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Recommended Books
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    A Dash of Style: The Art and Mastery of Punctuation
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  • Adventures in the Screen Trade
    Adventures in the Screen Trade
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  • APE: Author, Publisher, Entrepreneur-How to Publish a Book
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  • A Room of One's Own
    A Room of One's Own
    by Virginia Woolf
  • The Art of Fiction: Illustrated from Classic and Modern Texts
    The Art of Fiction: Illustrated from Classic and Modern Texts
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  • The Art of Fiction: Notes on Craft for Young Writers
    The Art of Fiction: Notes on Craft for Young Writers
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  • The Art of the Personal Essay: An Anthology from the Classical Era to the Present
    The Art of the Personal Essay: An Anthology from the Classical Era to the Present
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  • The Associated Press Stylebook 2009 (Associated Press Stylebook and Briefing on Media Law)
    The Associated Press Stylebook 2009 (Associated Press Stylebook and Briefing on Media Law)
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  • Aspects of the Novel
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  • Becoming a Writer
    Becoming a Writer
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  • Bird by Bird: Some Instructions on Writing and Life
    Bird by Bird: Some Instructions on Writing and Life
    by Anne Lamott
  • Booknotes: America's Finest Authors on Reading, Writing, and the Power of Ideas
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  • Brewer's Dictionary of Phrase and Fable, Seventeenth Edition
    Brewer's Dictionary of Phrase and Fable, Seventeenth Edition
    by John Ayto
  • The Careful Writer
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  • The Chicago Manual of Style
    The Chicago Manual of Style
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  • The Copyeditor's Handbook: A Guide for Book Publishing and Corporate Communications
    The Copyeditor's Handbook: A Guide for Book Publishing and Corporate Communications
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  • The Courage to Write: How Writers Transcend Fear
    The Courage to Write: How Writers Transcend Fear
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  • The Craft of Fiction
    The Craft of Fiction
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  • The Editor's Lexicon: Essential Writing Terms for Novelists
    The Editor's Lexicon: Essential Writing Terms for Novelists
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  • Editors on Editing: What Writers Need to Know About What Editors Do
    Editors on Editing: What Writers Need to Know About What Editors Do
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  • The Elements of Style, Fourth Edition
    The Elements of Style, Fourth Edition
    by William Strunk Jr., E. B. White
  • 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
  • Fiction Writer's Handbook
    Fiction Writer's Handbook
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  • Fiction Writer's Workshop
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  • Follow the Story: How to Write Successful Nonfiction
    Follow the Story: How to Write Successful Nonfiction
    by James B. Stewart
  • The Forest for the Trees: An Editor's Advice to Writers
    The Forest for the Trees: An Editor's Advice to Writers
    by Betsy Lerner
  • For Writers Only
    For Writers Only
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  • William Goldman: Four Screenplays with Essays
    William Goldman: Four Screenplays with Essays
    by William Goldman
  • Fowler's Modern English Usage
    Fowler's Modern English Usage
    by the late R. W. Burchfield
  • The Friendly Shakespeare: A Thoroughly Painless Guide to the Best of the Bard
    The Friendly Shakespeare: A Thoroughly Painless Guide to the Best of the Bard
    by Norrie Epstein
  • A Glossary of Literary Terms
    A Glossary of Literary Terms
    by M.H. Abrams, Geoffrey Harpham
  • How Fiction Works
    How Fiction Works
    by James Wood
  • How Not to Write: The Essential Misrules of Grammar
    How Not to Write: The Essential Misrules of Grammar
    by William Safire
  • How to Get Happily Published
    How to Get Happily Published
    by Judith Appelbaum
  • How to Write Science Fiction and Fantasy (Genre Writing)
    How to Write Science Fiction and Fantasy (Genre Writing)
    by Orson Scott Card
  • How To Write Short Stories: With Samples
    How To Write Short Stories: With Samples
    by Ring Lardner
  • If You Want to Write: A Book about Art, Independence and Spirit
    If You Want to Write: A Book about Art, Independence and Spirit
    by Brenda Ueland
  • Inventing the Truth: The Art and Craft of Memoir
    Inventing the Truth: The Art and Craft of Memoir
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  • Keep the Aspidistra Flying (Harvest Book)
    Keep the Aspidistra Flying (Harvest Book)
    by George Orwell
  • Lapsing Into a Comma : A Curmudgeon's Guide to the Many Things That Can Go Wrong in Print--and How to Avoid Them
    Lapsing Into a Comma : A Curmudgeon's Guide to the Many Things That Can Go Wrong in Print--and How to Avoid Them
