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Recommended Books
  • A Dash of Style: The Art and Mastery of Punctuation
    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
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  • 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
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  • Bird by Bird: Some Instructions on Writing and Life
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  • 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
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  • The Careful Writer
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  • 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
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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
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  • Endangered Species: Writers Talk About Their Craft, Their Visions, Their Lives
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  • 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
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  • The Forest for the Trees: An Editor's Advice to Writers
    The Forest for the Trees: An Editor's Advice to Writers
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  • 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
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  • 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
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    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)
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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
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  • 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
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    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
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    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

Friday
Jan222016

You Must Have Discipline

You must have discipline for writing. It is not an easy task. It is very lonely. You're all alone. You are not in company. You are not enjoying yourself in that sense. You are enjoying yourself in another sense. You are delving into your depths, but you are profoundly lonely. It is one of the loneliest careers in the world. In the theater, you are with companions, with directors, actors. In film. In an office. In writing, you are alone. That takes a lot of strength and a lot of will to do it.

CARLOS FUENTES

Thursday
Jan212016

A Writer Has To Put Down What He Sees

A writer has to take all the risks of putting down what he sees. No one can tell him about that. No one can control that reality. It reminds me of something Pablo Picasso was supposed to have said to Gertrude Stein while he was painting her portrait. Gertrude said, “I don’t look like that.” And Picasso replied, “You will.” And he was right.

JAMES BALDWIN

Wednesday
Jan202016

Don't Think

Don't think. Thinking is the enemy of creativity. It's self-conscious, and anything self-conscious is lousy. You can't try to do things. You simply must do things.

RAY BRADBURY

Tuesday
Jan192016

Writing is Linear and Sequential

Writing is linear and sequential; Sentence B must follow Sentence A, and Sentence C must follow Sentence B, and eventually you get to Sentence Z. The hard part of writing isn’t the writing; it’s the thinking. You can solve most of your writing problems if you stop after every sentence and ask: What does the reader need to know next?”

WILLIAM ZINSSER

Monday
Jan182016

Constantly Refine and Expand Your AutoCorrect Settings

If you use a computer, constantly refine and expand your autocorrect settings. The only reason I stay loyal to my piece-of-shit computer is that I have invested so much ingenuity into building one of the great auto­correct files in literary history. Perfectly formed and spelt words emerge from a few brief keystrokes: "Niet" becomes "Nietzsche", "phoy" becomes  ­"photography" and so on. Genius!

GEOFF DYER

Sunday
Jan172016

Beware of Writers Who Tell You How Hard They Work

Beware of writers who tell you how hard they work. (Beware of anybody who tries to tell you that.) Writing is indeed often dark and lonely, but no one really has to do it. Yes, writing can be complicated, exhausting, isolating, abstracting, boring, dulling, briefly exhilarating; it can be made to be grueling and demoralizing. And occasionally it can produce rewards. But it's never as hard as, say, piloting an L-1011 into O'Hare on a snowy night in January, or doing brain surgery when you have to stand up for 10 hours straight, and once you start you can't just stop. If you're a writer, you can stop anywhere, any time, and no one will care or ever know. Plus, the results might be better if you do.

RICHARD FORD

Saturday
Jan162016

Treat Writing As A Job

Treat writing as a job. Be disciplined. Lots of writers get a bit OCD-ish about this. Graham Greene famously wrote 500 words a day. Jean Plaidy managed 5,000 before lunch, then spent the afternoon answering fan mail. My minimum is 1,000 words a day – which is sometimes easy to achieve, and is sometimes, frankly, like shitting a brick, but I will make myself stay at my desk until I've got there, because I know that by doing that I am inching the book forward. Those 1,000 words might well be rubbish–they often are. But then, it is always easier to return to rubbish words at a later date and make them better.

SARAH WATERS

Friday
Jan152016

Beware of Clichés

Beware of clichés. Not just the clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought–even of conception. Many novels, even quite a few adequately written ones, are clichés of form which conform to clichés of expectation.

