It goes far beyond the standard advice given in most screenwriting manuals. Drawn from sources as varied as vaudeville, classical Greek comedies, and Russian fairy tales, the book outlines a series of practical templates for creating believable characters and emotionally satisfying plots.

    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.

    Publish. Repeat. The No-Luck-Required Guide to Publishing In 2013, Johnny B. Truant and Sean Platt published 1.5 million words and made their full-time livings as indie authors. In Write. Publish. Repeat., they tell you exactly how they did it: how they created over 15 independent franchises across 50+ published works, how they turned their art into a logical, sustainable business, and how any independent author can do the same to build a sustainable, profitable career with their writing. Write. Publish. Repeat. explains the current self-publishing landscape and covers the truths and myths about what it means to be an indie author now and in the foreseeable future. It explains how to create books your readers will love and will want to return to again and again. Write. Publish. Repeat. details expert methods for building story worlds, characters, and plots, understanding your market (right down to your ideal reader), using the best tools possible to capture your draft, and explains proven best practices for editing. The book also discusses covers, titles, formatting, pricing, and publishing to multiple platforms, plus a bit on getting your books into print (and why that might not be a good idea!). But most importantly, Write. Publish. Repeat. details the psychology-driven marketing plan that Sean and Johnny built to shape their stories into "products" that readers couldn't help but be drawn into -- thus almost automatically generating sales -- and explores ways that smart, business-minded writers can do the same to future-proof their careers. This book is not a formula with an easy path to follow. It is a guidebook that will help you build a successful indie publishing career, no matter what type of writer you are ... so long as you're the type who's willing to do the work.

    So much of what you need to know is already defined for you. You know that your script needs to be a certain short length, with a certain small number of characters. You know that your choice of scenes is limited to your show’s standing sets and maybe one or two swing sets or outside locations. You know how your characters behave and how they’re funny, either because you invented them or because you’re writing for a show where these things are already well established. Sitcom is easy and sitcom is fun. Sitcom is the gateway drug to longer forms of writing. It’s a pretty good buzz and a pretty good ride, a great way to kill an afternoon, or even six months. And now, thanks to comedy writing guru John Vorhaus (author of THE COMIC TOOLBOX: HOW TO BE FUNNY EVEN IF YOU'RE NOT), writing situation comedy is easier than ever. In THE LITTLE BOOK OF SITCOM, you'll find a whole trove of tools, tricks and problem-solving techniques that you can use -- now, today -- to be the sitcom writer of your wildest dreams. Ready to write? Ready to have fun? THE LITTLE BOOK OF SITCOM is the big little book for you.

    It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult.) The Story Grid is a tool with many applications: 1. It will tell a writer if a Story "works" or "doesn't work." 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story...the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation. Shawn Coyne is a twenty-five year book-publishing veteran. He's acquired, edited, published or represented works from James Bamford, John Brenkus, James Lee Burke, Barbara Bush, Dick Butkus, Harlan Coben, Nellie Connally, Michael Connelly, Robert Crais, Ben Crenshaw, Catherine Crier, Brett Favre, David Feherty, John Feinstein, Tyler Florence, Jim Gant, Col. David H. Hackworth, Jamie Harrison, Mo Hayder, William Hjortsberg, Stephen Graham Jones, Jon Krakauer, David Leadbetter, Alan Lomax, David Mamet, Troon McAllister, Robert McKee, Matthew Modine, Bill Murray, Joe Namath, John J. Nance, Jack Olsen, Scott Patterson, Steven Pressfield, Matthew Quirk, Anita Raghavan, Ian Rankin, Ruth Rendell, Jerry Rice, Giora Romm, Tim Rosaforte, William Safire, Dava Sobel, Michael Thomas, Nick Tosches, Ann Scott Tyson, Minette Walters, Betty White, Randy Wayne White, Steven White, and Don Winslow among many others. During his years as an editor at the Big Five publishing houses, as an independent publisher, as a literary agent both at a major Hollywood talent agency and as head of Genre Management Inc., and as a bestselling co-writer and ghostwriter, Coyne created a methodology called The Story Grid to teach the editing craft.

    For those readers wanting the "how-tos" of Hollywood, "Teach Yourself Screenwriting "is an easy-to-comprehend yet thorough introduction to this art. Here they will get the basics and advice on how to get their work onto celluloid.. . This book covers the techniques and specialized skills used in writing for this visual medium and answers the practical questions often asked by budding screenwriters..

    A complete screenwriting course, this book features illustrative examples, writing techniques, sage advice from veteran writers, and pertinent writing anecdotes.

    

    Le Guin generously shares the accumulated wisdom of a lifetime's work.

    Immediate Fiction covers the entire process of writing including manuscript preparation, time management, finding an idea, getting words on the page, staying unblocked, and submitting to agents and publishers.With insightful tips and advice, Jerry Cleaver helps writers manage doubts, fears, blocks, and panic all while helping to develop their writing in minutes a day. A practical and accessible resource, this book has everything the aspiring writer needs to write and sell novels, short stories, screenplays, and stage plays.

