[It] was due the next day. We were out at our family cabin in Bolinas, and he was at the kitchen table close to tears, surrounded by binder paper and pencils and unopened books on birds, immobilized by the hugeness of the task ahead. Then my father sat down beside him, put his arm around my brother's shoulder, and said. 'Bird by bird, buddy. Just take it bird by bird.'"With this basic instruction always in mind, Anne Lamott returns to offer us a new gift: a step-by-step guide on how to write and on how to manage the writer's life. From "Getting Started,' with "Short Assignments," through "Shitty First Drafts," "Character," "Plot," "Dialogue." all the way from "False Starts" to "How Do You Know When You're Done?" Lamott encourages, instructs, and inspires. She discusses "Writers Block," "Writing Groups," and "Publication." Bracingly honest, she is also one of the funniest people alive.If you have ever wondered what it takes to be a writer, what it means to be a writer, what the contents of your school lunches said about what your parents were really like, this book is for you. From faith, love, and grace to pain, jealousy, and fear, Lamott insists that you keep your eyes open, and then shows you how to survive. And always, from the life of the artist she turns to the art of life.

    Novelist David Morrell provides insights and advice learned during 30 years of writing and selling novels - insider secrets to help writers achieve the next level of literary success, whether they are just beginning or already published.

    He describes what it was like to interview the mighty Robert Moses; what it felt like to begin discovering the extent of the political power Moses wielded; the combination of discouragement and exhilaration he felt confronting the vast holdings of the Lyndon B. Johnson Library and Museum in Austin, Texas; his encounters with witnesses, including longtime residents wrenchingly displaced by the construction of Moses’ Cross-Bronx Expressway and Lady Bird Johnson acknowledging the beauty and influence of one of LBJ’s mistresses. He gratefully remembers how, after years of loneliness, he found a writers’ community at the New York Public Library’s Frederick Lewis Allen Room and details the ways he goes about planning and composing his books. Caro recalls the moments at which he came to understand that he wanted to write not just about the men who wielded power but about the people and the politics that were shaped by that power. And he talks about the importance to him of the writing itself, of how he tries to infuse it with a sense of place and mood to bring characters and situations to life on the page. Taken together, these reminiscences–some previously published, some written expressly for this book–bring into focus the passion, the wry self-deprecation, and the integrity with which this brilliant historian has always approached his work.

    It's like a CT Scan that takes a photo of the global story and tells the editor or writer what is working, what is not, and what must be done to make what works better and fix what's not. The Story Grid breaks down the component parts of stories to identify the problems. And finding the problems in a story is almost as difficult as the writing of the story itself (maybe even more difficult.) The Story Grid is a tool with many applications: 1. It will tell a writer if a Story "works" or "doesn't work." 2. It pinpoints story problems but does not emotionally abuse the writer, revealing exactly where a Story (not the person creating the Story...the Story) has failed. 3. It will tell the writer the specific work necessary to fix that Story's problems. 4. It is a tool to re-envision and resuscitate a seemingly irredeemable pile of paper stuck in an attic drawer. 5. It is a tool that can inspire an original creation. Shawn Coyne is a twenty-five year book-publishing veteran. He's acquired, edited, published or represented works from James Bamford, John Brenkus, James Lee Burke, Barbara Bush, Dick Butkus, Harlan Coben, Nellie Connally, Michael Connelly, Robert Crais, Ben Crenshaw, Catherine Crier, Brett Favre, David Feherty, John Feinstein, Tyler Florence, Jim Gant, Col. David H. Hackworth, Jamie Harrison, Mo Hayder, William Hjortsberg, Stephen Graham Jones, Jon Krakauer, David Leadbetter, Alan Lomax, David Mamet, Troon McAllister, Robert McKee, Matthew Modine, Bill Murray, Joe Namath, John J. Nance, Jack Olsen, Scott Patterson, Steven Pressfield, Matthew Quirk, Anita Raghavan, Ian Rankin, Ruth Rendell, Jerry Rice, Giora Romm, Tim Rosaforte, William Safire, Dava Sobel, Michael Thomas, Nick Tosches, Ann Scott Tyson, Minette Walters, Betty White, Randy Wayne White, Steven White, and Don Winslow among many others. During his years as an editor at the Big Five publishing houses, as an independent publisher, as a literary agent both at a major Hollywood talent agency and as head of Genre Management Inc., and as a bestselling co-writer and ghostwriter, Coyne created a methodology called The Story Grid to teach the editing craft.

    Discover how to successfully transform your first draft into a polished final draft readers won't be able to forget.In Write Great Fiction: Revision & Self-Editing, James Scott Bell draws on his experience as a novelist and instructor to provide specific revision tips geared toward the first read-through, as well as targeted self-editing instruction focusing on the individual elements of a novel like plot, structure, characters, theme, voice, style, setting, and endings. You'll learn how to:•Write a cleaner first draft right out of the gate using Bell's plotting principles•Get the most out of revision and self-editing techniques by honing your skills with detailed exercises•Systematically revise a completed draft using the ultimate revision checklist that talks you through the core story elementsWhether you're in the process of writing a novel, have a finished draft you don't know what to do with, or have a rejected manuscript you don't know how to fix, Revision & Self-Editing gives you the guidance you need to write and revise like a pro.

