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Recommended Books
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    The Oxford Dictionary of Allusions (Oxford Paperback Reference)
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    Dan Poynter's Self-Publishing Manual, 16th Edition: How to Write, Print and Sell Your Own Book (Self Publishing Manual)
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  • Simple & Direct
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    Sister Bernadette's Barking Dog: The Quirky History and Lost Art of Diagramming Sentences
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    The Situation and the Story: The Art of Personal Narrative
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    The Sound on the Page: Great Writers Talk about Style and Voice in Writing
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    Story: Substance, Structure, Style and The Principles of Screenwriting
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    Stylish Academic Writing
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    Successful Television Writing
    by Lee Goldberg, William Rabkin
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    The Summing Up
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  • 13 Ways of Looking at the Novel
    13 Ways of Looking at the Novel
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    Tales from the Script: 50 Hollywood Screenwriters Share Their Stories
    by Peter Hanson, Paul Robert Herman
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    To Show and to Tell: The Craft of Literary Nonfiction
    by Phillip Lopate
  • What If? Writing Exercises for Fiction Writers
    What If? Writing Exercises for Fiction Writers
    by Anne Bernays, Pamela Painter
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    Understanding Comics: The Invisible Art
    by Scott Mccloud
  • The War of Art: Break Through the Blocks and Win Your Inner Creative Battles
    The War of Art: Break Through the Blocks and Win Your Inner Creative Battles
    by Steven Pressfield
  • Why We Write: 20 Acclaimed Authors on How and Why They Do What They Do
    Why We Write: 20 Acclaimed Authors on How and Why They Do What They Do
    Plume
  • Women Writers at Work: The Paris Review Interviews
    Women Writers at Work: The Paris Review Interviews
    Modern Library
  • The Writer Got Screwed (but didn't have to): Guide to the Legal and Business Practices of Writing for the Entertainment Industry
    The Writer Got Screwed (but didn't have to): Guide to the Legal and Business Practices of Writing for the Entertainment Industry
    by Brooke A. Wharton
  • Ambrose Bierce's Write It Right: The Celebrated Cynic's Language Peeves Deciphered, Appraised, and Annotated for 21st-Century Readers
    Ambrose Bierce's Write It Right: The Celebrated Cynic's Language Peeves Deciphered, Appraised, and Annotated for 21st-Century Readers
    by Ambrose Bierce, Jan Freeman
  • The Writer's Chapbook: A Compendium of Fact, Opinion, Wit, and Advice from the Twentieth Century's Preeminent Writers (Modern Library)
    The Writer's Chapbook: A Compendium of Fact, Opinion, Wit, and Advice from the Twentieth Century's Preeminent Writers (Modern Library)
    Modern Library
  • The Writers Journey: Mythic Structure for Writers, 3rd Edition
    The Writers Journey: Mythic Structure for Writers, 3rd Edition
    by Christopher Vogler
  • The Writer on Her Work, Volume 1
    The Writer on Her Work, Volume 1
    by Janet Sternberg
  • The Writer's Legal Companion: The Complete Handbook For The Working Writer, Third Edition
    The Writer's Legal Companion: The Complete Handbook For The Working Writer, Third Edition
    by Brad Bunnin, Peter Beren
  • A Writer's Reality
    A Writer's Reality
    by Mario Vargas Llosa
  • A Writer's Time: Making the Time to Write
    A Writer's Time: Making the Time to Write
    by Kenneth Atchity
  • Writing About Your Life: A Journey into the Past
    Writing About Your Life: A Journey into the Past
    by William Zinsser
  • Writing Down the Bones: Freeing the Writer Within (Paperback)
    Writing Down the Bones: Freeing the Writer Within (Paperback)
    by Natalie Goldberg (Author)
  • Writing in General and the Short Story in Particular
    Writing in General and the Short Story in Particular
    by L. Rust Hills
  • Writing for Your Life
    Writing for Your Life
    by Deena Metzger
  • The Writing Life: Writers On How They Think And Work
    The Writing Life: Writers On How They Think And Work
    by Marie Arana
  • The Writing Life
    The Writing Life
    by Annie Dillard
  • The Writing of Fiction
    The Writing of Fiction
    by Edith Wharton
  • Writing the Novel: From Plot to Print
    Writing the Novel: From Plot to Print
    by Lawrence Block
  • Writing Past Dark: Envy, Fear, Distraction and Other Dilemmas in the Writer's Life
    Writing Past Dark: Envy, Fear, Distraction and Other Dilemmas in the Writer's Life
    by Bonnie Friedman
  • You're a Genius All the Time: Belief and Technique for Modern Prose
    You're a Genius All the Time: Belief and Technique for Modern Prose
    by Regina Weinreich, Jack Kerouac
  • Zen in the Art of Writing: Releasing the Creative Genius Within You
    Zen in the Art of Writing: Releasing the Creative Genius Within You
    by Ray Bradbury
  • Endangered Species: Writers Talk About Their Craft, Their Visions, Their Lives
    Endangered Species: Writers Talk About Their Craft, Their Visions, Their Lives
    by Lawrence Grobel

