200,000 copies of the Smashwords Style Guide have downloaded!This guide offers simple step-by-step instructions to create and format an ebook using Microsoft Word.The Smashwords Style Guide is required reading for any author who wants to distribute their book via Smashwords to major ebook retailers such as the Apple iBookstore, Barnes & Noble, Sony, Kobo and Diesel. Authors and publishers who don't yet use Smashwords can still benefit from the Guide. It provides detailed information on how ebook formatting is different from print formatting, how to create a reflowable ebook, and it offers step by step illustrated instructions on how to tame the beast of Microsoft Word.INSIDE THE SMASHWORDS STYLE GUIDEGETTING STARTEDWelcome to Smashwords!Do-it-yourself, or hire help?Good formatting examplesWhat Smashwords publishes, what we don’t publishFive common formatting mistakes to avoidHow Smashwords publishes booksHow Smashwords distributes booksHow ebook formatting is different from print formattingHow we convert your book into multiple ebook formatsThe three secrets to ebook formattingHow to avoid (and fix) AutoVetter errorsIntroduction to Meatgrinder conversion systemYour required source fileUnderstanding the different ebook formatsFREQUENTLY ASKED QUESTIONSFORMATTINGPre-PrepMaking Word BehaveStep 1: Make a back upStep 2: Activate Word’s Show/HideStep 3: Turn off Word’s “AutoCorrect” and “AutoFormat” featuresStep 4: Eliminate text boxesStep 5: The Nuclear MethodFormattingStep 6: Unify Manuscript around Normal paragraph styleStep 7: Managing and modifying paragraph styles, fontsStep 7a. How to choose the best paragraph separation method (first line indent or block?)Step 7b: How to implement your chosen paragraph separation methodStep 7b-a: How to define a proper first line indentStep 7b-b: How to define trailing “after” space for block paragraphsStep 7b-c: Special tips for poetry, cookbooks and learning materialsStep 7b-d: How to define proper line spacingStep 8: Check your normalized textStep 9: Why you should never use tabs or the space bar for indentsStep 10: Managing paragraph returnsStep 11: Managing hyperlinksStep 12: Designating chapter breaks, page breaks, section breaksStep 13: Working with imagesStep 14: Text justificationStep 14a: Centering textStep 15: Managing font sizesStep 16: Style formatting, symbols and glyphsStep 17: Headers and footersStep 18: Margins, page sizes and indentsStep 19: Add the Heading style to your Chapter headers (optional)Building NavigationStep 20: Building navigation into the manuscriptStep 20a: Creating the NCXStep 20b: Creating the linked Table of ContentsStep 20c: Advanced link building (Footnotes, Endnotes)Step 20d: Troubleshooting and testingFront MatterStep 21: Front matterStep 21a: Blurbs (optional)Step 21b: Title and copyright page (required!)Step 21c: Add a Smashwords license statement below copyright pageThe End of Your BookStep 22: The end of your bookPOST-FORMATTINGStep 23: Preparing your cover imageStep 24: Review requirements for Premium

    From the origins and evolution of the romance novel to establishing a vital story framework to writing that last line to seeking out appropriate publishers, everything you ever wanted to know about writing a romance novel is here.In addition to a comprehensive breakdown of more than thirty romance subgenres, including such categories as historical, inspirational, Regency, and sweet traditional, you'll discover how to:Steer clear of cliches and stereotypes by studying the genreCraft engaging and realistic heroes and heroines readers will adoreConvincingly develop the central couple's blossoming relationshipAdd conflict by utilizing essential secondary characters like the "other woman"Use tension and timing to make your love scenes sizzle with sensualityGet your characters to happily-ever-after with an ending readers will always rememberlus, read a sample query letter, cover letter, and synopsis, and learn how to properly prepare you romance novel for submission to agents and editors. On Writing Romance has everything you need to leave readers swooning!

    Allowing you to combine the various elements that make up your writing project, from outlines to research to note, Scrivener helped author Nicole Dionisio write two novels in a single year. Our manual outlines how to use Scrivener to make your writing better, and is useful for writers of all stripes – which includes you. It is 48 hours before your dissertation is due and, despite the chaos, you are trying to complete the final edits, because it’s the only choice you have.There is one problem — and it isn’t the pile of unclean dishes housing sea-green mold and chatty-vermin that has become your sink — it is your computer and it is time. You should be going faster then this, you put your blood-shot pounding head in your hands and groan, “Why am I going so slow? This computer is brand new... what is the problem?”It isn’t your computer’s specs. It is your writing process. It is because you have not yet started using Scrivener.It is opening up a new webpage or PDF every 15 minutes to fact-check research. It is switching back and forth be- tween this research, your outline, your bibliography, and your draft. It is waiting for your files to load, bouncing be- tween them, and getting lost in the quantity of windows on your computer screen or document.Scrivener has two key features: it loads all documents at once and it has many visual organizational tools. Scrivener has optimum productivity, thus it gives writers more time to actually write and accomplish their goals.This manual outlines: -Planning your manuscript-Importing existing documents into Scrivener-Collecting your notes-Organizing files and documents within Scrivener-Keeping track of your characters for fiction writing-Bringing it all together and writing your manuscript-The editing process, including sharing with beta readers.-Publishing your masterpiece online

    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.