GEOFF DYER

Thursday
Jan142016

An Artist Should Lead A Questing Life

It's a cliché, certainly, to say an artist or a writer should lead a questing life. It's less often acknowledged, however, that in pursuing such a quest, a person frequently leaves behind a trail of at least minor injustices. I believe an artist has to remind herself or himself, in other words, that when you write or paint or compose music, you draw in mysterious ways on the courtesy and genius of the community. It is this sensitivity to gifts welling up unbidden, this awareness of the fate of the community, no matter how ego-driven or self-absorbed a writer or artist might become, and no matter how singular the work, that divides art from commerce.

BARRY LOPEZ

Tuesday
Jan122016

The Writing Habit

In writing, habit seems to be a much stronger force than either willpower or inspiration. Consequently there must be some little quality of fierceness until the habit pattern of a certain number of words is established. There is no possibility, in me at least, of saying, “I’ll do it if I feel like it.” One never feels like awaking day after day. In fact, given the smallest excuse, one will not work at all. The rest is nonsense. Perhaps there are people who can work that way, but I cannot. I must get my words down every day whether they are any good or not.

JOHN STEINBECK

Monday
Jan112016

Becoming A Writer Is About Becoming Conscious

Becoming a writer is about becoming conscious. When you're conscious and writing from a place of insight and simplicity and real caring about the truth, you have the ability to throw the lights on for your reader. He or she will recognize his or her life and truth in what you say, in the pictures you have painted, and this decreases the terrible sense of isolation that we have all had too much of.

ANNE LAMOTT

Sunday
Jan102016

Good Work Only Comes Through Revision

After a lifetime of hounding authors for advice, I’ve heard three truths from every mouth: (1) Writing is painful—it’s “fun” only for novices, the very young, and hacks; (2) other than a few instances of luck, good work only comes through revision; (3) the best revisers often have reading habits that stretch back before the current age, which lends them a sense of history and raises their standards for quality.

MARY KARR

Saturday
Jan092016

Prefer the Short Word to the Long

Prefer the familiar word to the far-fetched. Prefer the concrete word to the abstract. Prefer the single word to the circumlocution. Prefer the short word to the long. Prefer the Saxon word to the Romance.

HENRY WATSON FOWLER

Friday
Jan082016

Art Pulls People Up Short

Art can make a difference because it pulls people up short. It says, don’t accept things for their face value; you don’t have to go along with any of this; you can think for yourself.

JEANETTE WINTERSON

Thursday
Jan072016

Write Things That Some Men Will Condemn

If a writer is so cautious that he never writes anything that cannot be criticized, he will never be able to write anything that can be read. If you want to help other people, you have got to make up your mind to write things that some men will condemn.

THOMAS MERTON

Wednesday
Jan062016

Screenplays Are Structure

Screenplays are structure, and that’s all they are. The quality of writing—which is crucial in almost every other form of literature—is not what makes a screenplay work. Structure isn’t anything else but telling the story, starting as late as possible, starting each scene as late as possible. You don’t want to begin with “Once upon a time,” because the audience gets antsy.

WILLIAM GOLDMAN

Tuesday
Jan052016

Avoid Prologues

Avoid prologues. They can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in nonfiction. A prologue in a novel is backstory, and you can drop it in anywhere you want.

ELMORE LEONARD

Monday
Jan042016

Voice is the Music of the Story's Intelligence

I think voice is the music of the story's intelligence, that the voice of a novel, the voice of a story, is not the speaking voice of Frank Bascombe but it is something a good bit more complex. It is how a novel sounds when it is doing its most important business on you, when it is, as novels do, as poems do,. Novels lean on us. They are artifice. They are rhetorical. They are trying to affect us and change us. And that's what I hear, what I understand, when I use the word “voice.”

RICHARD FORD

Sunday
Jan032016

Semicolons Don't Belong in a Story

I like commas. I detest semicolons. I don't think they belong in a story. I gave up quotation marks long ago. I found I didn't need them, they were fly-specks on the page. If you're doing it right, the reader will know who's talking.

E.L. DOCTOROW

Saturday
Jan022016

Stop When You Are Going Good

The best way is always to stop when you are going good and when you know what will happen next. If you do that every day when you are writing a novel you will never get stuck.

ERNEST HEMINGWAY