of the form that is as irreverent, insightful, and entertaining as her own work in the genre.Anchored by excerpts from her favorite memoirs and anecdotes from fellow writers’ experience, The Art of Memoir lays bare Karr’s own process. (Plus all those inside stories about how she dealt with family and friends get told— and the dark spaces in her own skull probed in depth.) As she breaks down the key elements of great literary memoir, she breaks open our concepts of memory and identity, and illuminates the cathartic power of reflecting on the past; anybody with an inner life or complicated history, whether writer or reader, will relate.Joining such classics as Stephen King’s On Writing and Anne Lamott’s Bird by Bird, The Art of Memoir is an elegant and accessible exploration of one of today’s most popular literary forms—a tour de force from an accomplished master pulling back the curtain on her craft.

    But think about writing something and panic sets in. Overcome this crippling response by learning how to "talk" on paper. Joel Saltzman tells it like it is--with compassion, humor, and the "uncommon wisdom" of famous writers, artists, and musicians. Based on his popular workshop for the UCLA Writers' Program, this is a program with proven results.

    McCann asks his readers to constantly push the boundaries of experience, to see empathy and wonder in the stories we craft and hear.A paean to the power of language, both by argument and by example, Letters to a Young Writer is fierce and honest in its testament to the bruises delivered by writing as both a profession and a calling. It charges aspiring writers to learn the rules and even break them.These fifty-two essays are ultimately a profound challenge to a new generation to bring truth and light to a dark world through their art.

    Seasoned researchers and educators Gregory G. Colomb and Joseph M. Williams present an updated third edition of their classic handbook, whose first and second editions were written in collaboration with the late Wayne C. Booth. The Craft of Research explains how to build an argument that motivates readers to accept a claim; how to anticipate the reservations of readers and to respond to them appropriately; and how to create introductions and conclusions that answer that most demanding question, “So what?” The third edition includes an expanded discussion of the essential early stages of a research task: planning and drafting a paper. The authors have revised and fully updated their section on electronic research, emphasizing the need to distinguish between trustworthy sources (such as those found in libraries) and less reliable sources found with a quick Web search. A chapter on warrants has also been thoroughly reviewed to make this difficult subject easier for researchers Throughout, the authors have preserved the amiable tone, the reliable voice, and the sense of directness that have made this book indispensable for anyone undertaking a research project.

    Lajos Egri's classic, The Art of Dramatic Writing, does just that, with instruction that can be applied equally well to a short story, novel, or screenplay. Examining a play from the inside out, Egri starts with the heart of any drama: its characters. All good dramatic writing hinges on people and their relationships, which serve to move the story forward and give it life, as well as an understanding of human motives - why people act the way that they do. Using examples from everything from William Shakespeare's Romeo and Juliet to Henrik Ibsen's A Doll's House, Egri shows how it is essential for the author to have a basic premise - a thesis, demonstrated in terms of human behavior - and to develop the dramatic conflict on the basis of that behavior.Using Egri's ABCs of premise, character, and conflict, The Art of Dramatic Writing is a direct, jargon-free approach to the problem of achieving truth in writing.

    Black-&-white illustrations throughout.IntroductionSentences & what we mean by them Words & what kinds of words they areNouns Verbs VerbalsMore on verbs Adjectives & adverbsPronouns Arriving at agreementsPhrases Clauses FragmentsComma splicesThe creation of sentences

    This book gives you a map.Oh, what tricky terrain you're traveling! You must reckon with: Character, Conflict, Point of View, Dialogue, Editors, Editors, and Editors, who--by returning stories they see as problem-plagued--can burst your hopes of publication.Where are the problems? Editors rarely take the time to map them out, so Jack Bickham has. In this book, he spotlights the 38 most common fiction writing land mines--writing mistakes that can turn even dynamite story ideas into slush pile rejects. And he guides you in overcoming them.In to-the-point style, he shows you how to:conquer procrastination--and put ink on paper regularlydump wimpy characters--and build characters ready to actlook for trouble--and create conflicts for your characterscut coincidence--and put better-than-life logic into fictionescape the fog--and find and stick to your story's directionfree feelings--and fire your fiction with passion and emotionIn short, Bickham helps you take a giant step toward publication.Read this book. Strengthen your writing. And start setting off explosions where they belong: on the sales charts.

    Award-winning author James Scott Bell offers clear, concise information that will help you create a believable and memorable plot, including: Techniques for crafting strong beginnings, middles, and endsEasy-to-understand plotting diagrams and chartsBrainstorming techniques for original plot ideasThought-provoking exercises at the end of each chapterStory structure models and methods for all genresTips and tools for correcting common plot problemsFilled with plot examples from popular novels, comprehensive checklists, and practical hands-on guidance, "Write Great Fiction: Plot & Structure" gives you the skills you need to approach plot and structure like an experienced pro.