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.

    Insight and creativity - the desire to push the boundaries of your writing - strike when you least expect it. And you're often in no position to act: in the shower, driving the kids to school...in the middle of the night.The 3 A.M. Epiphany offers more than 200 intriguing writing exercises designed to help you think, write, and revise like never before - without having to wait for creative inspiration. Brian Kiteley, noted author and director of the University of Denver's creative writing program, has crafted and refined these exercises through 15 years of teaching experience.You'll learn how to:Transform staid and stale writing patterns into exciting experiments in fictionShed the anxieties that keep you from reaching your full potential as a writerCraft unique ideas by combining personal experience with unrestricted imaginationExamine and overcome all of your fiction writing concerns, from getting started to writer's blockOpen the book, select an exercise, and give it a try. It's just what you need to craft refreshing new fiction, discover bold new insights, and explore what it means to be a writer.It's never too early to start--not even 3 A.M.

    What's more, this revised and expanded edition contains updated reading lists and organizational references, as well as the latest information on word processing and illustrating with computers. There's also a new chapter on writing plays for children, and innovative suggestions for handling difficult contemporary issues such as AIDS. From character sketches to bound books, author/editor Barbara Seuling shows how to get involved and work toward success in today's world of children's literature.

    Just look up the weak verb you'd like to replace, and choose a stronger verb from the alphabetized lists. For example: Weak: Sally walked across the room. Stronger: Sally scurried across the room. Weak: Harry lightly touched the edge of the book. Stronger: Harry trailed his fingers along the edge of the book. Weak: Karen ran as quickly as she could to her closet. Stronger: Karen charged her closet in a panic. Weak: Lucy hit her palm on the desk. Stronger: Lucy smacked her palm on the desk. Ready to weed out the weak verbs and not-so-helpful adverbs in your writing and replace them with strong verbs? Let's get started! Indie Author Resources Book 2

    Many of us love to tell them, and even dream of making a living from it too. But what is a story? Hundreds of books about screenwriting and storytelling have been written, but none of them ask 'Why?' Why do we tell stories? And why do all stories function in an eerily similar way? John Yorke has been telling stories almost his entire adult life, and the more he has done it, the more he has asked himself why? Every great thinker or writer has their theories: Aristotle, David Hare, Lajos Egri, Robert McKee, Gustav Freytag, David Mamet, Christopher Booker, Charlie Kaufman, William Goldman and Aaron Sorkin - all have offered insightful and illuminating answers. Here, John Yorke draws on these figures and more as he takes us on a historical, philosophical, scientific and psychological journey to the heart of all storytelling.What he reveals is that there truly is a unifying shape to narrative - one that echoes the great fairytale journey into the woods, and one, like any great art, that comes from deep within. Much more than a 'how to write' book, Into the Woods is an exploration of this fundamental structure underneath all narrative forms, from film and television to theatre and novel-writing. With astonishing detail and wisdom, John Yorke explains to us a phenomenon that, whether it is as a simple fable, or a big-budget 3D blockbuster, most of us experience almost every day of our lives.

    She'll help you understand what show, don't tell means, teach you how to spot told prose in your writing, and reveal why common advice on how to fix it doesn't always work. With in-depth analysis, Understanding Show, Don't Tell (And Really Getting It) looks at what affects told prose and when telling is the right thing to do. It also explores aspects of writing that aren’t technically telling, but are connected to told prose and can make prose feel told, such as infodumps, description, and backstory. Her easy-to-understand examples will show you clear before and after text and demonstrate how telling words change the prose. You'll learn how to find the right balance between description, narrative, and internalization for the strongest impact. These examples will also demonstrate why showing the wrong details can sound just as dull as telling. This book will help you: Understand when to tell and when to show Spot common red flag words often found in told prose Learn why one single rule doesn't apply to all books Determine how much telling is acceptable in your writing Fix stale or flat prose holding your writing back Understanding Show, Don't Tell (And Really Getting It) is more than just advice on what to do and what not to do—it’s a down and dirty examination and analysis of how show, don’t tell works, so you can adapt the “rules” to whatever style or genre you’re writing. By the end of this book, you’ll have a solid understanding of show, don’t tell and the ability to use it without fear or frustration.