QUOTE OF THE DAY

Tuesday
Oct032017

Art Engenders Empathy

The ultimate way in which art can be political is if it engenders empathy, which is the thing that politicians can’t seem to do. If you feel like you know someone because you’ve spent two hours chronicling their life and story or you’ve seen some movie that gets you under your skin and in your heart, you can’t dismiss them as Other anymore.

LIN-MANUEL MIRANDA

Monday
Oct022017

Forget Taking Notes

If you want to capture ideas, you are lost. You are going to be detached from emotions and forget to live your life. You will be an observer and not a human being living his or her life. Forget taking notes. What is important remains, what is not important goes away.

PAULO COELHO

Sunday
Oct012017

Make the Verb Do the Work

In the end it’s ironing the stuff. Getting out anything that’s extraneous. I don’t use adjectives if I can possibly get away with it. I don’t use adverbs. I try to make the verb do the work.

JOHN LE CARRÉ

Saturday
Sep302017

Don't Rely on Memory

Whatever you do, don’t rely on memory. Don’t even imagine that you will be able to remember verbatim in the evening what people said during the day. And don’t squirrel notes in a bathroom—that is, run off to the john and write surreptitiously what someone said back there with the cocktails. From the start, make clear what you are doing and who will publish what you write. Display your notebook as if it were a fishing license. While the interview continues, the notebook may serve other purposes, surpassing the talents of a tape recorder. As you scribble away, the interviewee is, of course, watching you. Now, unaccountably, you slow down, and even stop writing, while the interviewee goes on talking. The interviewee becomes nervous, tries harder, and spills out the secrets of a secret life, or maybe just a clearer and more quotable version of what was said before. Conversely, if the interviewee is saying nothing of interest, you can pretend to be writing, just to keep the enterprise moving forward.

JOHN McPHEE

Friday
Sep292017

Writing Should Always Be Exploratory

Writing should always be exploratory. There shouldn’t be the assumption that you know ahead of time what you want to express. When you enter into the dance with language, you’ll begin to find that there’s something before, or behind, or more absolute than the thing you thought you wanted to express. And as you work, other kinds of meaning emerge than what you might have expected. It’s like wrestling with the angel: On the one hand you feel the constraints of what can be said, but on the other hand you feel the infinite potential. There’s nothing more interesting than language and the problem of trying to bend it to your will, which you can never quite do. You can only find what it contains, which is always a surprise.

MARILYNNE ROBINSON

Thursday
Sep282017

Don't Tie It Up Too Neatly

Gogol said that the last line of every story was: “And nothing would ever be the same again.” Nothing in life ever really begins in one single place, and nothing ever truly ends. But stories have at least to pretend to finish. Don’t tie it up too neatly. Don’t try too much. Often the story can end several paragraphs before, so find the place to use your red pencil. Print out several versions of the last sentence and sit with them. Read each version over and over. Go with the one that you feel to be true and a little bit mysterious. Don’t tack on the story’s meaning. Don’t moralize at the end. Don’t preach that final hallelujah. Have faith that your reader has already gone with you on a long journey. They know where they have been. They know what they have learned. They know already that life is dark. You don’t have to flood it with last-minute light.

COLUM McCANN

Wednesday
Sep272017

Infinite Pity

Infinite pity, I think, is the proper attitude to have towards your characters. Not pity in the way we mostly tend to understand it—which is the condescension of a superior looking down at an inferior and feeling sorry for them…. It’s a much more self-implicating pity, where you see and understand the tragic and routine flaws people have, the ways in which your characters fall short of the marks they set for themselves—just as you fall short of the marks you set for yourself.

