Includes interviews with hundreds of publishing insiders and authors, including Seth Godin, Neil Gaiman, Amy Bloom, Margaret Atwood, Leonard Lopate, plus agents, editors, and booksellers; sidebars featuring real-life publishing success stories; sample proposals, query letters, and an entirely updated resources and publishers directory.

    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.

    The teaching of poetry languishes, and that region of youthful neurological terrain capable of being ignited only by poetry is largely dark, unpopulated, and silent, like a classroom whose shades are drawn. This is more than a shame, for poetry is our common treasure-house, and we need its vitality, its respect for the subconscious, its willingness to entertain ambiguity, its plaintive truth-telling, and its imaginative exhibitions of linguistic freedom, which confront the general culture's more grotesque manipulations. We need the emotional training sessions poetry conducts us through. We need its previews of coming attractions: heartbreak, survival, failure, endurance, understanding, more heartbreak.—from "Twenty Poems That Could Save America"Twenty Poems That Could Save America presents insightful essays on the craft of poetry and a bold conversation about the role of poetry in contemporary culture. Essays on the "vertigo" effects of new poetry give way to appraisals of Robert Bly, Sharon Olds, and Dean Young. At the heart of this book is an honesty and curiosity about the ways poetry can influence America at both the private and public levels. Tony Hoagland is already one of this country's most provocative poets, and this book confirms his role as a restless and perceptive literary and cultural critic.

    It's a compilation of my daily ramblings as a first time novelist encouraging myself and others to bite the bullet and do it despite the fear of the blank paper, the insecurities, and the angst every writer faces when trying to bleed the story out. My Twitter followers asked me to make this book. They said they want to carry it around in their pockets and take it out each time they feel stuck, scared, or simply need to smile. They tell me my tweets are encouraging and funny. You be the judge.

    Do we have to strip away all femininity to make a female character strong? How do we keep a strong female character likeable? If we're writing historical fiction or science fiction or fantasy based on a historical culture, how far can we stray from the historical records when creating our female characters? In Strong Female Characters: A Busy Writer's Guide you'll learn - what “strong female characters” means, - the keys to writing characters who don’t match stereotypical male or female qualities, - how to keep strong female characters likeable, and - what roles women actually played in history. Each book in the Busy Writer’s Guide series is intended to give you enough theory so that you can understand why things work and why they don’t, but also enough examples to see how that theory looks in practice. In addition, they provide tips and exercises to help you take it to the pages of your own story with an editor's-eye view. Strong Female Characters is a mini-book of approximately 4,000 words.

    Try a little Second Sight. In this collection of talks, a professional editor offers insights from the other side of the publishing desk on a wide range of writerly topics: * Terrific first lines and how they got that way * What makes a strong picture book manuscript * Why the Harry Potter series was such a tremendous success * Finding the emotional heart of your story * Worksheets and checklists for building characters and bolstering plot * The Annotated Query Letter from Hell * And an Annotated Query Letter That Does It Right With its wit, intelligence, and practical tools for analyzing and revising your work, Second Sight will be a first resource for writers of children's and young adult fiction. This book has not been endorsed or approved by J. K. Rowling or any of her publishers or representatives, and all thoughts expressed here on all matters, including the Harry Potter series, are solely Cheryl B. Klein's own, and should not be taken as the official opinions, intentions, or interpretations of any of the writers or publishers mentioned.

    In Hollywood, a movie is given a single weekend to succeed before being written off. In Silicon Valley, a startup is a failure if it doesn't go viral or rake in venture capital from the start. In publishing, a book that took years to write is given less than three months to sink or swim. These brutally shortsighted attitudes have choked the world with instructions for engineering a flash-in-the-pan and littered the media landscape with fads and flops. Meanwhile, the greats, the stalwarts, the household names, are those who focus on a singularly different, possibly heretical, idea: that their work can and should last. For instance, Zildjian has been one of the premier makers of cymbals since its founding in 1623--and shows no signs of quitting. Iron Maiden has filled stadiums for forty years, moving some 85 million albums without the help of radio or television. Robert Greene's first book, The 48 Laws of Power, didn't hit the bestseller lists until over a decade after it was first released, and since then has sold more than 1 million copies worldwide. These works Ryan Holiday calls Perennial Sellers. They exist in every creative industry--timeless, dependable resources and unsung moneymakers, paying like blue chip annuities. Like gold or land, they increase in value over time, outlasting and outreaching any competition. And they're not flukes or lucky breaks--they were built to last from the outset. Holiday shows readers how to make and market their own classic work. Featuring interviews with some of the world's greatest creatives, and grounded in a deep study of the classics in every genre, this exciting new book empowers readers with a foundational set of innovative principles. Whether you have a book or a business, a song or the next great screenplay, this book reveals the recipe for perennial success.