    by Bill Walsh
  • Letters to a Young Poet: Translated and with a Foreword By Stephen Mitchell
    Letters to a Young Poet: Translated and with a Foreword By Stephen Mitchell
    by Ranier Maria Rilke
  • Making a Good Script Great
    Making a Good Script Great
    by Linda Seger
  • Making a Literary Life
    Making a Literary Life
    by Carolyn See
  • Master Class: Scenes from a Fiction Workshop
    Master Class: Scenes from a Fiction Workshop
    by Paul West
  • Metaphors We Live By
    Metaphors We Live By
    by George Lakoff, Mark Johnson
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    The Midnight Disease: The Drive to Write, Writer's Block, and the Creative Brain
    by Alice Weaver Flaherty
  • Henry Miller on Writing (New Directions Paperbook)
    Henry Miller on Writing (New Directions Paperbook)
    by Henry Miller
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    Movie Speak: How to Talk Like You Belong on a Movie Set
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    Narrative Design: Working with Imagination, Craft, and Form
    by Madison Smartt Bell
  • New Grub Street (Broadview Editions)
    New Grub Street (Broadview Editions)
    by George Gissing
  • Nonconformity
    Nonconformity
    by Nelson Algren
  • On Becoming a Novelist
    On Becoming a Novelist
    by John Gardner
  • One Writer's Beginnings (The William E. Massey Sr. Lectures in the History of American Civilization)
    One Writer's Beginnings (The William E. Massey Sr. Lectures in the History of American Civilization)
    by Eudora Welty
  • On Writing Short Stories
    On Writing Short Stories
    Oxford University Press, USA
  • On Writing: A Memoir Of The Craft
    On Writing: A Memoir Of The Craft
    by Stephen King
  • On Writing Well, 30th Anniversary Edition: The Classic Guide to Writing Nonfiction
    On Writing Well, 30th Anniversary Edition: The Classic Guide to Writing Nonfiction
    by William Zinsser
  • The Oxford Dictionary of Allusions (Oxford Paperback Reference)
    The Oxford Dictionary of Allusions (Oxford Paperback Reference)
    Oxford University Press, USA
  • Poetic Meter and Poetic Form
    Poetic Meter and Poetic Form
    by Paul Fussell
  • The Paris Review Interviews, Vols. 1-4
    The Paris Review Interviews, Vols. 1-4
    by The Paris Review
  • Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them (P.S.)
    Reading Like a Writer: A Guide for People Who Love Books and for Those Who Want to Write Them (P.S.)
    by Francine Prose
  • The Rhetoric of Fiction
    The Rhetoric of Fiction
    by Wayne C. Booth
  • The Right to Write: An Invitation and Initiation into the Writing Life
    The Right to Write: An Invitation and Initiation into the Writing Life
    by Julia Cameron
  • Self-Editing for Fiction Writers, Second Edition: How to Edit Yourself Into Print
    Self-Editing for Fiction Writers, Second Edition: How to Edit Yourself Into Print
    by Renni Browne, Dave King
  • Dan Poynter's Self-Publishing Manual, 16th Edition: How to Write, Print and Sell Your Own Book (Self Publishing Manual)
    Dan Poynter's Self-Publishing Manual, 16th Edition: How to Write, Print and Sell Your Own Book (Self Publishing Manual)
    by Dan Poynter
  • Simple & Direct
    Simple & Direct
    by Jacques Barzun
  • Sister Bernadette's Barking Dog: The Quirky History and Lost Art of Diagramming Sentences
    Sister Bernadette's Barking Dog: The Quirky History and Lost Art of Diagramming Sentences
    by Kitty Burns Florey
  • The Situation and the Story: The Art of Personal Narrative
    The Situation and the Story: The Art of Personal Narrative
    by Vivian Gornick
  • The Sound on the Page: Great Writers Talk about Style and Voice in Writing
    The Sound on the Page: Great Writers Talk about Style and Voice in Writing
    by Ben Yagoda
  • Story: Substance, Structure, Style and The Principles of Screenwriting
    Story: Substance, Structure, Style and The Principles of Screenwriting
    by Robert Mckee
  • Stylish Academic Writing
    Stylish Academic Writing
    by Helen Sword
  • Successful Television Writing
    Successful Television Writing
    by Lee Goldberg, William Rabkin
  • The Summing Up
    The Summing Up
    by W. Somerset Maugham
  • 13 Ways of Looking at the Novel
    13 Ways of Looking at the Novel
    by Jane Smiley
  • Tales from the Script: 50 Hollywood Screenwriters Share Their Stories
    Tales from the Script: 50 Hollywood Screenwriters Share Their Stories
    by Peter Hanson, Paul Robert Herman
  • To Show and to Tell: The Craft of Literary Nonfiction
    To Show and to Tell: The Craft of Literary Nonfiction
    by Phillip Lopate
  • Understanding Comics: The Invisible Art
    Understanding Comics: The Invisible Art
    by Scott Mccloud
  • What If? Writing Exercises for Fiction Writers
    What If? Writing Exercises for Fiction Writers
    by Anne Bernays, Pamela Painter
  • 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 Writer on Her Work, Volume 1
    The Writer on Her Work, Volume 1
    by Janet Sternberg
  • The Writers Journey: Mythic Structure for Writers, 3rd Edition
    The Writers Journey: Mythic Structure for Writers, 3rd Edition
    by Christopher Vogler
  • 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
    The Writing Life
    by Annie Dillard
  • 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 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

