It is intended for those who write humor or have ever wanted to.

    Professor Lynne Murphy is on the linguistic front line. In The Prodigal Tongue she explores the fiction and reality of the special relationship between British and American English. By examining the causes and symptoms of American Verbal Inferiority Complex and its flipside, British Verbal Superiority Complex, Murphy unravels the prejudices, stereotypes and insecurities that shape our attitudes to our own language.With great humo(u)r and new insights, Lynne Murphy looks at the social, political and linguistic forces that have driven American and British English in different directions: how Americans got from centre to center, why British accents are growing away from American ones, and what different things we mean when we say estate, frown, or middle class. Is anyone winning this war of the words? Will Yanks and Brits ever really understand each other?

    Offering history and etymology along with guidance, quips, insults, answers to lingering questions, and much more, How to Swear celebrates the rude ingenuity of using a naughty word to express surprise, excitement, anger, joy, or disgust, limited only by the imagination. It's inspiring. It's educational. It's dirty. It's here to change lives or, at the very least, add some f*#&ing color to the conversation.

    Using charts, examples, and movies, the author breaks these key elements down into understandable components and walks the reader through the process of laying this foundation in his or her own work.Learn what causes sagging middles and how to fix them, which goals are important, which aren’t and why, how to get your characters to do what they need for your plot in a believable manner, and how to use conflict to create a good story. GMC can be used not only in plotting, but in character development, sharpening scenes, pitching ideas to an editor, and evaluating whether an idea will work.Be confident your ideas will work before you write 200 pages.Plan a road map to keep your story on track.Discovery why your scenes aren’t working and what to do about it.Create characters that editors and readers will care about.

    With more than twenty-five years of experience teaching creative writing between them, Anne Bernays and Pamela Painter offer more than seventy-five exercises for both beginners and more experienced writers. These exercises are designed to develop and refine two basic skills: writing like a writer and, just as important, thinking like a writer. They deal with such topics as discovering where to start and end a story; learning when to use dialogue and when to use indirect discourse; transforming real events into fiction; and finding language that both sings and communicates precisely. What If? will be an essential addition to every writer's library, a welcome and much-used companion, a book that gracefully borrows a whisper from the muse.

    Brande believed passionately that although people have varying amounts of talent, anyone can write. It's just a question of finding the "writer's magic"--a degree of which is in us all. She also insists that writing can be both taught and learned. So she is enraged by the pessimistic authors of so many writing books who rejoice in trying to put off the aspiring writer by constantly stressing how difficult it all is.With close reference to the great writers of her day--Wolfe, Forster, Wharton and so on--Brande gives practical but inspirational advice about finding the right time of day to write and being very self disciplined about it--"You have decided to write at four o'clock, and at four o'clock you must write." She's strong on confidence building and there's a lot about cheating your unconscious which will constantly try to stop you writing by coming up with excuses. Then there are exercises to help you get into the right frame of mind and to build up writing stamina. She also shows how to harness the unconscious, how to fall into the "artistic coma," then how to re-emerge and be your own critic.This is Dorothea Brande's legacy to all those who have ever wanted to express their ideas in written form. A sound, practical, inspirational and charming approach to writing, it fulfills on finding "the writer's magic."

    From advertisements to e-mail, from materialism to remote controls, there's a witty answer for every situation. “You have been waiting patiently for a dictionary like this to come along. And now it is here,” recognizes Napoli. “Not that you give a crap.”

