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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
    by William Goldman
  • APE: Author, Publisher, Entrepreneur-How to Publish a Book
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    by Guy Kawasaki, Shawn Welch
  • 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
    by David Lodge
  • The Art of Fiction: Notes on Craft for Young Writers
    The Art of Fiction: Notes on Craft for Young Writers
    by John Gardner
  • 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
    Aspects of the Novel
    by E.M. Forster
  • Becoming a Writer
    Becoming a Writer
    by Dorothea Brande
  • 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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    by Theodore M. Bernstein
  • 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
    by Amy Einsohn
  • The Courage to Write: How Writers Transcend Fear
    The Courage to Write: How Writers Transcend Fear
    by Ralph Keyes
  • The Craft of Fiction
    The Craft of Fiction
    by Percy Lubbock
  • The Editor's Lexicon: Essential Writing Terms for Novelists
    The Editor's Lexicon: Essential Writing Terms for Novelists
    by Sarah Cypher
  • Editors on Editing: What Writers Need to Know About What Editors Do
    Editors on Editing: What Writers Need to Know About What Editors Do
    Grove Press
  • 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
    by Hallie Burnett, Whit Burnett
  • Fiction Writer's Workshop
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  • Flaubert's Parrot
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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
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  • William Goldman: Four Screenplays with Essays
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    by William Goldman
  • Fowler's Modern English Usage
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    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
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    by M.H. Abrams, Geoffrey Harpham
  • How Fiction Works
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    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)
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    by Orson Scott Card
  • 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
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  • Keep the Aspidistra Flying (Harvest Book)
    Keep the Aspidistra Flying (Harvest Book)
    by George Orwell
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    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
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    Letters to a Young Poet: Translated and with a Foreword By Stephen Mitchell
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    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
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    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
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    Henry Miller on Writing (New Directions Paperbook)
    by Henry Miller
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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
  • 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
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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

Saturday
May242014

Forget the Boring Old Dictum, “Write What You Know”

Forget the boring old dictum "write about what you know." Instead, seek out an unknown yet knowable area of experience that's going to enhance your understanding of the world and write about that.

ROSE TREMAIN

Friday
May232014

Write About Something That Has No Fashion

I get very impatient about plays and books with induced political themes. They last at the most five, ten, fifteen years. Emily Dickinson poems are about solitude and the corridors of the mind. They last forever. I don’t know whether I will last or not last. All I know is that I want to write about something that has no fashion and that does not pander to any period or to a journalistic point of view. I want to write about something that would apply to any time because it’s a state of the soul.

EDNA O’BRIEN

Thursday
May222014

“Very” is the Most Useless Word in the English Language

“Very” is the most useless word in the English language and can always come out. More than useless, it is treacherous because it invariably weakens what it is intended to strengthen. For example, would you rather hear the mincing shallowness of “I love you very much” or the heart-slamming intensity of “I love you”?

FLORENCE KING

Wednesday
May212014

Don't Switch Characters

It is a psychological trait in human nature that interest is established in the persons whom the playwright introduces at he beginning of his play so firmly that if the interest is then switched off to other persons who enter upon the scene later, a sense of disappointment ensues.

SOMERSET MAUGHAM

Tuesday
May202014

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

Monday
May192014

Neil Gaiman’s 8 Good Writing Practices

1. Write.

2. Put one word after another. Find the right word, put it down.

3. Finish what you're writing. Whatever you have to do to finish it, finish it.

4. Put it aside. Read it pretending you’ve never read it before. Show it to friends whose opinion you respect and who like the kind of thing that this is.

5. Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.

6. Fix it. Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving.

7. Laugh at your own jokes.

8. The main rule of writing is that if you do it with enough assurance and confidence, you’re allowed to do whatever you like. (That may be a rule for life as well as for writing. But its definitely true for writing.) So write your story as it needs to be written. Write it honestly, and tell it as best you can. I'm not sure that there are any other rules. Not ones that matter.