    So you want to write a novel? Great! That's a worthy goal, no matter what your reason. But don't settle for just writing a novel. Aim high. Write a novel that you intend to sell to a publisher. Writing Fiction for Dummies is a complete guide designed to coach you every step along the path from beginning writer to royalty-earning author. Here are some things you'll learn in "Writing Fiction for Dummies" * Strategic Planning: Pinpoint where you are on the roadmap to publication; discover what every reader desperately wants from a story; home in on a marketable category; choose from among the four most common creative styles; and learn the self-management methods of professional writers.* Writing Powerful Fiction: Construct a story world that rings true; create believable, unpredictable characters; build a strong plot with all six layers of complexity of a modern novel; and infuse it all with a strong theme.* Self-Editing Your Novel: Psychoanalyze your characters to bring them fully to life; edit your story structure from the top down; fix broken scenes; and polish your action and dialogue.* Finding An Agent and Getting Published: Write a query letter, a synopsis, and a proposal; pitch your work to agents and editors without fear.Writing Fiction For Dummies takes you from being a "writer" to being an "author." It can happen--if you have the talent and persistence to do what you need to do.

    In addition to explaining the basic moves, this book provides writing templates that show students explicitly how to make these moves in their own writing.

    However, this not-so-easy-to-use reference of journalistic style is often not up-to-date and leaves reporters and copyeditors unsatisfied. Bill Walsh, copy chief for the Washington Post's business desk, addresses these shortcomings in Lapsing into a Comma. In an opinionated, humorous, and yes, curmudgeonly way, he shows how to apply the basic rules to unique, modern grammar issues. Walsh explains how to deal with perplexing situations such as trendy words, foreign terms, and web speak.

    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.

    Based on the belief that writing successful fiction is a balance between making the right conscious choices and trusting one's own instincts, this text shows readers how to combine the instinctive process of creation with sound technical ingenuity.

    As a result, writers will dig deep within and explore their own values and worldviews in order to create an effective story. Writers will come away with an extremely precise set of tools to work with--specific, useful techniques to make the audience care about their characters, and that make their characters grow in meaningful ways. They will construct a surprising plot that is unique to their particular concept, and they will learn how to express a moral vision that can genuinely move an audience.The foundations of story that Truby lays out are so fundamental they are applicable--and essential--to all writers, from novelists and short-story writers to journalists, memoirists, and writers of narrative non-fiction.

    This is the book explaining how, with a few simple changes, I boosted my daily writing from 2000 words to over 10k a day, and how you can too."Expanding on her highly successful process for doubling daily word counts, this book, a combination of reworked blog posts and new material, offers practical writing advice for anyone who's ever longed to increase their daily writing output. In addition to updated information for Rachel's popular 2k to 10k writing efficiency process, 5 step plotting method, and easy editing tips, this new book includes chapters on creating characters that write their own stories, practical plot structure, and learning to love your daily writing. Full of easy to follow, practical advice from a commercial author who doesn't eat if she doesn't produce good books on a regular basis, 2k to 10k focuses not just on writing faster, but writing better, and having more fun while you do it.

    Written with passion, humor, and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart - to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; she is deeply moved by the brilliant characterization in George Eliot's Middlemarch. She looks to John Le Carré for a lesson in how to advance plot through dialogue and to Flannery O'Connor for the cunning use of the telling detail. And, most important, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted.

    Everywhere you turn, publications seem to follow different rules on everything from possessive apostrophes to hyphens to serial commas. Then there are all the gray areas of punctuation--situations the rule books gloss over or never mention at all. At last, help has arrived.This all-in-one reference from grammar columnist June Casagrande covers the basic rules of punctuation plus the finer points not addressed anywhere else, offering clear answers to perplexing questions about semicolons, quotation marks, periods, apostrophes, and more. Better yet, this is the only guide that uses handy icons to show how punctuation rules differ for book, news, academic, and science styles--so you can boldly switch between essays, online newsletters, reports, fiction, and magazine and news articles.Style guides don't cover everything, but never fear! This handbook features rulings from an expert "Punctuation Panel" so you can see how working pros approach sticky situations. And the second half of the book features an alphabetical master list of commonly punctuated terms worth its weight in gold, combining rulings from the major style guides and showing exactly where they differ. With The Best Punctuation Book, Period, you'll be able to handle any punctuation predicament in a flash--and with aplomb.

    Using a wealth of examples, from ancient myths and folk tales via the plays and novels of great literature to the popular movies and TV soap operas of today, it shows that there are seven archetypal themes which recur throughout every kind of storytelling. But this is only the prelude to an investigation into how and why we are 'programmed' to imagine stories in these ways, and how they relate to the inmost patterns of human psychology. Drawing on a vast array of examples, from Proust to detective stories, from the Marquis de Sade to E.T., Christopher Booker then leads us through the extraordinary changes in the nature of storytelling over the past 200 years, and why so many stories have 'lost the plot' by losing touch with their underlying archetypal purpose. Booker analyses why evolution has given us the need to tell stories and illustrates how storytelling has provided a uniquely revealing mirror to mankind's psychological development over the past 5000 years.This seminal book opens up in an entirely new way our understanding of the real purpose storytelling plays in our lives, and will be a talking point for years to come.