    Thompson's legions of fans have waited a decade for this book. They will not be disappointed. His notorious Screwjack is as salacious, unsettling, and brutally lyrical as it has been rumored to be since the private printing in 1991 of three hundred fine collectors' copies and twenty-six leather-bound presentation copies. Only the first of the three pieces included here—"Mescalito," published in Thompson's 1990 collection Songs of the Doomed—has been available to the public, making the trade edition of Screwjack a major publishing event. "We live in a jungle of pending disasters," Thompson warns in "Mescalito," a chronicle of his first mescaline experience and what it sparked in him while he was alone in an L.A. hotel room in February 1969—including a bout of paranoia that would have made most people just scream no, once and for all. But for Thompson, along with the downside came a burst of creativity too powerful to ignore. The result is a poetic, perceptive, and wildly funny stream-of-consciousness take on 1969 America as only Hunter S. Thompson could see it. Screwjack just gets weirder with its second offering, "Death of a Poet." As Thompson describes this trailer-park confrontation with the dark side of a deservingly doomed friend: "Whoops, I thought. Welcome to the night train." The heart of the collection lies in its final, title piece, an unnaturally poignant love story. What makes the romantic tale "Screwjack" so touching, for all its queerness, is the aching melancholy in its depiction of the modern man's burden: that "we are doomed. Mama has gone off to Real Estate School...and after that maybe even to Law School. We will never see her again." Ostensibly written by Raoul Duke, "Screwjack" begins with an editor's note explaining of Thompson's alter ego that "the first few lines contain no warning of the madness and fear and lust that came more and more to plague him and dominate his life...." "I am guilty, Lord," Thompson writes, "but I am also a lover—and I am one of your best people, as you know; and yea tho I have walked in many strange shadows and acted crazy from time to time and even drooled on many High Priests, I have not been an embarrassment to you...." Nor has Hunter S. Thompson been to American literature. Quite the contrary: What the legendary Gonzo journalist proves with Screwjack is just how brilliant a prose stylist he really is, amid all the hilarity. As Thompson puts it in his introduction, the three stories here "build like Bolero to a faster & wilder climax that will drag the reader relentlessly up a hill, & then drop him off a cliff....That is the Desired Effect."

    This handy workbook is ideal for teachers, students in middle school through college, ESL students, homeschoolers, and professionals. Valuable for anyone who takes tests or writes reports, letters, Web pages, e-mails, or blogs, The Blue Book offers instant answers to everyday English usage questions.

    The expressions “U” (Upper Class) and “Non-U” (non-Upper Class) came to prominence in this article, which sold out the edition of the magazine immediately after publication. The article caused a great deal of light-hearted controversy. The book was published one year later. There is sharp disagreement among the U's who have contributed to this book.Considered one of the most gifted comic writers of her time, Nancy Mitford said she wrote the article about her peers “In order to demonstrate the upper middle class does not merge imperceptibly into the middle class”. She said differences of speech distinguish the members of one social class in England from another. Unabashedly snobbish and devastatingly witty, Miss Mitford achieved enormous success and popularity as one of Britain's most piercing observers of social manners... Indeed, one of Miss Mitford's pet concerns entered the history of obscure literary debates when, in 1955, she published perhaps her most famous essay on upper-class and non-upper- class forms of speech. The essay sparked such a controversy in Britain, with responses from many major literary figures, that Miss Mitford was compelled a year later to bring out a thin book, "Noblesse Oblige," with her disquisition on the subject as its centerpiece. Her argument, a set-piece even today among literary parlor games, was that the more elegant euphemism used for any word is usually the non-upperclass thing to say--or, in Miss Mitford's words, simply non-U.

    How To is a guide to the third kind of approach. It's full of highly impractical advice for everything from landing a plane to digging a hole.Bestselling author and cartoonist Randall Munroe explains how to predict the weather by analyzing the pixels of your Facebook photos. He teaches you how to tell if you're a baby boomer or a 90's kid by measuring the radioactivity of your teeth. He offers tips for taking a selfie with a telescope, crossing a river by boiling it, and powering your house by destroying the fabric of space-time. And if you want to get rid of the book once you're done with it, he walks you through your options for proper disposal, including dissolving it in the ocean, converting it to a vapor, using tectonic plates to subduct it into the Earth's mantle, or launching it into the Sun.By exploring the most complicated ways to do simple tasks, Munroe doesn't just make things difficult for himself and his readers. As he did so brilliantly in What If?, Munroe invites us to explore the most absurd reaches of the possible. Full of clever infographics and amusing illustrations, How To is a delightfully mind-bending way to better understand the science and technology underlying the things we do every day.

