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The relationship between story and game, and related questions of electronic writing and play, examined through a series of discussions among new media creators and theorists.
The road to rejection is paved with bad beginnings. Agents and editors agree: Improper story beginnings are the single biggest barrier to publication. Why? If a novel or short story has a bad beginning, then no one will keep reading. It's just that simple. In Hooked, author Les Edgerton draws on his experience as a successful fiction writer and teacher to help you overcome the weak openings that lead to instant rejection by showing you how to successfully use the ten core components inherent to any great beginning. You'll find: • Detailed instruction on how to develop your inciting incident • Keys for creating a cohesive story-worthy problem • Tips on how to avoid common opening gaffes like overusing backstory • A rundown on basics such as opening scene length and transitions • A comprehensive analysis of more than twenty great opening lines from novels and short stories Plus, you'll discover exclusive insider advice from agents and acquiring editors on what they look for in a strong opening. With Hooked, you'll have all the information you need to craft a compelling beginning that lays the foundation for an irresistible story!
NATIONAL BEST SELLER • A mind-bending new collection of short stories from the internationally acclaimed, best-selling author. • “Some novelists hold a mirror up to the world and some, like Haruki Murakami, use the mirror as a portal to a universe hidden beyond it.” —The Wall Street Journal The eight stories in this new book are all told in the first person by a classic Murakami narrator. From memories of youth, meditations on music, and an ardent love of baseball, to dreamlike scenarios and invented jazz albums, together these stories challenge the boundaries between our minds and the exterior world. Occasionally, a narrator may or may not be Murakami himself. Is it memoir or fiction? The reader decides. Philosophical and mysterious, the stories in First Person Singular all touch beautifully on love and solitude, childhood and memory. . . all with a signature Murakami twist.
You are at a nightclub talking to a girl with a shaved head. The club is either Heartbreak or the Lizard Lounge. All might become clear if you could just slip into the bathroom and do a little more Bolivian Marching Powder. Then again, it might not... So begins our nameless hero's trawl through the brightly lit streets of Manhattan, sampling all this wonderland has to offer yet suspecting that tomorrow's hangover may be caused by more than simple excess. Bright Lights, Big City is an acclaimed classic which marked Jay McInerney as one of the major writers of our time.
Kif Kehlmann, a young, penniless writer, thinks he’s finally caught a break when he’s offered $10,000 to ghostwrite the memoir of Siegfried “Ziggy” Heidl, the notorious con man and corporate criminal. Ziggy is about to go to trial for defrauding banks for $700 million; they have six weeks to write the book. But Ziggy swiftly proves almost impossible to work with: evasive, contradictory, and easily distracted by his still-running “business concerns”—which Kif worries may involve hiring hitmen from their shared office. Worse, Kif finds himself being pulled into an odd, hypnotic, and ever-closer orbit of all things Ziggy. As the deadline draws near, Kif becomes increasingly unsure if he is ghostwriting a memoir, or if Ziggy is rewriting him—his life, his future, and the very nature of the truth. By turns comic, compelling, and finally chilling, First Person is a haunting look at an age where fact is indistinguishable from fiction, and freedom is traded for a false idea of progress.
A form-bending and endlessly inventive collection of short stories - from the MAN BOOKER PRIZE-SHORTLISTED and WOMEN'S PRIZE-WINNING author of How to be both and the critically acclaimed Seasonal quartet 'A glorious collection that celebrates and subverts the short story form' Independent 'Hurrah for Ali Smith. The best short-story writers make it look as easy as making a cup of tea. Ali Smith is one of these... A bold and brilliant collection of stories by a writer unafraid to give it to us as it is' The Times A middle-aged woman conducts a poignant conversation with her gauche fourteen-year-old self. An innocent supermarket shopper finds in her trolley a foul-mouthed, insulting and beautiful child. Challenging the boundaries between fiction and reality, we see a narrator, 'Ali', as she drinks tea, phones a friend and muses on the relationship between the short story and a nymph. Innovative, sophisticated and intelligent, The First Person and Other Stories effortlessly appeals to our hearts, heads and funny bones in equal measure. One-of-a-kind Ali Smith and the short story are made for each other.
I is perhaps the most important and the least understood of our everyday expressions. This is a constant source of philosophical confusion. Max de Gaynesford offers a remedy: he explains what this expression means, its logical form and its inferential role. He thereby shows the way to an understanding of how we express first-personal thinking. He dissolves various myths about how I refers, to the effect that it is a pure indexical. His central claim is that thekey to understanding I is that it is the same kind of expression as the other singular personal pronouns, you and he/she: a deictic term, whose reference depends on making an individual salient. He addresses epistemological questions as well as semantic questions, and shows how they interrelate.The book thus not only resolves a key issue in philosophy of language, but promises to be of great use to people working on problems in other areas of philosophy.
This incisive book offers an innovative understanding of Rousseau’s politico-legal philosophy to illustrate the legal significance of plural agency and what it means for a people to act together. Testing these ideas in controversial contemporary debates, Bert van Roermund provides a critical assessment of ‘political theology’ and establishes a new interpretation of joint action as bodily entrenched.
A first-of-its-kind guide for new media times, this book provides practical, step-by-step instructions for writing first-person features, essays, and digital content. Combining journalism techniques with self-exploration and personal storytelling, First-Person Journalism is designed to help writers to develop their personal voice and establish a narrative stance. The book introduces nine elements of first-person journalism—passion, self-reporting, stance, observation, attribution, counterpoints, time travel, the mix, and impact. Two introductory chapters define first-person journalism and its value in building trust with a public now skeptical of traditional news media. The nine practice chapters that follow each focus on one first-person element, presenting a sequence of "voice lessons" with a culminating writing assignment, such as a personal trend story or an open letter. Examples are drawn from diverse nonfiction writers and journalists, including Ta-Nehisi Coates, Joan Didion, Helen Garner, Alex Tizon, and James Baldwin. Together, the book provides a fresh look at the craft of nonfiction, offering much-needed advice on writing with style, authority, and a unique point of view. Written with a knowledge of the rapidly changing digital media environment, First-Person Journalism is a key text for journalism and media students interested in personal nonfiction, as well as for early-career nonfiction writers looking to develop this narrative form.
The autobiography has not always been acknowledged as true literature. Since 1970, however, American memoirs have revealed themselves as a respectable literary genre, distinct with an inimitable literary voice and a unique capacity to intersect narration and reflection. This study focuses critical attention on ten memoirs from the northern U.S. Rockies, including Utah, Colorado, Wyoming, Montana, and Idaho. By comparing memoirs representing states that share similar demographic, ecological, and socio-economic characteristics, this historic and literary analysis reveals both commonalities and divergences among American Western memoirs. Each chapter compares two books of similar thematic concerns, ranging from regional values and rural evolution to dynamic landscapes and the experiences of American Indians.