    Editors strive to create books that are enlightening, seamless, and pleasurable to read, all while giving credit to the author. This makes it all the more difficult to truly understand the range of roles they inhabit while shepherding a project from concept to publication. In What Editors Do, Peter Ginna gathers essays from twenty-seven leading figures in book publishing about their work. Representing both large houses and small, and encompassing trade, textbook, academic, and children’s publishing, the contributors make the case for why editing remains a vital function to writers—and readers—everywhere. Ironically for an industry built on words, there has been a scarcity of written guidance on how to actually approach the work of editing. This book will serve as a compendium of professional advice and will be a resource both for those entering the profession (or already in it) and for those outside publishing who seek an understanding of it. It sheds light on how editors acquire books, what constitutes a strong author-editor relationship, and the editor’s vital role at each stage of the publishing process—a role that extends far beyond marking up the author’s text. This collection treats editing as both art and craft, and also as a career. It explores how editors balance passion against the economic realities of publishing. What Editors Do shows why, in the face of a rapidly changing publishing landscape, editors are more important than ever.

    'The McGraw-Hill Handbook of English Grammar and Usage' does so in an entertaining way.

    Its message is, simply put: you can do this, and it's worthwhile to try. Heather Sellers, who writes in multiple genres herself, has developed an approach that focuses on the habits and strategies that produce good writing in any genre. These habits and strategies make it possible for students to focus, to generate lots of writing, and to get to the good stuff -- the powerful imagery and the stories they really want to tell. She makes creative writing fun by providing opportunities to be playful and to experiment at the same time she teaches students the importance of discipline and craft.

    The Triggering Town is Hugo's now-classic collection of lectures, essays, and reflections, all "directed toward helping with that silly, absurd, maddening, futile, enormously rewarding activity: writing poems." Anyone, from the beginning poet to the mature writer to the lover of literature, will benefit greatly from Hugo's sayd, playful, profound insights and advice concerning the mysteries of literary creation.

    Among the talents that emerged in those years-writing, criticizing, drinking, and debating in the classrooms and barrooms of Iowa City-were the younger versions of writers who became John Irving, Jane Smiley, T. C. Boyle, Michelle Huneven, Allan Gurganus, Sandra Cisneros, Jayne Anne Phillips, Jennie Fields, Joy Harjo, Joe Haldeman, and many others. It is chock full of insights and a treasure trove of inspiration for all writers, readers, history lovers, and anyone who ever "wanted to be a writer." Jane Smiley on the Iowa writers' workshop: "In that period, the teachers tended to be men of a certain age, with the idea that competition was somehow the key-the Norman Mailer period. The story was that if you disagreed with Norman, or gave him a bad review, he'd punch you in the nose. You were supposed to get in fights in restaurants." T.C. Boyle on his short story "Drowning": "I got $25 for it, which was wonderful . . . You know, getting $25 for the product of your own brain? You could buy a lot of beer in Iowa City back then for that."

    Through memorable visuals and honest talk, John Ruszkiewicz shows students how to write in any situation — wherever they are in their writing process.With everything you need to teach composition, the Guide lays out focused advice for writing common genres, while the Reference covers the range of writing and research skills that students need as they work across genres and disciplines. An intuitive, visual cross-referencing system and a modular chapter organization that’s simple to follow make it even easier for students to work back and forth between chapters and stay focused on their own writing.

    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.

    The best authors put painstaking--sometimes obsessive--effort into each element of their stories, from plot and character development to dialogue and point of view.What made Nabokov choose the name Lolita? Why did Fitzgerald use first-person narration in The Great Gatsby? How did Kerouac, who raged against revision, finally come to revise On the Road? Veteran editor and teacher Richard Cohen draws on his vast reservoir of a lifetime's reading and his insight into what makes good prose soar. Here are Gabriel Garc�a M�rquez's thoughts on how to start a novel ("In the first paragraph you solve most of the problems with your book"); Virginia Woolf offering her definition of style ("It is all rhythm. Once you get that, you can't use the wrong words"); and Vladimir Nabokov on the nature of fiction ("All great novels are great fairy tales").Cohen has researched the published works and private utterances of our greatest authors to discover the elements that made their prose memorable. The result is a unique exploration of the act and art of writing that enriches our experience of reading both the classics and the best modern fiction. Evoking the marvelous, the famous, and the irreverent, he reveals the challenges that even the greatest writers faced--and shows us how they surmounted them.Praise for How to Write Like Tolstoy"The highest compliment one can pay How to Write Like Tolstoy is that it provokes an overwhelming urge to read and write, to be in dialogue or even doomed competition with the greatest creative minds . . . . That Mr. Cohen is an editor, that his love of literature comes in large part from awe in the presence of better writers than he, is no small matter. His love is infectious, and regardless of how well he ends up teaching us to write, that is miracle enough."--Wall Street Journal"[A] perfect tasting menu . . . the homage of a passionate reader to the writers who have provided his 'main pastime.' "--The Sunday Times (U.K.)"This book is a wry, critical friend to both writer and reader. It is filled with cogent examples and provoking statements. You will agree or quarrel with each page, and be a sharper writer and reader by the end."--Hilary Mantel "These twelve essays are like twelve perfect university lectures on the craft of writing fiction. The professor--or, in this case, author--succeeds in being not only knowledgeable but also interesting, charming, and engaging."--Library Journal (starred review)"Insightful . . . [Cohen] escorts his readers to Iris Murdoch for sage counsel on launching a novel, to Salman Rushdie for shrewd guidance on developing an unreliable narrator, to Rudyard Kipling for a cagey hint on creating memorable minor characters, and to Leo Tolstoy for a master's help in transforming personal experience into fictional art."--Booklist