    Grammar Girl, is determined to wipe out bad grammar—but she's also determined to make the process as painless as possible. A couple of years ago, she created a weekly podcast to tackle some of the most common mistakes people make while communicating. The podcasts have now been downloaded more than twenty million times, and Mignon has dispensed grammar tips on Oprah and appeared on the pages of The New York Times, The Wall Street Journal, and USA Today.Written with the wit, warmth, and accessibility that the podcasts are known for, Grammar Girl's Quick and Dirty Tips for Better Writing covers the grammar rules and word-choice guidelines that can confound even the best writers. From "between vs. among" and "although vs. while" to comma splices and misplaced modifiers, Mignon offers memory tricks and clear explanations that will help readers recall and apply those troublesome grammar rules. Chock-full of tips on style, business writing, and effective e-mailing, Grammar Girl's print debut deserves a spot on every communicator's desk.

    This Live Wire Writer Guide presents a simple, effective technique to sharpen your hook, charge your scenes, and amplify your voice whether you're a beginner or an expert.Most writing manuals skirt craft questions with gimmicks and quick fixes rather than plugging directly into your story's power source. Energize your fiction and boost your career with a new characterization method that jumpstarts drafting, crafting, revision, and pitching.  skill-builders to intensify language, stakes, and emotion for your readers.  battle-tested solutions for common traps, crutches, and habits.  a dynamic story-planning strategy effective for plotters and pantsers.  ample examples and exercises to help you upgrade fiction in any genre.  Blast past overused tics and types with storycraft that busts your ruts and awes your audience. Whether you like to wing it or bring it, Verbalize offers a fresh set of user-friendly, language-based tools to populate your pages and lay the foundations of unforgettable genre fiction.

    Your villain is.Are you fed up of drowning in two-dimensional villains? Frustrated with creating clichés? And failing to get your reader to root for your villain?In 13 Steps to Evil, you’ll discover: • How to develop a villain’s mindset• A step-by-step guide to creating your villain from the ground up• Why getting to the core of a villain’s personality is essential to make them credible • What pitfalls and clichés to avoid as well as the tropes your story needsFinally, there is a comprehensive writing guide to help you create superbad villains. Whether you’re just starting out or are a seasoned writer, this book will help power up your bad guy and give them that extra edge.These lessons will help you master and control your villainous minions, navigate and gain the perfect balance of good and evil, as well as strengthening your villain to give your story the tension and punch it needs.

    Christine Amsden ~ "My Million Words of Crap" Darrell Bain ~ "The Story Behind The Pet Plague" Mayra Calvani ~ "Tips on Writing Your First Novel" Lee Denning ~ "Two Beginnings" Ginger Hanson ~ "Ten Lessons I Learned..." Toby Fesler Heathcotte ~ "The Manuscript from a Mystifying Source" Darby Karchut ~ "Wings" Linda Langwith ~ "The Serendipity Factor" Stephanie Osborn ~ "How a Rocket Scientist Becomes a Writer" Plus articles from Bob Boan, D Jason Cooper, Susan Goldsmith, Aaron Paul Lazar, Celia A. Leaman, Beverly Stowe McClure, Gerald Mills, Erica Miner, Bob Rich, Dorothy Skarles and Dan Starr.

    Throughout, the emphasis is on promoting a plain English style. This little book can help you communicate more effectively by showing you how to enliven your sentences.

    The guide also includes a section on child personality types.

    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.

    This is a guide for the heart as much as the head. And because I promised myself that I wouldn't write a book about how I made a gazillion dollars publishing ebooks, I would write about the fear: owning it, overcoming it, facing it. From a person who didn't pursue a creative life for a long time, and then discovered creativity can set you free.Note: gazillion is a technical term, which in this case means something less than a million and more than the average income in my state.Susan Kaye Quinn is the author of the bestselling Mindajck Trilogy and Debt Collector serial, and has been indie publishing since 2011. She’s not an indie rockstar or a breakout success: she’s one of thousands of solidly midlist indie authors making a living with their works. This book is a compilation of her four years of blogging through changes in the publishing industry—updated, revised, and supplemented to be relevant in 2013. It’s a guide to help her fellow writer-friends take their own leaps into the wild (and wonderful) world of indie publishing... and not only survive, but thrive.

    Offers advice for would-be science fiction writers, covering such topics as setting, plot, character, and dialogue, as well as the mechanics of grammar, tense, sentence structure, and paragraph transition.

     The traditional writing workshop was established with white male writers in mind; what we call craft is informed by their cultural values. In this bold and original examination of elements of writing—including plot, character, conflict, structure, and believability—and aspects of workshop—including the silenced writer and the imagined reader—Matthew Salesses asks questions to invigorate these familiar concepts. He upends Western notions of how a story must progress. How can we rethink craft, and the teaching of it, to better reach writers with diverse backgrounds? How can we invite diverse storytelling traditions into literary spaces?Drawing from examples including One Thousand and One Nights, Curious George, Ursula K. Le Guin's A Wizard of Earthsea, and the Asian American classic No-No Boy, Salesses asks us to reimagine craft and the workshop. In the pages of exercises included here, teachers will find suggestions for building syllabi, grading, and introducing new methods to the classroom; students will find revision and editing guidance, as well as a new lens for reading their work. Salesses shows that we need to interrogate the lack of diversity at the core of published fiction: how we teach and write it. After all, as he reminds us, "When we write fiction, we write the world."

    It includes: how to test your premise, some easy steps to develop your character and define your story question from that character, how to hit your major plot points, and how to write a scene outline. Concise, clear, and action-oriented, this book is all about plotting, simplified.