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It seems unlikely that anyone will misunderstand the precise subject itself. What, exactly, is meant by an author "going wrong"? The familiar euphemism, as perhaps most frequently used, is anything but ambiguous. For an author, "going wrong" has a great variety of meanings. An author has gone wrong, for example, when he has deliberately done work under his best. He has gone wrong when he has written for sentimental or aesthetic reasons and not, as he should, for money primarily. He has gone wrong when he tries to uplift or educate his readers. He has gone wrong when he has written too many books or has not written enough books. Or, has written too fast or not fast enough. Perhaps, when he has written what he saw and not what he felt, or what he felt and not what he saw, or posed in any fashion whatsoever.
"What do you think of my fiction book writing?" the aspiring novelist extorted. "Darn," the editor hectored, in turn. "I can not publish your novel! It is full of what we in the business call 'really awful writing.'" "But how shall I absolve this dilemma? I have already read every tome available on how to write well and get published!" The writer tossed his head about, wildly. "It might help," opined the blonde editor, helpfully, "to ponder how NOT to write a novel, so you might avoid the very thing!" Many writing books offer sound advice on how to write well. This is not one of those books. On the contrary, this is a collection of terrible, awkward, and laughably unreadable excerpts that will teach you what to avoid—at all costs—if you ever want your novel published. In How Not to Write a Novel, authors Howard Mittelmark and Sandra Newman distill their 30 years combined experience in teaching, editing, writing, and reviewing fiction to bring you real advice from the other side of the query letter. Rather than telling you how or what to write, they identify the 200 most common mistakes unconsciously made by writers and teach you to recognize, avoid, and amend them. With hilarious "mis-examples" to demonstrate each manuscript-mangling error, they'll help you troubleshoot your beginnings and endings, bad guys, love interests, style, jokes, perspective, voice, and more. As funny as it is useful, this essential how-NOT-to guide will help you get your manuscript out of the slush pile and into the bookstore.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
The most original and authoritative voice of today's English lexicography presents a fully revised new edition of his beloved usage dictionary When Bryan Garner published the first edition of A Dictionary of Modern American Usage in 1999, the book quickly became one of the most influential style guides ever written for the English language. After four previous editions and over twenty years, our language has evolved in many ways, and the powerful tool of big data has revolutionized lexicography. This extensively revised new edition fully captures these changes, featuring a thousand new entries and over two hundred replacement entries, thoroughly updated usage data and ratios on word frequency based on the Google Ngram Viewer, a more balanced coverage of World Englishes, not just American and British, and the inclusion of gender-neutral language. However, one thing has not changed: in no sense is this a regular dictionary but a masterpiece of lexicography written with wit and personality by one of the preeminent authorities on the English language. To put it in David Foster Wallace's words, Garner's discussion of rhetoric and style still borders on genius. From the (lost) battle between self-deprecating and self-depreciating to the misuse of it's for its, from the variant spelling patty-cake taking over pat-a-cake in American English to the singular uses of they, Garner explains the nuances of grammar and vocabulary and the linguistic blunders to which modern writers and speakers are prone, whether in word choice, syntax, phrasing, punctuation, or pronunciation. His empirical approach liberates English from two extremes: from the purists who maintain that split infinitives and sentence-ending prepositions are malfeasances and from the linguistic relativists who believe that whatever people say or write must necessarily be accepted. The purpose of Garner's dictionary is to help writers, editors, and speakers use the language effectively. And it does so in a playful and persuasive way that will help you sound grammatical but relaxed, refined but natural, correct but unpedantic.
This book is an anthology focused on Shaw’s efforts, literary and political, that worked toward a modernizing Ireland. Following Declan Kiberd’s Foreword and the editor’s Introduction, the contributing chapters, in their order of appearance, are from President of Ireland Michael D. Higgins, Anthony Roche, David Clare, Elizabeth Mannion, Nelson O’Ceallaigh Ritschel, Aisling Smith, Susanne Colleary, Audrey McNamara, Aileen R. Ruane, Peter Gahan, and Gustavo A. Rodriguez Martin. The essays establish that Shaw’s Irishness was inherent and manifested itself in his work, demonstrating that Ireland was a recurring feature in his considerations. Locating Shaw within the march towards modernizing Ireland furthers the recent efforts to secure Shaw’s place within the Irish spheres of literature and politics.