It is a must read for anyone serious about writing or understanding how the process works.

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

    It is the product of preparation and effort, and it's within reach of everyone who wants to achieve it. All it takes is the willingness to make creativity a habit, an integral part of your life: In order to be creative, you have to know how to prepare to be creative. In The Creative Habit, Tharp takes the lessons she has learned in her remarkable thirty-five-year career and shares them with you, whatever creative impulses you follow -- whether you are a painter, composer, writer, director, choreographer, or, for that matter, a businessperson working on a deal, a chef developing a new dish, a mother wanting her child to see the world anew. When Tharp is at a creative dead end, she relies on a lifetime of exercises to help her get out of the rut, and The Creative Habit contains more than thirty of them to ease the fears of anyone facing a blank beginning and to open the mind to new possibilities. Tharp's exercises are practical and immediately doable -- for the novice or expert. In "Where's Your Pencil?" she reminds us to observe the world -- and get it down on paper. In "Coins and Chaos," she provides the simplest of mental games to restore order and peace. In "Do a Verb," she turns your mind and body into coworkers. In "Build a Bridge to the Next Day," she shows how to clean your cluttered mind overnight. To Tharp, sustained creativity begins with rituals, self-knowledge, harnessing your memories, and organizing your materials (so no insight is ever lost). Along the way she leads you by the hand through the painful first steps of scratching for ideas, finding the spine of your work, and getting out of ruts into productive grooves. In her creative realm, optimism rules. An empty room, a bare desk, a blank canvas can be energizing, not demoralizing. And in this inventive, encouraging book, Twyla Tharp shows us how to take a deep breath and begin!

    Attorney and published author Helen Sedwick uses 30 years of legal experience to cut through the legalese and show writers how to stay out of court and at their desks. Topics include--Business set-up. From DBAs to sales taxes to crowd-funding, Self-Publisher’s Legal Handbook walks writers through the process of setting up their self-publishing ventures.Moving from Manuscript to Book. Self-Publisher’s Legal Handbook compares the options of engaging a self-publishing service company to doing it yourself using a print-on-demand provider. It lists which contract provisions are acceptable and which are not. It explains the mechanics of hiring designers, editors, and other freelancers.Intellectual Property Issues. Copyrights, trademark, fair use, and public domain are explained in practical, useful terms, including how to find copyright holders and ask permission. Self-Publisher’s Legal Handbook provide tips on licensing images and music for little or no money.Internet Regulations. Any writer with a blog needs to know about privacy policies, SPAM, COPPA, and DMCA. Self-Publisher’s Legal Handbook explains these regulations in easy-to-understand language.Spotting Scams. Writers are e-blasted by businesses promoting overpriced services, if not outright frauds. Self-Publisher’s Legal Handbook shows writers how to spot aggressive sales techniques and scams.The Scary Stuff. Self-Publisher’s Legal Handbook provides needed guidance on avoiding the dangers of defamation, invasion of privacy, and infringement.Writing and publishing a book is a significant investment. Writers should not be losing money (and sleep) by hiring the wrong self-publishing company or getting sued for copyright infringement. Sedwick’s Self-Publisher’s Legal Handbook will help writers safely navigate the legal minefield.

    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.

    Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face."In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things."Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors.Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.

    Written for her blog over the years as Victoria's editing business blossomed, this advice is now hard to find and hidden - and now collected just for you, for free.

    Although most of the currently popular guides contain useful ideas, they all suffer from the same problems: poor organization; quirky, idiosyncratic advice; and abstract theorizing on the nature of art. As a result, they fail to offer any concrete information or useful guidelines on how to construct a well-written play. Out of frustration, Spencer wrote his own. The result, The Playwright's Guidebook, is a concise and engaging handbook full of the kind of wisdom that comes naturally with experience. Spencer presents a coherent way of thinking about playwriting that addresses the important principles of structure, includes invaluable writing exercises that build upon one another, explores the creative process, and troubleshoots recurrent problems that many playwrights face.