QUOTE OF THE DAY

Tuesday
Mar102015

Short is Better Than Long

Repeat after me:
Short is better than long.
 Simple is good. (Louder.)
Long Latin nouns are the enemy.
 Anglo-Saxon active verbs are your best friend.
One thought per sentence.

WILLIAM ZINSSER

Monday
Mar092015

Writers Have to Have Two Countries

Everybody who writes is interested in living inside themselves in order to tell what is inside themselves. That is why writers have to have two countries, the one where they belong and the one in which they live really.

GERTRUDE STEIN

Sunday
Mar082015

Writing Is A Dangerous Undertaking

It is not enough merely to love literature, if one wishes to spend one’s life as a writer. It is a dangerous undertaking on the most primitive level. For, it seems to me, the act of writing with serious intent involves enormous personal risk. It entails the ongoing courage for self-discovery. It means one will walk forever on the tightrope, with each new step presenting the possibility of learning a truth about oneself that is too terrible to bear.

HARLAN ELLISON

Saturday
Mar072015

Tell the Reader to Go Jump in the Lake

The writer is only free when he can tell the reader to go jump in the lake. You want, of course, to get what you have to show across to him, but whether he likes it or not is no concern of the writer.

FLANNERY O’CONNOR

Friday
Mar062015

Characters Make Us Love Fiction

Characters are what make us love fiction, what make the stories stick with us and speak to us. Yes, plot and sense of place and action and the language are hugely important. But a novel would be a boring affair indeed without those who populate it.

SILAS HOUSE

Thursday
Mar052015

Advice Is Tricky When It Comes to Comedy

Advice is tricky when it comes to comedy, because people are either funny or they are not. If someone is funny, there are many ways to get better. Most everything I know, I learned from Gary Shandling. Whenever we got stuck, he always said, “What is the truth here? What would someone actually do?” He pushed his writers to go deeper to the core.

JUDD APATOW

Wednesday
Mar042015

Inside-Out Characters

I don’t like to throw characters into a plot as though it were a raging torrent where they are swept along. What interests me are the complications and nuances of character. Few of my characters are described externally; we see them from the inside out.

MICHAEL ONDAATJE

Tuesday
Mar032015

Read Ceaselessly

The greatest symbol of what writing is about is the full text version of the Oxford English Dictionary. The CD-ROM version is nice, but the physical enormity of the printed text gives a writer a sense of humility (if that is still possible), because the mountain to be scaled is the language. Auden used to sit on the first volume while at the dinner table, the better to stay even with language and with dinner. Any good teacher I've ever had—and the best was John McPhee—stressed the enormity of choice English provides, its capacity for clarity and ambiguity, dullness and thrill. It is the greatest invention ever devised (and re-devised). And, of course, the only way to get anywhere as a writer is to have read ceaselessly and then read some more. Pound (that rat) says somewhere that it is incredible to him that so many "poets" simply pick up a pen and start writing verse and call it poetry, while a would-be pianist knows full well how necessary it is to master scales and thousands of exercises before making music worthy of the name. Playing scales, for a writer, means reading. Is there any real writing that has no reading behind it? I don't think so.