    Why entrust your memories to hastily taken snapshots--or worse yet, none at all? Let professional photographer (and mom) Me Ra Koh help you capture the moments with 40 beautiful "photo recipes" anyone can do, with any camera. Telling your baby's story in pictures has never been easier!

    I’m about to get really pissed off. Maybe I should just go (in hindsight…even based on what happened next, I’d probably do it all the same!) As is, I hate blind dates! I usually create this “picture perfect” guy in my head and then reality generally walks in! Ohhh god, and reality can be REALLLLLY cruel at times (MOST of the time!!!).Anyway…I’ve just moved back to Seattle to work with my dad at his law firm. We haven’t always had the best relationship…I’m really hoping that this is him reaching out to me. Honestly, blind-dates are the last thing I need right now in my life!I’m about to give up on this night and leave when the most delicious looking specimen of a man comes up to me. I honestly thought I was hallucinating! This guy is ravishing…the type of “stop and stare” guy. Mr. I LITERALLY felt I wanted to get pregnant just by looking at him, says...“Please, tell me I’m the one you’ve been waiting for!” with a naughty smirk on his face.“Are you David Blake?” I ask.“No, but I can be anyone you want me to be.” He smiles, and my head…ohhh god…my head is filled with strong dose of naughty thoughts (a “bit” of an understatement actually!). It’s not my blind-date…and I think to myself (well, I’M TRYING to think!!!) What the hell should I do?I don’t know what the heck happened to me but I stare right into his eyes and say “Tell you what, I’m staying upstairs.” I pause. I could feel his eyes penetrating me. And then I drop the bomb… “Let’s skip the drinks and the preamble, you follow me to my room, and let's have one hell of a one-night stand. You don’t even have to tell me your name.”I couldn’t believe I just said that!He’s shocked. I’m shocked. I don’t normally do this kind of thing. But we do it. Oh, boy…do we do it. We have the most amazing, earth shattering night that I could ever dream of. And THAT was the gift…now comes the SLAP…When the weekend is over and I go in to work on Monday morning. The secretary shows me in to my dad’s office. What the heck is he doing in here? Mr. I LITERALLY felt I wanted to get pregnant just by looking at him turns and smiles.Guess what? My one-night stand is my dad’s billionaire best friend, Jared Hawthorne. He’s my new client. Things are about to get really complicated!Business or Pleasure? is a stand alone romance book with an amazing HEA!

    Outsmarting her father, the earl takes Eugenia to live in his beautiful country estate, Lilac Court. But what does he really want from her? It seems there’s a mystery attached to an emerald necklace, which he wishes her to wear at a London ball. Could Eugenia be the daughter of a powerful duke, but born on the wrong side of the blanket? Her mother refused to tell her. As Brendan, Earl of Trentham, works to bring down a hated foe, he and his sister instruct Eugenia in the ways of the ton. She is beautiful and, despite the cloud over her birth, will be desired by many men. Why doesn’t that prospect make him happy? A Reader's Opinion "The Earl and the Highwayman's Daughter is indeed a Cinderella story with Eugenia as our young beauty and the Earl as her "prince." I was delighted to spend a few hours with the characters while they navigated their way through society's dos and don'ts, all in the name of hope and sweet romance." Books & Benches

    It’s good money, which she could use, and death doesn’t hold a lot of mystery for her.Or so she thinks.Arie isn’t on the job long before discovering she’s been “gifted” with a new psychic talent—the ability to scry. Whether she wants to or not, Arie can read the memories of the dead in their blood.When she is assigned to clean the crime scene of Marissa Mason, the socialite author of the best-selling gold-diggers' bible, Arie finds herself haunted by blood visions day and night, and to her shock discovers an unexpected family connection to the victim. With her brother suffering the unwanted attention of the police as the primary suspect, can Arie face her fear of the blood visions long enough to follow the trail of clues left in the murdered woman's memories and find the real culprit?

    But when her husband dies in a tragic diving accident, that’s just where she finds herself. And now the Shell Shop is in danger, and along with it all of Julia’s precious family memories.Julia and her husband started the shell shop decades ago, before their now-grown children were born—he sold the rare shells he found on diving trips around the world and she got to raise their kids amongst the balmy breezes and waving palm trees. She left him to it—he had his own system and she knew nothing about shells. Her world was cooking, making sandcastles and snuggling with the kids. Their arrangement was perfect, until it wasn’t. Now that John’s gone, the bills are piling up and she can hardly bring herself to open the shop even though tourist season is fast approaching. Her eldest, Dillon, knows a bit about shells but doesn’t seem interested in stepping up to help. He prefers diving and surfing to having a proper job. Her daughter Aubrey is having an identity crisis and has her hands full with Julia’s beloved grandchildren. And the baby of the family, even in her mid-twenties, is struggling to make a go of it in a very difficult profession. With all of this on Julia’s mind, she has to dig deep to figure out a way to keep the shop—and her home—afloat. When a world-famous shell collector expects a rare shell that her husband promised to provide, can the Montgomery family rally and figure out the method to John’s madness and keep the shop in business? Escape into this feel-good beach series. You’ll fall in love with the Montgomery family while you visit the warm sunny beaches of the Florida Keys!