In a story or a novel the "I" who tells this tale can be, and often is, an unreliable narrator but in nonfiction the reader must always be persuaded that the narrator is speaking truth.How does one pull from one's own boring, agitated self the truth-speaker who will tell the story a personal narrative needs to tell? That is the question The Situation and the Story asks--and answers. Taking us on a reading tour of some of the best memoirs and essays of the past hundred years, Gornick traces the changing idea of self that has dominated the century, and demonstrates the enduring truth-speaker to be found in the work of writers as diverse as Edmund Gosse, Joan Didion, Oscar Wilde, James Baldwin, or Marguerite Duras.This book, which grew out of fifteen years teaching in MFA programs, is itself a model of the lucid intelligence that has made Gornick one of our most admired writers of nonfiction. In it, she teaches us to write by teaching us how to read: how to recognize truth when we hear it in the writing of others and in our own.

    Some of the best advice available on how to create character, use description, create a setting and plot a short story.

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

    A moving account of Dillard’s own experiences while writing her works, The Writing Life offers deep insight into one of the most mysterious professions.

    In On Writing and Worldbuilding, we will discuss specific and applicable ideas to consider, from effective methods of delivering exposition and foreshadowing, to how communication, commerce, and control play into the fall of an empire.

    Rethinking the usage guide for the twenty-first century, Pinker doesn’t carp about the decline of language or recycle pet peeves from the rulebooks of a century ago. Instead, he applies insights from the sciences of language and mind to the challenge of crafting clear, coherent, and stylish prose. In this short, cheerful, and eminently practical book, Pinker shows how writing depends on imagination, empathy, coherence, grammatical knowhow, and an ability to savor and reverse engineer the good prose of others. He replaces dogma about usage with reason and evidence, allowing writers and editors to apply the guidelines judiciously, rather than robotically, being mindful of what they are designed to accomplish. Filled with examples of great and gruesome prose, Pinker shows us how the art of writing can be a form of pleasurable mastery and a fascinating intellectual topic in its own right.

    A series of lessons on writing and creating non-fiction

    She said she had two rules she followed absolutely: to tell the truth, and not to do anything she didn't want to do. Her integrity shines throughout If You Want to Write, her best-selling classic on the process of writing that has already inspired thousands to find their own creative center. Carl Sandburg called this book "The best book ever written about how to write." Yet Ueland reminds us that "Whenever I say 'writing' in this book, I also mean anything that you love and want to do or to make." Ueland's writing and her teaching are made compelling by her feisty spirit of independence and joy.

    Now with the strongest coverage of research writing in a full-sized handbook, the seventh edition helps students meet one of the core challenges of academic writing: maintaining their own voice while writing from sources. This edition also adds innovative tips from writing center tutors, sound advice for writing across the curriculum, and substantially more help for writing with and writing about visuals.

    So whether you write novels, short stories, or scripts, you'll benefit from all the different purposes and techniques of dialogue writing the author illustrates in these very pages.

    But a poorly done or unbelievable fight scene can ruin a great book in an instant.In Fight Write you'll learn practical tips, terminology, and the science behind crafting realistic fight scenes for your fiction. Broken up into "Rounds," trained fighter and writer Carla Hoch guides you through the many factors you'll need to consider when developing battles and brawls.- In Round 1, you will consider how the Who, When, Where, and Why questions affect what type of fight scene you want to craft. - Round 2 delves into the human factors of biology (think fight or flight and adrenaline) and psychology (aggression and response to injuring or killing another person). - Round 3 explores different fighting styles that are appropriate for different situations: What really happens in fights on the street? What is the vocabulary used to describe these styles? - Round 4 considers weaponry and will guide you to select the best weapon for your characters, including nontraditional weapons of opportunity, while also thinking about the nitty-gritty details of using them. - In Round 5, you'll learn how to accurately describe realistic injuries sustained from the fights and certain weapons, and what kind of injuries will kill a character or render them unable to fight further.By taking into account where your character is in the world, when in history the fight is happening, what the character's motivation for fighting is, and much more, you'll be able write fight scenes unique to your plot and characters, all while satisfying your reader's discerning eye.

    This is a key to raising your work from just being a commercial book or movie to becoming a bestseller.Dave has trained authors in conjunction with his role as coordinating judge of the L. Ron Hubbard Writers of the Future Program, as a creative writing instructor at Brigham Young University, and he has honed his skills in dozens of writing seminars and classes.In this eBook, Dave teaches new writers the basics of how to analyze an audience, and outline, draft, and polish a novel.The secrets found in his unconventional approach will help you understand why so many of his authors go on to prominence.

    Using an array of examples from Melville and Dostoyevsky to contemporary writers Paula Fox, Edward P. Jones, and Lorrie Moore, Baxter explains how fiction writers create those visible and invisible details, how what is displayed evokes what is not displayed.The Art of Subtext is part of The Art of series, a new line of books by important authors on the craft of writing, edited by Charles Baxter. Each book examines a singular, but often assumed or neglected, issue facing the contemporary writer of fiction, nonfiction, or poetry. The Art of series means to restore the art of criticism while illuminating the art of writing.

    

    An elegant creative writing guide, it’s also a goldmine for anyone hoping for insight into The Talented Mr Ripley – and its author."- The Guardian.