    A hilarious and cutting critique of what not to do, this deliciously wicked essay also lays out what writers should and must do if they wanttheir fiction to live and breathe--as Twain's own fiction always does. In How to Tell a Story, the title piece, Twain takes on such mysteries as the perfectly-timed pause and the uses of the dead-pan mask, and candidly describes his own efforts to hone his platform skills. In What Paul BourgetThinks of Us, Twain lays out a job description for the native novelist that is as fresh and accurate today as when Twain first wrote it. Anyone who cares about storytelling or writing will find Twain's sage suggestions in this volume compelling and engaging.

    Schottenfreude is a unique, must-have dictionary, complete with newly coined words that explore the idiosyncrasies of life as only the German language can. In what other language but German could you construct le mot juste for a secret love of bad foods, the inability to remember jokes, Sunday-afternoon depression, the urge to yawn, the glee of gossip, reassuring your hairdresser, delight at the changing of the seasons, the urge to hoard, or the ineffable pleasure of a cold pillow? A beguiling, ideal gift book for the Gelehrte or anyone on your list—just beware of rapidly expanding (and potentially incomprehensible) vocabularies.

    Born from the ideas and research in her much-loved Teaching Grammar in Context, and benefiting from the creativity of her colleague Jonathan Bush, this new resource goes even further to bring the best research, theory, and practices into the classroom. Grammar to Enrich and Enhance Writing is three helpful books in one. In the first part, Weaver outlines the latest theories, research, and principles that underlie high-quality grammar instruction for writing. She demonstrates that specific, effective grammar-teaching practices: address all of the 6 Traits of writing instructionemphasize depth, not breadthshould be positive, productive, and practical-not stodgy, correct, and limitingmust be incorporated throughout the writing process, not broken out in isolated units.In part two, Weaver links theory and practice. Her explicit, classroom-proven teaching ideas, strategies, and lessons address key subjects as diverse as helping students make better stylistic use of modifiers, incorporating grammar into revision, and mapping grammar instruction to the curriculum. Mostly in part three, she invites members of the field into a discussion of high-quality grammar instruction. Jeff Anderson (Mechanically Inclined)Rebecca Wheeler (Code-Switching), and other practicing teachers describe their teaching-how they model the vital role grammar plays in guiding students through the editing process, how they respond to student errors, how they help English Language Learners edit for conventional English, and how grammar supports code-switching among speakers of African American English. Like Weaver's, their ideas are ready for immediate classroom implementation. With all this, plus a brief primer on crucial grammatical concepts, Grammar to Enrich and Enhance Writing is what teachers have been waiting for: an up-to-date, ready-to-use, comprehensive resource for leading students to a better understanding of grammar as an aid to more purposeful, detailed, and sophisticated writing. To request this title as a Desk/Exam copy, click here.

    Club has run an extraordinary array of interviews with venerable directors, creators, writers, actors, and musicians who articulately and often controversially expound upon their unique careers. Having its content paired with The Onion's humor allows the A.V. Club to focus its attention away from boring starlets and flashes in the pan. Instead, they interview the story-tellers, with an emphasis on the bitter, jilted cranks who've been in the business long enough to not mince words about their experiences.Mixing the in-depth style of NPR or Rolling Stone with its own unconventional subject matter, this collection weaves high and low culture with equal appreciation and understanding. Included in the book are interviews with Robert Altman, Chuck Jones, Berkeley Breathed, Pam Grier, Merle Haggard, William H. Macy, Russ Meyer, Mr. T, Gene Simmons, Joss Whedon, and dozens more. The Onion A.V. Club's friend and resident pundit, "Weird Al" Yankovic, provides commentary on select pieces.