Interviews
Articles and Essays
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

Tuesday
Mar302010

It's Like Boiling Down

It’s like boiling down. Four pages can go through six, eight, ten drafts to get down. The beginning is always rewritten much more than the rest, because it’s the setting up of information as well as the telling of the story—that’s always much harder to juggle.

SUSAN MINOT

Monday
Mar292010

Certain Subjects Just Need Time

I don’t think that writer’s block exists really. I think that when you’re trying to do something prematurely, it just won’t come. Certain subjects just need time. . . . You’ve got to wait before you write about them.

JOYCE CAROL OATES

Sunday
Mar282010

Advice to Young Poets

Advice to aspiring poets: Poetry is not letter-writing cut up into lines. Become familiar with the poets that are the infrastructure of literature; read, read, read.

CYNTHIA OZICK

Saturday
Mar272010

It is All There, in the Subconscious

I think I’ve been . . . trying to calculate and figure too much. I’ve stopped that now and am trying not to worry and just let it come out, because apparently it is all there, in your mind, in the subconscious, and the trick is to throw your conscious mind out of gear and just let it flow thru.

JAMES JONES

Friday
Mar262010

Your Senses Must Be Razor-Sharp

In order to write at a high level of competence you need a comprehensive vocabulary, a keen sense of overall structure, and an inner beat or cadence. Your senses must be razor-sharp. Alcohol blunts those senses even as it releases self-restraint. Therefore many writers feel they are getting down to the real story after a belt or two, little realizing they are damaging their ability to tell the real story.

RITA MAE BROWN

Thursday
Mar252010

You Have to be Hurt Like Hell Before You Can Write Seriously

For Christ sake write and don't worry what the boys will say nor whether it will be a masterpiece nor what. I write one page of masterpiece to ninety one pages of shit. I try to put the shit in the waste-basket . . . . Forget your personal tragedy. We are all bitched from the start and you especially have to be hurt like hell before you can write seriously.

ERNEST HEMINGWAY in a letter to F. Scott Fitzgerald (1934)

Wednesday
Mar242010

Getting it Right

The writer Joan Didion and her late husband John Gregory Dunne had an expression for when a work was successful. They asked each other: Did the author “get it right?”

         The line jumped out at me, for that is my measure as well and the only question that matters.

         The language, the structure, the content, the message, the point, the moral, if there is one, the color, feel, smell, taste and texture of a thing, the arc of the narrative, beginnings, middles, and ends, the details, the rhythm, the resonance, the opening line—did I get it right?

         If it isn’t right—if it’s hollow, or stupid, or naïve, or clumsy, or misguided, or annoying, or just plain wrong—I will undertake as many revisions as are required to fix it.

         The most amount of time I have spent on a single line at a single sitting? 45 minutes.

         The most I have scrapped at one time? 425 pages—twice.

         But getting it right is the entire point of a day’s labor. If I succeed, I can at the least offer a reader a bit of clarity in a complicated world. If I don’t succeed, I just add to the noise.

DENISE SHEKERJIAN

Tuesday
Mar232010

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

Monday
Mar222010

Any Fiction Should Be A Story

Any fiction should be a story. In any story there are three elements: persons, a situation, and the fact that in the end something has changed. If nothing has changed, it isn’t a story.

MALCOLM COWLEY

Sunday
Mar212010

People Read Fiction for Emotion

I was Sinclair Lewis's secretary-chess-opponent-chauffeur-protegé back when I was 24, and he told me sternly that if I could be anything else be it, but if I HAD to be a writer, I might make it. He also said, as he threw away the first 75 expository pages of my first novel: “People read fiction for emotion—not information.”

BARNABY CONRAD

Saturday
Mar202010

The Truth Is We Write for Love

Despite all the cynical things writers have said about writing for money, the truth is we write for love. That is why it is so easy to exploit us. That is also why we pretend to be hard-boiled, saying things like “No man but a blockhead ever wrote except for money” (Samuel Johnson). Not true. No one but a blockhead ever wrote except for love. . . . You must do it for love. If you do it for money, no money will ever be enough, and eventually you will start imitating your first successes, straining hot water through the same old teabag. It doesn’t work with tea, and it doesn’t work with writing.

ERICA JONG

Friday
Mar192010

E.M Forster on Plot

"The king died and then the queen died" is a story. "The king died, and then the queen died of grief" is a plot...."The queen died, no one knew why, until it was discovered that it was through grief at the death of the king." This is a plot with a mystery in it, a form capable of high development.

E. M. FORSTER 

Thursday
Mar182010

Writing Acceptable Characters

A character, to be acceptable as more than a chess piece, has to be ignorant of the future, unsure about the past, and not at all sure of what he's supposed to be doing.

ANTHONY BURGESS

Wednesday
Mar172010

There's No Substitute for Persistence

There's no substitute for persistence. It took me four years of clerk and copy boy's work before I caught a break. Also, a vow of poverty helps.

PHIL MUSHNICK

Tuesday
Mar162010

You Are Full of Your Material

You are full of your material—your family, your friends, your region of the country, your generation—when it is fresh and seems urgently worth communicating to readers. No amount of learned skills can substitute for the feeling of having a lot to say, of bringing news. Memories, impressions, and emotions from your first 20 years on earth are most writers’ main material; little that comes afterward is quite so rich and resonant. By the age of 40, you have probably mined the purest veins of this precious lode; after that, continued creativity is a matter of sifting the leavings.

JOHN UPDIKE

Monday
Mar152010

The Narrator is the Most Important Character

From a technical point of view there are two essential things to solve or create when writing a novel. The first is the invention of the narrator. I think the narrator is the most important character in a novel. In some cases this importance is obvious because the narrator is also a central figure, a central character in the novel. In other cases, the narrator is not a character, not a visible figure, but an invisible person whose creation is even more complicated and difficult than the creation of one of the characters.

MARIO VARGAS LLOSA

Sunday
Mar142010

Develop Any Other Skill

Develop any other skill; turn to any other branch of knowledge; learn how to use your hands. Try woodworking, bird watching, gardening, mushrooming, cooking, fishing, sailing, weaving, pottery, zoology, astronomy, cosmology, take your pick. Whatever activity you engage in as trade or hobby, or field of study, will tone up your body and clear your head. At the very least, it will help you with your metaphors.

STANLEY KUNITZ

Saturday
Mar132010

Put Your Notes Away

Put your notes away before you begin a draft. What you remember is probably what should be remembered; what you forget is probably what should be forgotten. No matter; you’ll have a chance to go back to your notes after the draft is completed. What is important is to achieve a draft which allows the writing to flow.

DONALD M. MURRAY

Friday
Mar122010

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

Thursday
Mar112010

Steal!

Steal! And egad, serve your best thoughts as gypsies do stolen children, disfigure them and make ‘em pass for their own.

RICHARD BRINSLEY SHERIDAN