Sunday
May182014

Find the Universal in the Local

As a writer one doesn’t belong anywhere. Fiction writers, I think, are even more outside the pale, necessarily on the edge of society. Because society and people are our meat, one really doesn’t belong in the midst of society. The great challenge in writing is always to find the universal in the local, the parochial. And to do that, one needs distance.

WILLIAM TREVOR

Saturday
May172014

Stop When It's Going Well

My favorite “trick” is to stop writing at a point where I know that I can pick up easily the next day. I’ll stop in mid-paragraph, often in midsentence. It makes getting out of bed so much easier, because I know that all I’ll have to do to be productive is complete the sentence. And by then I’ll be seated at my desk, coffee and Oreo cookie at hand, the morning’s inertia overcome. There’s an added advantage: The human brain hates incomplete sentences. All night my mind will have secretly worked on the passage and likely mapped out the remainder of the page, even the chapter, while simultaneously sending me on a dinner date with Cate Blanchett.

ERIK LARSON

Thursday
May152014

The Writer Must Be A Psychologist

The writer must be a psychologist, but a secret one; he must sense and know the roots of phenomena, but offer only the phenomena themselves as they blossom or wither.

IVAN TURGENEV

Wednesday
May142014

A Writer Cares What Words Mean

A writer is a person who cares what words mean, what they say, how they say it. Writers know words are their way towards truth and freedom, and so they use them with care, with thought, with fear, with delight. By using words well, they strengthen their souls. Story-tellers and poets spend their lives learning that skill and art of using words well. And their words make the souls of their readers stronger, brighter, deeper.

URSULA LE GUIN

Tuesday
May132014

You're A Boxer

You’re a boxer. Your job is to get punched in the face and keep swinging. It’s easy for anybody to say, “I wrote five scripts. None of them sold. I gave it my best shot. I’m moving back to Chicago.” You can’t do that. If you want a career in Hollywood, you can’t fail. You can quit, which most people do when they don’t achieve success as quickly as they’d like, but you can’t fail. There are as many opportunities as you can create for yourself. You can write a script a day, every day, for your whole life, if you’re that motivated.

ADAM RIFKIN

Monday
May122014

Zadie Smith’s Advice to Writers

1. When still a child, make sure you read a lot of books. Spend more time doing this than anything else.

2. When an adult, try to read your own work as a stranger would read it, or even better, as an enemy would.

3. Don’t romanticize your “vocation.” You can either write good sentences or you can’t. There is no “writer’s lifestyle.” All that matters is what you leave on the page.

4. Avoid your weaknesses. But do this without telling yourself that the things you can’t do aren’t worth doing. Don’t mask self-doubt with contempt.

5. Leave a decent space of time between writing something and editing it.

6. Avoid cliques, gangs, groups. The presence of a crowd won’t make your writing any better than it is.

7. Work on a computer that is disconnected from the internet.

8. Protect the time and space in which you write. Keep everybody away from it, even the people who are most important to you.

9. Don’t confuse honors with achievement.

10. Tell the truth through whichever veil comes to hand, but tell it. Resign yourself to the lifelong sadness that comes from never being satisfied. 

Sunday
May112014

Keep the Momentum Going

One of the vital things for a writer who’s writing a book, which is a lengthy project and is going to take about a year, is how to keep the momentum going. It is the same with a young person writing an essay. They have got to write four or five or six pages. But when you are writing it for a year, you go away and you have to come back. I never come back to a blank page; I always finish about halfway through. To be confronted with a blank page is not very nice. But Hemingway, a great American writer, taught me the finest trick when you are doing a long book, which is, he simply said in his own words, “When you are going good, stop writing.” And that means that if everything’s going well and you know exactly where the end of the chapter’s going to go and you know just what the people are going to do, you don’t go on writing and writing until you come to the end of it, because when you do, then you say, well, where am I going to go next? And you get up and you walk away and you don’t want to come back because you don’t know where you want to go. But if you stop when you are going good, as Hemingway said…then you know what you are going to say next. You make yourself stop, put your pencil down and everything, and you walk away. And you can’t wait to get back because you know what you want to say next and that’s lovely and you have to try and do that. Every time, every day all the way through the year. If you stop when you are stuck, then you are in trouble!