DAVID REMNICK

Monday
Mar022015

Bring it Back to What You Really Feel

Almost the whole problem of writing poetry is to bring it back to what you really feel, and that takes an awful lot of maneuvering. You may feel the doorknob more strongly than some big personal event, and the doorknob will open into something you can use as your own.

ROBERT LOWELL

Sunday
Mar012015

Short Paragraphs

Short paragraphs put air around what you write and make it look inviting, whereas one long chunk of type can discourage the reader from even starting to read.

WILLIAM ZINSSER

Saturday
Feb282015

Keep Your Self-Doubt

The writer who loses his self-doubt, who gives way as he grows old to a sudden euphoria, to prolixity, should stop writing immediately: the time has come for him to lay aside his pen.

COLETTE

Friday
Feb272015

The Most Important Part of Storytelling

I think the most important part of storytelling is tension. It's the constant tension of suspense that in a sense mirrors life, because nobody knows what's going to happen three hours from now.

RICHARD CONDON

Thursday
Feb262015

No Day Without A Line

It is helpful to write always at the same time of day. Scheduled obligations often raise problems, but an hour or two can almost always be found in the early morning-when the telephone never rings and no one knocks at the door. And it is important that you write something, regardless of quantity, every day. As the Romans put it, Nulla dies sine linea--No day without a line. (They were speaking of lines drawn by artists, but the rule applies as well to the writer.) As a result of all this, the setting almost automatically evokes verbal behavior. No warm-up is needed. A circadian rhythm develops that is extremely powerful. At a certain time every day, you will be highly disposed to engage in serious verbal behavior.

B.F. SKINNER

Wednesday
Feb252015

Bird By Bird

Thirty years ago my older brother, who was ten years old at the time, was trying to get a report on birds written that he’d had three months to write, which 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.”

ANNE LAMOTT

Tuesday
Feb242015

You Don't Always Have to Murder Your Darlings

You don’t always have to go so far as to murder your darlings – those turns of phrase or images of which you felt extra proud when they appeared on the page — but go back and look at them with a very beady eye. Almost always it turns out that they’d be better dead. (Not every little twinge of satisfaction is suspect – it’s the ones which amount to a sort of smug glee you must watch our for.)

DIANA ATHILL

Monday
Feb232015

Murder Your Darlings

If you require a practical rule of me, I will present you with this: Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—wholeheartedly—and delete it before sending your manuscript to press. Murder your darlings.

ARTHUR QUILLER-COUCH

Sunday
Feb222015

The Ear Demands Variety

This sentence has five words. Here are five more words. Five-word sentences are fine. But several together become monotonous. Listen to what is happening. The writing is getting boring. The sound of it drones. It’s like a stuck record. The ear demands some variety. Now listen. I vary the sentence length, and I create music. Music. The writing sings. It has a pleasant rhythm, a lilt, a harmony. I use short sentences. And I use sentences of medium length. And sometimes, when I am certain the reader is rested, I will engage him with a sentence of considerable length, a sentence that burns with energy and builds with all the impetus of a crescendo, the roll of the drums, the crash of the cymbals–sounds that say listen to this, it is important.

GARY PROVOST

Saturday
Feb212015

Don't Be Bullied By Punctuation

When speaking aloud, you punctuate constantly—with body language. Your listener hears commas, dashes, question marks, exclamation points, quotation marks as you shout, whisper, pause, wave your arms, roll your eyes, wrinkle your brow. In writing, punctuation plays the role of body language. It helps readers hear you the way you want to be heard. Careful use of those little marks emphasizes the sound of your distinctive voice and keeps the reader from becoming bored or confused. . . . [Punctuation] exists to serve you. Don’t be bullied into serving it.

RUSSELL BAKER

Friday
Feb202015

The Point Is To Be Heard

Each of us is like a desert, and a literary work is like a cry from the desert, or like a pigeon let loose with a message in its claws, or like a bottle thrown into the sea. The point is: to be heard—even if by one single person.

FRANÇOIS MAURIAC

Thursday
Feb192015

Find What Gave You Emotion

Find what gave you emotion; what the action was that gave you excitement. Then write it down making it clear so that the reader can see it too. Prose is architecture, not interior decoration, and the Baroque is over.

ERNEST HEMINGWAY