In You Are a Writer, Jeff Goins shares his own story of self-doubt and what it took for him to become a professional writer and best-selling author—and the principles he’s learned from seeing many others do the same. He gives you practical steps to improve your writing, get published, and build a platform that puts you in charge. This book is about what it takes to be a writer in the 21st Century. You will learn the importance of passion and discipline and how to show up every day to do the work. You Are a Writer will help you fall back in love with writing and build an audience who shares your love. It’s about living the dream of a life dedicated to words.

    How can recklessness guide the poet, the artist, and the reader into art, and how can it excite in us a sort of wild receptivity, beyond craft? "Poetry is not a discipline," Young writes. "It is a hunger, a revolt, a drive, a mash note, a fright, a tantrum, a grief, a hoax, a debacle, an application, an affect . . ."

    The art of fiction is considered under a wide range of headings, such as the Intrusive Author, Suspense, the Epistolary Novel, Time-shift, Magic Realism and Symbolism, and each topic is illustrated by a passage or two taken from classic or modern fiction. Drawing on writers as diverse as Henry James and Martin Amis, Jane Austen and Fay Weldon and Henry Fielding and James Joyce, David Lodge makes accesible to the general reader the richness and variety of British and American fiction. Technical terms, such as Interior Monologue, Metafiction, Intertextuality and the Unreliable Narrator, are lucidly explained and their applications demonstrated.Bringing to criticism the verve and humour of his own novels, David Lodge has provided essential reading for students of literature, aspiring writers, and anyone who wishes to understand how literature works.Beginning (Jane Austen, Ford Madox Ford) --The intrusive author (George Eliot, E.M. Forster) --Suspense (Thomas Hardy) --Teenage Skaz (J.D. Salinger) --The epistolary novel (Michael Frayn) --Point of view (Henry James) --Mystery (Rudyard Kipling) --Names (David Lodge, Paul Auster) --The stream of consciousness (Virginia Woolf) --Interior monologue (James Joyce) --Defamiliarization (Charlotte Bronte) --The sense of place (Martin Amis) --Lists (F. Scott Fitzgerald) --Introducing a character (Christopher Isherwood) --Surprise (William Makepeace Thackeray) --Time-shift (Muriel Spark) --The reader in the text (Laurence Sterne) --Weather (Jane Austen, Charles Dickens) --Repetition (Ernest Hemingway) --Fancy prose (Vladimir Nabokov) --Intertextuality (Joseph Conrad) --The experimental novel (Henry Green) --The comic novel (Kingsley Amis) --Magic realism (Milan Kundera) --Staying on the surface (Malcolm Bradbury) --Showing and telling (Henry Fielding) --Telling in different voices (Fay Weldon) --A sense of the past (John Fowles). Imagining the future (George Orwell) --Symbolism (D.H. Lawrence) --Allegory (Samuel Butler) --Epiphany (John Updike) --Coincidence (Henry James) --The unreliable narrator (Kazuo Ishiguro) --The exotic (Graham Greene) --Chapters etc. (Tobias Smollett, Laurence Sterne, Sil Walter Scott, George Eliot, James Joyce) --The telephone (Evelyn Waugh) --Surrealism (Leonora Carringotn) --Irony (Arnold Bennett) --Motivation (George Eliot) --Duration (Donald Barthelme) --Implication (William Cooper) --The title (George Gissing) --Ideas (Anthony Burgess) --The non-fiction novel (Thomas Carlyle) --Metafiction (John Barth) --The uncanny (Edgar Allen Poe) --Narrative structure (Leonard Michaels) --Aporia (Samuel Beckett) --Ending (Jane Austen, William Golding)

    Have hope and keep at it! Designed to kick-start creativity, this handsome handbook from the executive director of National Novel Writing Month (NaNoWriMo) gathers a wide range of insights and advice for writers at any stage of their career. From tips about how to finally start that story to helpful ideas about what to do when the words just aren't quite coming out right, Pep Talks for Writers provides motivation, encouragement, and helpful exercises for writers of all stripes.

    But incorporating historical events and figures into a shapely narrative is no simple task. The acclaimed novelist Christopher Bram examines how writers as disparate as Gabriel García Márquez, David McCullough, Toni Morrison, Leo Tolstoy, and many others have employed history in their work.Unique among the "Art Of" series, The Art of History engages with both fiction and narrative nonfiction to reveal varied strategies of incorporating and dramatizing historical detail. Bram challenges popular notions about historical narratives as he examines both successful and flawed passages to illustrate how authors from different genres treat subjects that loom large in American history, such as slavery and the Civil War. And he delves deep into the reasons why War and Peace endures as a classic of historical fiction. Bram's keen insight and close reading of a wide array of authors make The Art of History an essential volume for any lover of historical narrative.

    This new and expanded third edition continues to offer students and readers the best one-volume introduction to the field.The bewildering variety of approaches, theorists and technical language is lucidly and expertly unraveled. Unlike many books which assume certain positions about the critics and the theories they represent, Peter Barry allows readers to develop their own ideas once first principles and concepts have been grasped.

    These tales gain their power through plots that connect with the audience on both an emotional and intellectual level.Inside, Ronald B. Tobias details these 20 time-tested plots. Each is discussed and analyzed, illustrating how a successful plot integrates all the elements of a story. Tobias then shows you how to use these plots effectively in your own work.Tobias then goes to the next level, showing you how to choose and develop plot in fiction. He shows you how to craft plot for any subject matter, so that you develop your work evenly and effectively. As a result, your fiction will be more cohesive and convincing, making your story unforgettable for readers everywhere.

