It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does in the age of e-mail and the Internet. Whether you want to write about people or places, science and technology, business, sports, the arts or about yourself in the increasingly popular memoir genre, On Writing Well offers you fundamental priciples as well as the insights of a distinguished writer and teacher. With more than a million copies sold, this volume has stood the test of time and remains a valuable resource for writers and would-be writers.

    Writing is hard work and can be difficult to wedge into a frenetic academic schedule.This revised and updated edition of Paul Silvia's popular guide provides practical, light-hearted advice to help academics overcome common barriers and become productive writers. Silvia's expert tips have been updated to apply to a wide variety of disciplines, and this edition has a new chapter devoted to grant and fellowship writing.

    The story begins in 1973, in the offices of The Atlantic Monthly, in Boston, where a young freelance writer named Tracy Kidder came looking for an assignment. Richard Todd was the editor who encouraged him. From that article grew a lifelong association. Before long, Kidder’s The Soul of a New Machine, the first book the two worked on together, had won the Pulitzer Prize. It was a heady moment, but for Kidder and Todd it was only the beginning of an education in the art of nonfiction.Good Prose explores three major nonfiction forms: narratives, essays, and memoirs. Kidder and Todd draw candidly, sometimes comically, on their own experience—their mistakes as well as accomplishments—to demonstrate the pragmatic ways in which creative problems get solved. They also turn to the works of a wide range of writers, novelists as well as nonfiction writers, for models and instruction. They talk about narrative strategies (and about how to find a story, sometimes in surprising places), about the ethical challenges of nonfiction, and about the realities of making a living as a writer. They offer some tart and emphatic opinions on the current state of language. And they take a clear stand against playing loose with the facts. Their advice is always grounded in the practical world of writing and publishing.Good Prose—like Strunk and White’s The Elements of Style—is a succinct, authoritative, and entertaining arbiter of standards in contemporary writing, offering guidance for the professional writer and the beginner alike. This wise and useful book is the perfect companion for anyone who loves to read good books and longs to write one.

    are being deprived of the basic knowledge that would enable them to function in contemporary society. Includes 5,000 essential facts to know.

    Its nine chapters provide principles and strategies for working with diverse writers and assignments in a variety of contexts: college or high school, online or face-to-face, in the writing center and beyond. Visit the companion Web site for The Bedford Handbook, Eighth Edition (hackerhandbooks.com/bedhandbook) to find additional tools for tutors and writers including handouts on common writing, grammar, and punctuation problems; documentation help; links to tutoring resources; and an annotated bibliography.

    Using a wealth of examples, from ancient myths and folk tales via the plays and novels of great literature to the popular movies and TV soap operas of today, it shows that there are seven archetypal themes which recur throughout every kind of storytelling. But this is only the prelude to an investigation into how and why we are 'programmed' to imagine stories in these ways, and how they relate to the inmost patterns of human psychology. Drawing on a vast array of examples, from Proust to detective stories, from the Marquis de Sade to E.T., Christopher Booker then leads us through the extraordinary changes in the nature of storytelling over the past 200 years, and why so many stories have 'lost the plot' by losing touch with their underlying archetypal purpose. Booker analyses why evolution has given us the need to tell stories and illustrates how storytelling has provided a uniquely revealing mirror to mankind's psychological development over the past 5000 years.This seminal book opens up in an entirely new way our understanding of the real purpose storytelling plays in our lives, and will be a talking point for years to come.

    Known for its clear presentation of the formal elements of literature and literary analysis, this compact anthology effectively balances classic, modern, and contemporary works across the three major genres, blending well-known writers with a diverse gathering of newer, international figures. This literary breadth is supplemented by extensive coverage of writing about literature, making this book an excellent text for introduction to literature courses as well as literature-based composition courses.

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    This book is mainly an attempt to be precise about the types of difficulties to be found in basic writing papers and beyond that, to demonstrate how the sources of those difficulties can be explained without recourse to such empty terms as 'handicapped' or 'disadvantaged.' This book is divided into sections of difficulty such as, handwriting and punctuation, syntax, common errors, spelling, vocabulary, and beyond the sentence.

    In his novels and stories, in letters to editors, friends, fellow artists, and critics, in interviews and in commissioned articles on the subject, Hemingway wrote often about writing. And he wrote as well and as incisively about the subject as any writer who ever lived…This book contains Hemingway’s reflections on the nature of the writer and on elements of the writer’s life, including specific and helpful advice to writers on the craft of writing, work habits, and discipline. The Hemingway personality comes through in general wisdom, wit, humor, and insight, and in his insistence on the integrity of the writer and of the profession itself.—From the Preface by Larry W. Phillips

    One of the world's most respected classical scholars offers translations of the complete texts of "The Republic, Apology of Socrates, " "Crito, " "Phaedo, " "Ion, " "Meno, " and "Symposium."

    Effectively combining their knowledge as practicing journalists and experienced instructors, The Missouri Group teaches students the reporting and writing skills they need to become effective journalists. This edition includes new coverage of online journalism, public relations writing, and the many uses of new technology in the classroom and at work.

    In THE ART OF X-RAY READING, Clark invites you to don your X-ray reading glasses and join him on a guided tour through some of the most exquisite and masterful literary works of all time, from The Great Gatsby to Lolita to The Bluest Eye, and many more. Along the way, he shows you how to mine these masterpieces for invaluable writing strategies that you can add to your arsenal and apply in your own writing. Once you've experienced X-ray reading, your writing will never be the same again.

    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.

    Ross invented the entertainment profile. She was the first person to write journalism in “scenes” as novelists do, and her profiles are full of humor and details that bring her subjects alive on the page. Her style has been studied and imitated by numerous writers. But there is only one Lillian Ross: spirited, funny, factual, and unforgettable. Reporting Always collects a wide range of Lillian Ross’s New Yorker articles and “Talk of the Town” pieces spanning sixty years, bringing readers into Robin Williams’s living room; Harry Winston’s office; the afterschool hangouts of Manhattan private-school children; the hotel rooms of Ernest Hemingway, John Huston, and Charlie Chaplin; onto the tennis court with John McEnroe; and into the lives of many other famous and not-so-famous characters. Ross’s portraits are filled with rich details that reveal her subjects in amusing and perceptive ways. A foreword by David Remnick discusses Ross’s trademark style and her important place in the history of The New Yorker.