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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
    by Noah Lukeman
  • 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
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  • 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
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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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  • The Careful Writer
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    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
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  • The Elements of Style, Fourth Edition
    The Elements of Style, Fourth Edition
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  • Fiction Writer's Handbook
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    For Writers Only
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    The Friendly Shakespeare: A Thoroughly Painless Guide to the Best of the Bard
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  • A Glossary of Literary Terms
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  • How Fiction Works
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  • How to Get Happily Published
    How to Get Happily Published
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  • How to Write Science Fiction and Fantasy (Genre Writing)
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  • How To Write Short Stories: With Samples
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  • If You Want to Write: A Book about Art, Independence and Spirit
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  • Inventing the Truth: The Art and Craft of Memoir
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    Keep the Aspidistra Flying (Harvest Book)
    by George Orwell
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    by Bill Walsh
  • Letters to a Young Poet: Translated and with a Foreword By Stephen Mitchell
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    Making a Literary Life
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    Master Class: Scenes from a Fiction Workshop
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    New Grub Street (Broadview Editions)
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    The Oxford Dictionary of Allusions (Oxford Paperback Reference)
    Oxford University Press, USA
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    Poetic Meter and Poetic Form
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    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.)
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    The Rhetoric of Fiction
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    The Right to Write: An Invitation and Initiation into the Writing Life
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    Self-Editing for Fiction Writers, Second Edition: How to Edit Yourself Into Print
    by Renni Browne, Dave King
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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
    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
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  • 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
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    Stylish Academic Writing
    by Helen Sword
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    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

Sunday
Nov172013

Perfectionism is the Voice of the Oppressor

Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life, and it is the main obstacle between you and a shitty first draft. I think perfectionism is based on the obsessive belief that if you run carefully enough, hitting each stepping-stone just right, you won't have to die. The truth is that you will die anyway and that a lot of people who aren't even looking at their feet are going to do a whole lot better than you, and have a lot more fun while they're doing it.

ANNE LAMOTT

Saturday
Nov162013

Three Reasons for Becoming A Writer

There are three reasons for becoming a writer: the first is that you need the money; the second, that you have something to say that you think the world should know; the third is that you can’t think of what to do with the long winter evenings.

QUENTIN CRISP

Friday
Nov152013

Look Procrastination In the Eye

Procrastination is an alluring siren taunting you to Google the country where Balki from Perfect Strangers was from, and to arrange sticky notes on your dog in the shape of hilarious dog shorts. A wicked temptress beckoning you to watch your children, and take showers. Well, it’s time to look procrastination in the eye and tell that seafaring wench, “Sorry, not today, today I write.”

COLIN NISSAN

Thursday
Nov142013

Imagine A Sentence As A Boat

I like to imagine a sentence as a boat. Each sentence, after all, has a distinct shape, and it comes with something that makes it move forward or stay still — whether a sail, a motor or a pair of oars. There are as many kinds of sentences as there are seaworthy vessels: canoes and sloops, barges and battleships, Mississippi riverboats and dinghies all-too-prone to leaks. And then there are the impostors, flotsam and jetsam — a log heading downstream, say, or a coconut bobbing in the waves without a particular destination. 

 . . .

Just as there is no one perfect boat, there is no one perfect sentence structure. Mark Twain wrote sentences that were as humble, sturdy and American as a canoe; William Faulkner wrote sentences as gaudy as a Mississippi riverboat. But no matter the atmospherics, the best sentences bolt a clear subject to a dramatic predicate, making a mini-narrative.

CONSTANCE HALE

Wednesday
Nov132013

Change Things If Somebody Else Is Right

You have the right to not change anything, but don’t be a fool. Change things if somebody else is right. But if you do change something because somebody else is right, you must instantly take credit for it yourself. That’s very important.

EDWARD ALBEE

Tuesday
Nov122013

Birds Eye Peas

Birds Eye Peas: a rule taught to me by a writing teacher who said not to use brand names or products so specific they could quickly render your stories out of date

A.M. HOMES

Monday
Nov112013

The Essential Human Drama Will Never Change

Technology may change minutiae of plot, but the essential human drama will never change. Good fiction depends on longing and subtext — the tension between what people say and what they want. Characters used to wait to receive letters; now they wait for Facebook messages or Twitter mentions. Characters used to wonder about lost loves; now they Google those ex-lovers. But they are still waiting and wondering. They are still aching and yearning, trying to overcome obstacles. Even in this hyper-connected digital age, there is desire and subtext, conflict and loss. So there will always be good stories.

ELLIOTT HOLT

Sunday
Nov102013

A Book is a Heart That Only Beats in the Chest of Another

The object we call a book is not the real book, but its seed or potential, like a music score. It exists fully only in the act of being read; and its real home is inside the head of the reader, where the seed germinates and the symphony resounds. A book is a heart that only beats in the chest of another. The child I once was read constantly and hardly spoke, because she was ambivalent about the merits of communication, about the risks of being mocked or punished or exposed. The idea of being understood and encouraged, of recognizing herself in another, of affirmation, had hardly occurred to her and neither had the idea that she had something to give others. So she read, taking in words in huge quantities, a children’s and then an adult’s novel a day for many years, seven books a week or so, gorging on books, fasting on speech, carrying piles of books home from the library.