MICHAEL CHABON

Tuesday
Sep262017

Writing Is Like Learning An Instrument

You have to resign yourself to the fact that you waste a lot of trees before you write anything you really like, and that’s just the way it is. It’s like learning an instrument, you’ve got to be prepared for hitting wrong notes occasionally, or quite a lot, cause I wrote an awful lot before I wrote anything I was really happy with.

J.K. ROWLING

Monday
Sep252017

Don’t Put Down Too Many Roots

Don’t put down too many roots in terms of a domicile. I have lived in four countries and I think my life as a writer and our family’s life have been enriched by this. I think a writer has to experience new environments. There is that adage: No man can really succeed if he doesn’t move away from where he was born. I believe it is particularly true for the writer.

ARTHUR HAILEY

Sunday
Sep242017

Cut Like Crazy

Cut like crazy. Less is more. I've often read manuscripts–including my own–where I've got to the beginning of, say, chapter two and have thought: "This is where the novel should actually start." A huge amount of information about character and backstory can be conveyed through small detail. The emotional attachment you feel to a scene or a chapter will fade as you move on to other stories. Be business-like about it.

SARAH WATERS

Saturday
Sep232017

Never Market-Research Your Writing

Never market-research your writing. Write on subjects in which you have enough interest on your own to see you through all the stops, starts, hesitations, and other impediments along the way.

JOHN McPHEE

Friday
Sep222017

The Writer's Intent Doesn't Matter

The writer’s intention hasn’t anything to do with what he achieves. The intent to earn money or the intent to be famous or the intent to be great doesn’t matter in the end. Just what comes out.

LILLIAN HELLMAN

Thursday
Sep212017

Talk Yourself Out of It

My first advice to an aspiring writer is to talk yourself out of it if you can possibly do it, because you'll probably fail and make yourself miserable doing it. I feel about myself that I'm anomalous—a rare combination of fear, an affection for language, a reverence for literature, doggedness, and good luck. Plus, I married the right girl.

RICHARD FORD

Wednesday
Sep202017

Writer’s Block Is A Temporary Paralysis

Writer’s block is a temporary paralysis caused by the conviction, on an unconscious level, that what the writer is attempting is in some way fraudulent, or mistaken, or self-destructive.

JOYCE CAROL OATES

Tuesday
Sep192017

Only Amateurs Say They Write for Their Own Amusement

Only amateurs say that they write for their own amusement. Writing is not an amusing occupation. It is a combination of ditch-digging, mountain-climbing, treadmill and childbirth. Writing may be interesting, absorbing, exhilarating, racking, relieving. But amusing? Never!

EDNA FERBER

Monday
Sep182017

The Smaller the Ball, the More Formidable the Literature

The smaller the ball, the more formidable the literature. There are superb books about golf, very good books about baseball, not many good books about football or soccer, very few good books about basketball and no good books at all about beach balls.

GEORGE PLIMPTON

Sunday
Sep172017

Humor Writing

If you spontaneously come up with funny things—and I mean writing funny things, not just saying them—and if other people seem to like them, then consider humor writing. Also, don’t kill anyone. When people see “murderer,” they automatically think it’s probably not funny. That’s just the way people are.

JACK HANDEY

Saturday
Sep162017

The Words Better Be the Right Ones

Evan Connell said once that he knew he was finished with a short story when he found himself going through it and taking out commas and then going through the story again and putting the commas back in the same places. I like that way of working on something. I respect that kind of care for what is being done. That's all we have, finally, the words, and they had better be the right ones, with the punctuation in the right places so that they can best say what they are meant to say. If the words are heavy with the writer's own unbridled emotions, or if they are imprecise and inaccurate for some other reason -- if the worlds are in any way blurred -- the reader's eyes will slide right over them and nothing will be achieved. Henry James called this sort of hapless writing “weak specification.”

RAYMOND CARVER

Friday
Sep152017

Artists Never Thrive in Colonies

Artists never thrive in colonies. Ants do. What the budding artist needs is the privilege of wrestling with his problems in solitude--and now and then a piece of red meat.

HENRY MILLER

Thursday
Sep142017

You Can't Learn to Write in College

You can’t learn to write in college. It’s a very bad place for writers because the teachers always think they know more than you do—and they don’t. They have prejudices. They may like Henry James, but what if you don’t want to write like Henry James? They may like John Irving, for instance, who’s the bore of all time. A lot of the people whose work they’ve taught in the schools for the last thirty years, I can’t understand why people read them and why they are taught.

RAY BRADBURY