    Telling True Stories presents their best advice—covering everything from finding a good topic, to structuring narrative stories, to writing and selling your first book. More than fifty well-known writers offer their most powerful tips, including: • Tom Wolfe on the emotional core of the story • Gay Talese on writing about private lives • Malcolm Gladwell on the limits of profiles • Nora Ephron on narrative writing and screenwriters • Alma Guillermoprieto on telling the story and telling the truth • Dozens of Pulitzer Prize–winning journalists from the Atlantic Monthly, New Yorker, New York Times, Los Angeles Times, Washington Post and more . . .The essays contain important counsel for new and career journalists, as well as for freelance writers, radio producers, and memoirists. Packed with refreshingly candid and insightful recommendations, Telling True Stories will show anyone fascinated by the art of writing nonfiction how to bring people, scenes, and ideas to life on the page.

    In this sparkling collection of essays, he brings this vast experience and a keen critical eye to bear on craft issues facing literary writers. Examples from masters such as Leo Tolstoy, Flannery O'Connor, and Alice Munro illustrate this engaging discussion of what makes great writing.At the same time, Boswell moves readers beyond the classroom, candidly sharing the experiences that have shaped his own writing life. A chance encounter in a hotel bar leads to a fascinating glimpse into his imaginative process. And through the story of a boyhood adventure, Boswell details how important it is for writers to give themselves over to what he calls the "half-known world" of fiction, where surprise and meaning converge.

    You'll discover comprehensive instruction such as:The art of crafting visceral violence, from Jack KetchumWhy horror classics like Dracula, The Exorcist, and Hell House are as scary as ever, from Robert WeinbergTips for avoiding one of the biggest death knells in horror writing--predicable cliches--from Ramsey CampbellHow to use character and setting to stretch the limits of credibility, from Mort CastleWith On Writing Horror, you can unlock the mystery surrounding classic horror traditions, revel in the art and craft of writing horror, and find out exactly where the genre is going next. Learn from the best, and you could be the next best-selling author keeping readers up all night long.

    ...An essential resource for any writer -- beginning, published, or just plain stuck. -- Amy TanOakley Hall cites the works and methods of such great novelists as John Steinbeck, Joyce Carol Oates, Leo Tolstoy, Agatha Christie and Milan Kundera to show readers what works in the novel, and why. This book features advice on taking a novel through each of its stages, from the beginning of an idea to The End, and guides writers through the process of writing a novel.

    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.

    In clear, simple language, Sandra Scofield shows both the beginner and the seasoned writer how to build better scenes, the underpinning of any good narrative.

    She followed with two other smash bestsellers: Cherry and Lit, which were critical hits as well.For thirty years Karr has also taught the form, winning graduate teaching prizes for her highly selective seminar at Syracuse, where she mentored such future hit authors as Cheryl Strayed, Keith Gessen, and Koren Zailckas. In The Art of Memoir, she synthesizes her expertise as professor and therapy patient, writer and spiritual seeker, recovered alcoholic and “black belt sinner,” providing a unique window into the mechanics and art of the form that is as irreverent, insightful, and entertaining as her own work in the genre.Anchored by excerpts from her favorite memoirs and anecdotes from fellow writers’ experience, The Art of Memoir lays bare Karr’s own process. (Plus all those inside stories about how she dealt with family and friends get told— and the dark spaces in her own skull probed in depth.) As she breaks down the key elements of great literary memoir, she breaks open our concepts of memory and identity, and illuminates the cathartic power of reflecting on the past; anybody with an inner life or complicated history, whether writer or reader, will relate.Joining such classics as Stephen King’s On Writing and Anne Lamott’s Bird by Bird, The Art of Memoir is an elegant and accessible exploration of one of today’s most popular literary forms—a tour de force from an accomplished master pulling back the curtain on her craft.

    The book will guide you through the process of researching publications, writing your story, editing, and submitting your work to literary magazines. It's also a primer in how to make a career in fiction writing. If you've ever wanted to be a writer, this book will help get you started. Why all the great writers started with short stories, and why you should, too. How to build a fiction platform with short stories rather than just another blog. How short stories are structured differently than novels. What theme to write about to give you a greater shot at being published. How to break through your writer's block when you get stuck. How to submit your short stories to literary magazines (and which ones you should submit to). Let's Write a Short Story! won't just give you the information you need. It will challenge you to take the next step in becoming a writer and help you get your writing published.

    Whether you're writing a rags-to-riches tell-all memoir or literary journalism, telling true stories well is hard work. In You Can't Make This Stuff Up, Lee Gutkind, the go-to expert for all things creative nonfiction, offers his unvarnished wisdom to help you craft the best writing possible. Frank, to-the-point, and always entertaining, Gutkind describes and illustrates every aspect of the genre. Invaluable tools and exercises illuminate key steps, from defining a concept and establishing a writing process to the final product. Offering new ways of understanding the genre, this practical guidebook will help you thoroughly expand and stylize your work.