REBECCA SOLNIT

Saturday
Nov092013

Writing Brings Satisfaction Like Nothing Else

Writing can’t be planned for or predicted, and when it happens, when the surge begins, it brings a satisfaction like nothing else. There are finer sensualities, sure, and basic emotions that give joy or connection when released, but as far as giving me a sustained sense that this is who I am, this is what I do, a full-fathom immersion in writing is the ultimate verification. Alone at my attic desk, catching the flow of words, when the flow is there to be caught — or generating it when it is there to be generated — I break with my more tentative self, claim some more necessary seeming “I.” The change has everything to do with finding words and their sequence. The joy prolongs itself for a short time after I stop — a resonance, a psychic afterglow — then it tapers away, the other life resumes. But I am already thinking toward the next occasion.

SVEN BIRKERTS

Friday
Nov082013

One Writes Mainly to Rewrite

Writing a first draft is like groping one's way into a dark room, or overhearing a faint conversation, or telling a joke whose punchline you've forgotten. As someone said, one writes mainly to rewrite, for rewriting and revising are how one's mind comes to inhabit the material fully.

TED SOLOTAROFF

Thursday
Nov072013

Keep Away from People Who Belittle Your Ambitions

Keep away from people who try to belittle your ambitions. Small people always do that, but the really great make you feel that you, too, can become great.

MARK TWAIN

Wednesday
Nov062013

Autobiography Begins with Memory

Autobiography is a life writing its life. . . . How does autobiography begin? With memory. And the consequent division of the self into the-one-who-was and the-one-who-is. The-one-who-is has the advantage of having been the-one-who-was. Once. The-one-who-was is, furthermore, at the present self’s mercy, for it may not wish to remember that past, or it may wish the-one-who-was was other than the one it was, and consequently alter its description, since the-one-who-is is writing the history and has the upper hand. Every moment a bit of the self slides away toward its station in the past, where it will be remembered partially, if at all; with distortions, if at all; and then rendered even more incompletely, with graver omissions and twists to the plot by the play of the pen, so that its text will no doubt be subsequently and inaccurately read, systematically misinterpreted and put to use in yet another version, possibly by a biographer bent on revising the customary view of you and surrounding his selected subject with himself, as Sartre surrounded Genet, as a suburb surrounds a town and slowly sucks its center out.

WILLIAM GASS

Tuesday
Nov052013

Sentences Are the Bricks as Well as the Mortar

Constructing a sentence is the equivalent of taking a Polaroid snapshot: pressing the button, and watching something emerge. To write one is to document and to develop at the same time. Not all sentences end up in novels or stories. But novels and stories consist of nothing but. Sentences are the bricks as well as the mortar, the motor as well as the fuel. They are the cells, the individual stitches. Their nature is at once solitary and social. Sentences establish tone, and set the pace. One in front of the other marks the way.

JHUMPA LAHIRI

Monday
Nov042013

Writing Is A Muscle

Writing is a muscle. Smaller than a hamstring and slightly bigger than a bicep, and it needs to be exercised to get stronger. Think of your words as reps, your paragraphs as sets, your pages as daily workouts. Think of your laptop as a machine like the one at the gym where you open and close your inner thighs in front of everyone, exposing both your insecurities and your genitals. Because that is what writing is all about.

COLIN NISSAN

Sunday
Nov032013

Artists Are Spies

Most of us live in a condition of secrecy: secret desires, secret appetites, secret hatreds and relationship with the institutions which is extremely intense and uncomfortable. These are, to me, a part of the ordinary human condition. So I don't think I'm writing about abnormal things. ... Artists, in my experience, have very little center. They fake. They are not the real thing. They are spies. I am no exception.

JOHN LE CARRÉ

Saturday
Nov022013

There’s Nothing Worse for Plots Than Cellphones

There’s nothing worse for plots than cellphones. Once your characters have one, there’s no reason for them to get lost or stranded. Or miss each other at the top of the Empire State Building. If you want anything like that to happen, you either have to explain upfront what happened to the phones or you have to make at least one character some sort of manic pixie Luddite who doesn’t carry one.

RAINBOW ROWELL

Friday
Nov012013

Try To Summarize Your Novel in a Sentence or Two

I sometimes suggest to inexperienced writers that they try to summarize their novels in progress in a sentence or two. It’s a useful though limited way of finding out whether a book has a coherent theme, a theme that’s likely to attract readers. “One day in the life of a humble prisoner in Stalin’s gulag,” or “one day in the life of a middle-aged mediocre Dublin Jew, explored as an odyssey,” would convince most literate people that there was, at least, a worthy and intelligible subject.

D.M. THOMAS

Thursday
Oct312013

Omit Needless Words

Omit needless words. Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell.

WILLIAM STRUNK, JR. and E.B. WHITE

Wednesday
Oct302013

Try to Write About the Darkest Things in the Soul

I talk about the things people have always talked about in stories: pain, hate, truth, courage, destiny, friendship, responsibility, growing old, growing up, falling in love, all of these things. What I try to write about are the darkest things in the soul, the mortal dreads. I try to go into those places in me that contain the cauldrous. I want to dip up the fire, and I want to put it on paper. The closer I get to the burning core of my being, the things which are most painful to me, the better is my work.

HARLAN ELLISON

Tuesday
Oct292013

The Writer Learns to Write...Only by Writing

The writer learns to write, in the last resort, only by writing. He must get words onto paper even if he is dissatisfied with them. A young writer must cross many psychological barriers to acquire confidence in his capacity to produce good work—especially his first full-length book—and he cannot do this by staring at a piece of blank paper, searching for the perfect sentence.

PAUL JOHNSON