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How do you write a book? Stuart Horwitz helps you do it in three drafts. Three drafts: that's all you need. - The messy draft: which is all about getting it down. - The method draft: which is all about making sense. - The polished draft: which is all about making it good. Finish Your Book in Three Drafts is for outliners who meticulously script every writing session and pantsers who pilot solely by feel. It will help you get past the fear that can land a first draft in the trashcan, and the confusion that can send a second draft into a dizzying tailspin. Because you don't want to be writing the same book for the rest of your life. You can Finish Your Book in Three Drafts provided you approach each draft in the right spirit, and know what action steps to take between drafts. With clarity, honesty, humor, and even videos, Horwitz discusses the best outlook and direction for each of the three drafts so that you can increase your efficiency, satisfaction, and engagement with both your writing process and your final product.
"Brilliant, time-tested and clear" advice that will help writers at all stages, in all genres, write their very best book-and then make it better. As a freelance editor for more than a decade, Williams has shepherded books from rough draft to polished manuscripts bought by Big Five houses, university and literary presses, and for independent publishers. Now, she distills everything she's learned from editing hundreds of drafts, coaching writers past creative blocks, and navigating authors through querying and publication, into this useful guide for every step from idea to book. Seven Drafts: Self-Edit Like a Pro from Blank Page to Book divides writing and revision into distinct stages, with a new focus in each draft. Williams' frank, funny voice encourages writers to tackle even big editing tasks with a sense of humor and a feeling that someone who understands is on their side. With plenty of fresh examples, insider wisdom, and snappy footnotes, Seven Drafts teaches story, character, elements of writing craft and structure, how to seek and use feedback, and the publication process.
NEW YORK TIMES BESTSELLER • An essential volume for generations of writers young and old. The twenty-fifth anniversary edition of this modern classic will continue to spark creative minds for years to come. Anne Lamott is "a warm, generous, and hilarious guide through the writer’s world and its treacherous swamps" (Los Angeles Times). “Superb writing advice…. Hilarious, helpful, and provocative.” —The New York Times Book Review For a quarter century, more than a million readers—scribes and scribblers of all ages and abilities—have been inspired by Anne Lamott’s hilarious, big-hearted, homespun advice. Advice that begins with the simple words of wisdom passed down from Anne’s father—also a writer—in the iconic passage that gives the book its title: “Thirty years ago my older brother, who was ten years old at the time, was trying to get a report on birds written that he’d had three months to write. It was due the next day. We were out at our family cabin in Bolinas, and he was at the kitchen table close to tears, surrounded by binder paper and pencils and unopened books on birds, immobilized by the hugeness of the task ahead. Then my father sat down beside him, put his arm around my brother’s shoulder, and said, ‘Bird by bird, buddy. Just take it bird by bird.’”
This book brings Drafts, the long poem by Rachel Blau DuPlessis, to its mid-point. A polyphonic work, both monumental and provisional, Drafts asks how to represent our sense of direness and ethical crises, the awe, asonishment, skepticism and pleasure: that all this is. This installment of nineteen Drafts is dedicated to its own poetic and political communities, offering these dedications as pledges to transformation out of social rage and out of grief-inflected hope. The book also contains a witty “summary” of all fifty-seven Drafts to date. This book makes clear the ways DuPlessis’ long poem is a midrashic response to the long poems of modernism and the tolls of modernity. She is a poet of polysemy, of negativity, of critique. Of Drafts, Walter Kaladjian remarked, “DuPlessis’ avant-garde procedures are imbricated in an ethicopolitical mode of poetic testimony.” Nathaniel Mackey said that Drafts “affirm and negate the toll history takes on letter and spirit, affirming and negating and navigating a way between.”
