Articles and Essays
Interviews
Blogs

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
    Adventures in the Screen Trade
    by William Goldman
  • APE: Author, Publisher, Entrepreneur-How to Publish a Book
    APE: Author, Publisher, Entrepreneur-How to Publish a Book
    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
    by Phillip Lopate
  • 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)
    Basic Books
  • 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
    Booknotes: America's Finest Authors on Reading, Writing, and the Power of Ideas
    Three Rivers Press
  • Brewer's Dictionary of Phrase and Fable, Seventeenth Edition
    Brewer's Dictionary of Phrase and Fable, Seventeenth Edition
    by John Ayto
  • The Careful Writer
    The Careful Writer
    by Theodore M. Bernstein
  • The Chicago Manual of Style
    The Chicago Manual of Style
    University Of Chicago Press
  • 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
    Fiction Writer's Workshop
    by Josip Novakovich
  • Flaubert's Parrot
    Flaubert's Parrot
    by Julian Barnes
  • 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
    by Sophy Burnham
  • 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
    Mariner Books
  • 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
  • The Midnight Disease: The Drive to Write, Writer's Block, and the Creative Brain
    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
  • Movie Speak: How to Talk Like You Belong on a Movie Set
    Movie Speak: How to Talk Like You Belong on a Movie Set
    by Tony Bill
  • Narrative Design: Working with Imagination, Craft, and Form
    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

Wednesday
Jul062011

“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

Tuesday
Jul052011

Every Writer Is A Thief

I have myself always been terrified of plagiarism—of being accused of it, that is. Every writer is a thief, though some of us are more clever than others at disguising our robberies. The reason writers are such slow readers is that we are ceaselessly searching for things we can steal and then pass off as our own: a natty bit of syntax, a seamless transition, a metaphor that jumps to its target like an arrow shot from an aluminum crossbow.

JOSEPH EPSTEIN

Monday
Jul042011

A Novel is Made of Details

The best research gets your fingers dusty and your shoes dirty, especially because a novel is made of details. I had to know what a place smelled like, what it sounded like.

BARBARA KINGSOLVER

Sunday
Jul032011

Cut Like Crazy

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

SARAH WATERS

Saturday
Jul022011

Increase Your Word Power

Increase your word power. Words are the raw material of our craft. The greater your vocabulary the more effective your writing. We who write in English are fortunate to have the richest and most versatile language in the world. Respect it.

P.D. JAMES

Friday
Jul012011

Do It Every Day

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.

GEOFF DYER

Thursday
Jun302011

Start Writing Today

Write. Start writing today. Start writing right now. Don’t write it right, just write it –and then make it right later. Give yourself the mental freedom to enjoy the process, because the process of writing is a long one. Be wary of “writing rules” and advice. Do it your way. 

TARA MOSS

Wednesday
Jun292011

There's No Free Lunch

You most likely need a thesaurus, a rudimentary grammar book, and a grip on reality. This latter means: there's no free lunch. Writing is work. It's also gambling. You don't get a pension plan. Other people can help you a bit, but ­essentially you're on your own. Nobody is making you do this: you chose it, so don't whine.

MARGARET ATWOOD

Tuesday
Jun282011

Use the Landscape

Use the Landscape. Always tell us where we are. And don’t just tell us where something is, make it pay off. Use description of landscape to help you establish the emotional tone of the scene. Keep notes of how other authors establish mood and foreshadow events by describing the world around the character. Look at the openings of Fitzgerald stories, and Graham Greene, they’re great at this.

JANET FITCH

Monday
Jun272011

All Writing Problems Are Psychological

All writing problems are psychological problems. Blocks usually stem from the fear of being judged. If you imagine the world listening, you’ll never write a line. That’s why privacy is so important. You should write first drafts as if they will never be shown to anyone.

ERICA JONG

Sunday
Jun262011

Don't Think of Literary Form

Don’t think of literary form. Let it get out as it wants to. Overtell it in the matter of detail—cutting comes later. The form will develop in the telling. Don’t make the telling follow the form.

JOHN STEINBECK

Saturday
Jun252011

Two Kinds of Editors

There are, it seems, two kinds of editors. The first kind cares mainly about himself, about how his editing performance reflects on him and getting ahead or getting stroked or getting to lunch, as the case may be. Such editors are not editors at all and ought to go to breakfast and stay there. A real editor, however, is a rare thing, and I've been lucky in working with a few. A real editor is focused totally on the writer's work and helping the writer realize a vision of the piece or the book he's set out to do. Editing requires a certain selflessness that is hard to find.

DAVID REMNICK

Friday
Jun242011

Good Writing Never Soothes or Comforts

Good writing never soothes or comforts. It is no prescription, neither is it diversionary, although it can and should enchant while it explodes in the reader's face. Whenever the writer writes, it's always three or four or five o'clock in the morning in his head. Those horrid hours are the writer's days and nights when he is writing.

JOY WILLIAMS

Thursday
Jun232011

Language is Need, Thought, Feeling, and Perception Itself

Language is not the lowborn, gawky servant of thought and feeling; it is need, thought, feeling, and perception itself. The shape of sentences, the song in its syllables, the rhythm of its movement, is the movement of the imagination.

WILLIAM H. GASS

Wednesday
Jun222011

If Stories Come to You, Care for Them

If stories come to you, care for them. And learn to give them away where they are needed. Sometimes a person needs a story more than food to stay alive.

BARRY LOPEZ

Tuesday
Jun212011

Dialogue Should Be Brief

1. Dialogue should be brief.

2. It should add to the reader’s present knowledge.

3. It should eliminate the routine exchanges of ordinary conversation.

4. It should convey a sense of spontaneity but eliminate the repetitiveness of real talk.

5. It should keep the story moving forward.

6. It should be revelatory of the speaker’s character, both directly and indirectly.

7. It should show the relationships among people.

ELIZABETH BOWEN

Monday
Jun202011

You Can't Learn to Write in College

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

RAY BRADBURY

Sunday
Jun192011

Think of Your Main Characters as Dinner Guests

Think of your main characters as dinner guests. Would your friends want to spend ten hours with the characters you’ve created? Your characters can be loveable, or they can be evil, but they’d better be compelling.

PO BRONSON

Saturday
Jun182011

Write Every Day

Write every day. Don't ever stop. If you are unpublished, enjoy the act of writing—and if you are published, keep enjoying the act of writing. Don't become self-satisfied, don't stop moving ahead, growing, making it new. The stakes are high. Why else would we write?

RICK BASS

Friday
Jun172011

If You Get Stuck...

If you get stuck, get away from your desk. Take a walk, take a bath, go to sleep, make a pie, draw, listen to music, meditate, exercise; whatever you do, don't just stick there scowling at the problem. But don't make telephone calls or go to a party; if you do, other people's words will pour in where your lost words should be. Open a gap for them, create a space. Be patient.

HILARY MANTEL