    Cain's hard-nosed observation that "writing a novel is like working on foreign policy. There are problems to be solved. It's not all inspirational," to Joan Didion's account of how she composes a book--"I constantly retype my own sentences. Every day I go back to page one and just retype what I have. It gets me into a rhythm"--The Paris Review has elicited some of the most revelatory and revealing thoughts from the literary masters of our age. For more than half a century, the magazine has spoken with most of our leading novelists, poets, and playwrights, and the interviews themselves have come to be recognized as classic works of literature, an essential and definitive record of the writing life. They have won the coveted George Polk Award and have been a contender for the Pulitzer Prize. Now, Paris Review editor Philip Gourevitch introduces an entirely original selection of sixteen of the most celebrated interviews. Often startling, always engaging, these encounters contain an immense scope of intelligence, personality, experience, and wit from the likes of Elizabeth Bishop, Ernest Hemingway, Truman Capote, Rebecca West, and Billy Wilder. This is an indispensable book for all writers and readers.

    "But try to find words for the shades of a mottled sassafras leaf, or the reflectivity of a bay on an August morning, or the very beginnings of desire stirring in the gaze of someone looking right into your eyes . . ." Doty finds refuge in the sensory experience found in poems by Blake, Whitman, Bishop, and others. The Art of Description is an invaluable book by one of America's most revered writers and teachers.

     Every great novel and movie follows a common narrative pattern known as the Hero’s Journey. In this book, for the first time at such level of detail, independent writers can have a look into the Hollywood’s manual on how to create a classic. Make no mistake about it: This is not just another popular take on the subject. This is it. All the 195 plot milestones found in the greatest stories of all times are outlined here—clearly, exactly, concisely. If you are writing a novel or a script, don’t run with disadvantage: Step into this mythical landscape and follow your favorite heroes along The Ultimate Hero’s Journey, as you discover the master structure of timeless storytelling.

    In this expanded new edition, Mel Helitzer, named the "funniest professor in the country" by Rolling Stone magazine, and funnyman Mark Shatz pack in even more insight and instruction, including:- Humor writing exercises to punch up your jokes- Extra information on writing for sitcoms and stand-up- Comedic brainstorming techniques using associations and listings- Exclusive tips for writing humor for specific markets like editorials, columns, speeches, advertising, greeting cards, t-shirts, and moreTap into your comedic genius with Comedy Writing Secrets, 2nd edition, and you'll always leave ?em laughing!

    While some people persist in the belief that essays are stuffy and antiquated, the truth is that the personal essay is an ever-changing creative medium that provides an ideal vehicle for satisfying the human urge to document truths as we experience them and share them with others--to capture a bit of life on paper.Crafting the Personal Essay is designed to help you explore the flexibility and power of the personal essay in your own writing. This hands-on, creativity-expanding guide will help you infuse your nonfiction with honesty, personality, and energy. You'll discover:- An exploration of the basics of essay writing - Ways to step back and scrutinize your experiences in order to separate out what may be fresh, powerful, surprising or fascinating to a reader - How to move past private journaling and write for an audience - How to write eight different types of essays including memoir, travel, humor, and nature essays among others - Instruction for revision and strategies for getting published Brimming with helpful examples, exercises, and sample essays, this indispensable guide will help your personal essays transcend the merely private to become powerfully universal.

    I was there too, but now I have quit my day job and make a living selling fiction. Both my initial success and the sustainability of my book sales have come from Facebook ads. In this book, you'll learn how to find the cost per click and sales volumes you'll need to hit to know if an ad is profitable. You'll learn how to target your ads and how to tweak them for maximum returns by age, gender, region. You'll see how to write plot-based ads, character based ads, pure marketing ads, the whole bit. Stop losing money every time you run and ad and instead turn them into book-selling machines.

    'The art of writing, ' Kingsley Amis said, 'is the art of applying the seat of one's trousers to the seat of one's chair.' Looking at different aspects of writing, this book features set exercises to help the reader improve their confidence and technique, covering essential skills for all would-be novelists