ROALD DAHL

Saturday
May102014

Prefer the Familiar Word to the Far-fetched

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
May092014

Trust Your Reader

Trust your reader. Not everything needs to be explained. If you really know something, and breathe life into it, they'll know it too.

ESTHER FREUD

Thursday
May082014

Respect Your Characters

Respect your characters, even the ­minor ones. In art, as in life, everyone is the hero of their own particular story; it is worth thinking about what your minor characters' stories are, even though they may intersect only slightly with your protagonist's.

SARAH WATERS

Wednesday
May072014

Work Inspires Inspiration

Work inspires inspiration. Keep working. If you succeed, keep working. If you fail, keep working. If you’re interested, keep working. If you’re bored, keep working.

MICHAEL CRICHTON

Tuesday
May062014

It's All for Clarity

I would imagine that most writers revise, one way or another. Maybe they don’t revise as extensively on paper, but the process of writing is a process of inner expansion and reduction. It’s like an accordion: You open it and then you bring it back, hoping that additional sound—a new clarity—may come out. It’s all for clarity.

JERZY KOSINSKI

Monday
May052014

Geoff Dyer’s Rules for Writers

1. Never worry about the commercial possibilities of a project. That stuff is for agents and editors to fret over – or not. Conversation with my American publisher. Me: "I'm writing a book so boring, of such limited commercial appeal, that if you publish it, it will probably cost you your job." Publisher: "That's exactly what makes me want to stay in my job."

2. Don't write in public places. In the early 1990s I went to live in Paris. The usual writerly reasons: back then, if you were caught writing in a pub in England, you could get your head kicked in, whereas in Paris, dans les cafés . . . Since then I've developed an aversion to writing in public. I now think it should be done only in private, like any other lavatorial activity.

3. Don't be one of those writers who sentence themselves to a lifetime of sucking up to Nabokov.

4. 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!

5. Keep a diary. The biggest regret of my writing life is that I have never kept a journal or a diary.

6. Have regrets. They are fuel. On the page they flare into desire.

7. Have more than one idea on the go at any one time. If it's a choice between writing a book and doing nothing I will always choose the latter. It's only if I have an idea for two books that I choose one rather than the other. I ­always have to feel that I'm bunking off from something.

8. 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.

9. Do it every day. Make a habit of putting your observations into words and gradually this will become instinct. This is the most important rule of all and, naturally, I don't follow it.

10. Never ride a bike with the brakes on. If something is proving too difficult, give up and do something else. Try to live without resort to per­severance. But writing is all about perseverance. You've got to stick at it. In my 30s I used to go to the gym even though I hated it. The purpose of going to the gym was to postpone the day when I would stop going. That's what writing is to me: a way of postponing the day when I won't do it any more, the day when I will sink into a depression so profound it will be indistinguishable from perfect bliss.

Sunday
May042014

Words Can Be Comets

These letters and syllables we play with are like the gritty heads of comets—miniscule in mass, but vivid in the luminescence that surrounds them. Why does a comet have a fiery tail? From the impact of plasma as it nears the sun.  At the outer reaches of its orbit, a comet is a cold, sluggish conglomerate of interplanetary gravel. But then it plunges toward the light, to contest its speed with the field of the sun that locks it in a long ellipse. The stony nucleus stirs to life, whipped around the sun by the lash of gravity. Words can be comets, carrying bright clouds of context, signaling to us with a glow of multiple meanings. They splay out from the near weightless nucleus of syllables, challenged by a force field of ideas, made radiant by the impact of thought. Leaf through the bulk of today’s mail: drab constellations of expected and smog-dimmed stars. Why not write in letters of fire? We need events in our literary sky. Astonish us with the coming of a comet.

ROBERT E. LEE and LUCY LEE

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