...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.

    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.

    Shimmering Images teaches the aspiring memoirist how to locate key memories using Lisa's technique for finding, linking, and fleshing out those vibrant recollections of important moments and situations.Shimmering Images will address:*the difference between memoir and autobiography*how to claim your voice*the art of storytelling*honesty, truth, and compassion in writing*authentic dialogue and the need for specificityReaders will learn how to craft a short piece of narrative nonfiction grounded in their core memories and master a technique they can use over and over again for writing other narratives.A must-have book for anyone who has treasured Bird by Bird by Anne Lamott or Writing Down the Bones by Natalie Goldberg.

    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.

    From her long experience working with successful writers and discovering new voices, Lerner looks at different writer personality types and addresses the concerns of writers just getting started as well as those stalled mid-career.

    Characters paralyzed by the meaninglessness of modern life still have to drink water from time to time.” —Kurt Vonnegut“‘The cat sat on the mat’ is not the beginning of a story, but ‘the cat sat on the dog’s mat’ is.” —John Le CarréNothing is more inspiring for a beginning writer than listening to masters of the craft talk about the writing life. But if you can’t get Vladimir Nabokov, Virginia Woolf, and Gabriel García Márquez together at the Algonquin, The Modern Library Writer’s Workshop gives you the next best thing. Stephen Koch, former chair of Columbia University’s graduate creative writing program, presents a unique guide to the craft of fiction. Along with his own lucid observations and commonsense techniques, he weaves together wisdom, advice, and inspiring commentary from some of our greatest writers. Taking you from the moment of inspiration (keep a notebook with you at all times), to writing a first draft (do it quickly! you can always revise later), to figuring out a plot (plot always serves the story, not vice versa), Koch is a benevolent mentor, glad to dispense sound advice when you need it most. The Modern Library Writer’s Workshop belongs on every writer’s shelf, to be picked up and pored over for those moments when the muse needs a little help finding her way.

    Through a mix of instruction, examples, and writing and visualization exercises, readers learn how to tap into their own stories and emotions to create realistic, complex characters.

    One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."

    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.

     Maybe you start, but can’t find the time to continue. Or you’re frustrated with the writing process. And when you seek advice, people tell you, “It’s all about discipline”, or they talk about what writing software to use. But that doesn’t help you actually write your book. So you never finish your book, the world never gets the benefit of your wisdom, and you never get the benefits of being an author. Isn’t there an easier way? Now there is. In The Book In A Box Method, Tucker Max and Zach Obront show you the exact steps you can follow to go from idea to finished manuscript, in an easy, quick way -- even if you’re not a writer. Using the same methods, processes, and templates that they use for their authors at their company, Tucker and Zach show you exactly how to: Crystallize your book idea Create your book outline Create all the content for your book Edit that content into a great manuscript With The Book In A Box Method, you’ll be able to write a better book - in less time - than you ever thought possible.

    But now a brave new genre has emerged: very brief fiction. FLASH! identifies the qualities that make for excellent flash fiction, demystifies the writing process, and guides writers by exercise and example through the world of the very short story. John Dufresne’s characteristic warmth, wit, and humor remind writers of the joy in the creative process, making this a perfect guide for any writer interested in trying a new form.

    Drawing on her own experiences as a British novelist and journalist, Wenham-Jones takes you through the minefield of the writing process, giving advice on everything from how to avoid Writer's Bottom to what to wear to your launch party. Including hot tips from authors, agents, and publishers at the sharp end of the industry.

    WITHOUT the quality suffering.

    In a story or a novel the "I" who tells this tale can be, and often is, an unreliable narrator but in nonfiction the reader must always be persuaded that the narrator is speaking truth.How does one pull from one's own boring, agitated self the truth-speaker who will tell the story a personal narrative needs to tell? That is the question The Situation and the Story asks--and answers. Taking us on a reading tour of some of the best memoirs and essays of the past hundred years, Gornick traces the changing idea of self that has dominated the century, and demonstrates the enduring truth-speaker to be found in the work of writers as diverse as Edmund Gosse, Joan Didion, Oscar Wilde, James Baldwin, or Marguerite Duras.This book, which grew out of fifteen years teaching in MFA programs, is itself a model of the lucid intelligence that has made Gornick one of our most admired writers of nonfiction. In it, she teaches us to write by teaching us how to read: how to recognize truth when we hear it in the writing of others and in our own.

    When showing our characters’ feelings, we often use the first idea that comes to mind, and they end up smiling, nodding, and frowning too much.If you need inspiration for creating characters’ emotional responses that are personalized and evocative, this ultimate show-don’t-tell guide for emotion can help. It includes: Body language cues, thoughts, and visceral responses for 130 emotions that cover a range of intensity from mild to severe, providing innumerable options for individualizing a character’s reactions A breakdown of the biggest emotion-related writing problems and how to overcome them Advice on what should be done beforedrafting to make sure your characters’ emotions will be realistic and consistent Instruction for how to show hidden feelings and emotional subtext through dialogue and nonverbal cues And much more! The Emotion Thesaurus, in its easy-to-navigate list format, will inspire you to create stronger, fresher character expressions and engage readers from your first page to your last.