    Gilbert offers insights into the mysterious nature of inspiration. She asks us to embrace our curiosity and let go of needless suffering. She shows us how to tackle what we most love, and how to face down what we most fear. She discusses the attitudes, approaches, and habits we need in order to live our most creative lives. Balancing between soulful spirituality and cheerful pragmatism, Gilbert encourages us to uncover the “strange jewels” that are hidden within each of us. Whether we are looking to write a book, make art, find new ways to address challenges in our work, embark on a dream long deferred, or simply infuse our everyday lives with more mindfulness and passion, Big Magic cracks open a world of wonder and joy.

    Her exuberant, critically acclaimed teaching guide takes instructors, writers, and general readers into the very heart and intensity of life and the craft of expressing what one feels through the written word.

    The stories she loves most follow other organic patterns found in nature―spirals, meanders, and explosions, among others. Alison’s manifesto for new modes of narrative will appeal to serious readers and writers alike. As Jane Alison writes in the introduction to her insightful and appealing book about the craft of writing: “For centuries there’s been one path through fiction we’re most likely to travel―one we’re actually told to follow―and that’s the dramatic arc: a situation arises, grows tense, reaches a peak, subsides. . . . But: something that swells and tautens until climax, then collapses? Bit masculo-sexual, no? So many other patterns run through nature, tracing other deep motions in life. Why not draw on them, too?”W. G. Sebald’s The Emigrants was the first novel to show Alison how forward momentum can be created by way of pattern, rather than the traditional arc―or, in nature, wave. Other writers of nonlinear prose considered in her “museum of specimens” include Nicholson Baker, Anne Carson, Marguerite Duras, Jamaica Kincaid, Clarice Lispector, Gabriel García Márquez, Susan Minot, David Mitchell, Caryl Phillips, and Mary Robison.Meander, Spiral, Explode is a singular and brilliant elucidation of literary strategies that also brings high spirits and wit to its original conclusions. It is a liberating manifesto that says, Let’s leave the outdated modes behind and, in thinking of new modes, bring feeling back to experimentation. It will appeal to serious readers and writers alike.

    It’s the harmful debris of your education—a mixture of half-truths, myths, and false assumptions that prevents you from writing well. Drawing on years of experience as a writer and teacher of writing, Verlyn Klinkenborg offers an approach to writing that will change the way you work and think. There is no gospel, no orthodoxy, no dogma in this book. What you’ll find here isn’t the way to write. Instead, you’ll find a way to clear your mind of illusions about writing and discover how you write. Several Short Sentences About Writing is a book of first steps and experiments. They will revolutionize the way you think and perceive, and they will change forever the sense of your own authority as a writer. This is a book full of learning, but it’s also a book full of unlearning—a way to recover the vivid, rhythmic, poetic sense of language you once possessed. An indispensable and unique book that will give you a clear understanding of how to think about what you do when you write and how to improve the quality of your writing.

    Employing examples of world literature from ancient times to the present, he provides a conceptual framework for the examination of literature. In four brilliant essays on historical, ethical, archetypical, and rhetorical criticism, he applies "scientific" method in an effort to change the character of criticism from the casual to the causal, from the random and intuitive to the systematic.Harold Bloom contributes a fascinating and highly personal preface that examines Frye's mode of criticism and thought (as opposed to Frye's criticism itself) as being indispensable in the modern literary world.

    5,000 Words Per Hour also has a companion app available for iPhone, iPad and iPod touch! The fastest way to succeed as an author is to write more books. How do you do that with a day job, family, school or all your other time commitments? The secret is efficiency. 5K WPH will help you maximize your writing time by building effective habits that both measure and increase your writing speed. - Create an effective writing habit - Track and improve your Words Per Hour - Stop the endless editing and tinkering so you can finish your draft - Use voice dictation software to dramatically increase words per hour. It’s time to shift your writing into high gear.

    With elegance, humor, and sophistication, Gardner describes the life of a working novelist; warns what needs to be guarded against, both from within the writer and from without; and predicts what the writer can reasonably expect and what, in general, he or she cannot. "For a certain kind of person," Gardner writes, "nothing is more joyful or satisfying than the life of a novelist." But no other vocation, he is quick to add, is so fraught with professional and spiritual difficulties. Whether discussing the supposed value of writer's workshops, explaining the role of the novelist's agent and editor, or railing against the seductive fruits of literary elitism, On Becoming a Novelist is an indispensable, life-affirming handbook for anyone authentically called to the profession. "A miraculously detailed account of the creative process."—Anne Tyler, Baltimore Sun

    Use them to pry, chip, yank and sift good characters out of the place where they live in your memory, your imagination and your soul.Award-winning author Orson Scott Card explains in depth the techniques of inventing, developing and presenting characters, plus handling viewpoint in novels and short stories. With specific examples, he spells out your narrative options–the choices you'll make in creating fictional people so "real" that readers will feel they know them like members of their own families.You'll learn how to: draw the characters from a variety of sources, including a story's basic idea, real life–even a character's social circumstances make characters show who they are by the things they do and say, and by their individual "style" develop characters readers will love–or love to hate distinguish among major characters, minor characters and walk-ons, and develop each one appropriately choose the most effective viewpoint to reveal the characters and move the storytelling decide how deeply you should explore your characters' thoughts, emotions and attitudes