The long-awaited guide to writing long-form nonfiction by the legendary author and teacher Draft No. 4 is a master class on the writer’s craft. In a series of playful, expertly wrought essays, John McPhee shares insights he has gathered over his career and has refined while teaching at Princeton University, where he has nurtured some of the most esteemed writers of recent decades. McPhee offers definitive guidance in the decisions regarding arrangement, diction, and tone that shape nonfiction pieces, and he presents extracts from his work, subjecting them to wry scrutiny. In one essay, he considers the delicate art of getting sources to tell you what they might not otherwise reveal. In another, he discusses how to use flashback to place a bear encounter in a travel narrative while observing that “readers are not supposed to notice the structure. It is meant to be about as visible as someone’s bones.” The result is a vivid depiction of the writing process, from reporting to drafting to revising—and revising, and revising. Draft No. 4 is enriched by multiple diagrams and by personal anecdotes and charming reflections on the life of a writer. McPhee describes his enduring relationships with The New Yorker and Farrar, Straus and Giroux, and recalls his early years at Time magazine. Throughout, Draft No. 4 is enlivened by his keen sense of writing as a way of being in the world.
A dystopian thriller follows a boy and girl on the run from a town where all thoughts can be heard – and the passage to manhood embodies a horrible secret. Todd Hewitt is the only boy in a town of men. Ever since the settlers were infected with the Noise germ, Todd can hear everything the men think, and they hear everything he thinks. Todd is just a month away from becoming a man, but in the midst of the cacophony, he knows that the town is hiding something from him -- something so awful Todd is forced to flee with only his dog, whose simple, loyal voice he hears too. With hostile men from the town in pursuit, the two stumble upon a strange and eerily silent creature: a girl. Who is she? Why wasn't she killed by the germ like all the females on New World? Propelled by Todd's gritty narration, readers are in for a white-knuckle journey in which a boy on the cusp of manhood must unlearn everything he knows in order to figure out who he truly is.
This is your roadmap for completing the memoir you've dreamed about writing. "Rachael Herron resonates with our audience, and not just because she knows her stuff—she does—or because she's hilarious—she is—but because her honesty and earnestness come through in all her messaging." Samantha Sanders, Writer’s Digest Writing memoir is daunting! You’re the expert on your life, naturally, but narrating and organizing your own experiences in the best way can feel impossible. Many writers become frustrated in early drafting stages and quit after a couple of brief attempts. Learn from bestselling memoirist Rachael Herron (who teaches this class at Stanford Continuing Studies) how to fast-draft your memoir while keeping its structure compelling. Learn how to frame your life’s story and give it a natural arc to keep your reader glued to the page. Figure out how to handle those family and friends you’re writing about. Explore what truth means in memoir. Work quickly to quiet the inner critic. Most of all, learn how to get out of your own way to get the words on the page. You can do this! Rachael will show you how. CLICK BUY NOW!
Sh*t Rough Drafts collects imagined misguided early drafts of classic books, screenplays, and contemporary literature, creating visions of alternate works that would exist had the authors not come to their senses. What if F. Scott Fitzgerald had gone with the title The Coolest Gatsby? How would The Hunger Games change if Peeta were armed only with blueberry muffins? And how would the Star Wars films play out if Darth Vader is Luke's father, but Chewbacca is also his cousin? Harry Potter, MacBeth, Jaws, The Lord of the Rings, Moby Dick, and many more are each presented as if they were the actual typed or handwritten pages by the authors themselves, revealing the funny and frightful works they might have been with a little less capable judgment.
“Make [your] characters want something right away—even if it’s only a glass of water. Characters paralyzed by the meaninglessness of modern life still have to drink water from time to time.” —Kurt Vonnegut “‘The cat sat on the mat’ is not the beginning of a story, but ‘the cat sat on the dog’s mat’ is.” —John Le Carré Nothing is more inspiring for a beginning writer than listening to masters of the craft talk about the writing life. But if you can’t get Vladimir Nabokov, Virginia Woolf, and Gabriel García Márquez together at the Algonquin, The Modern Library Writer’s Workshop gives you the next best thing. Stephen Koch, former chair of Columbia University’s graduate creative writing program, presents a unique guide to the craft of fiction. Along with his own lucid observations and commonsense techniques, he weaves together wisdom, advice, and inspiring commentary from some of our greatest writers. Taking you from the moment of inspiration (keep a notebook with you at all times), to writing a first draft (do it quickly! you can always revise later), to figuring out a plot (plot always serves the story, not vice versa), Koch is a benevolent mentor, glad to dispense sound advice when you need it most. The Modern Library Writer’s Workshop belongs on every writer’s shelf, to be picked up and pored over for those moments when the muse needs a little help finding her way.