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When he fell in love with newspapering at the Anchorage Daily News, Howard Weaver was an untested twenty-one-year-old cub reporter from a blue-collar neighborhood in America's farthest-north big city: His home state of Alaska was on the cusp of great change. By the time Weaver moved on twenty-three years later he'd led the paper to the most unlikely David and Goliath upset in the history of American newspaper competition and helped win two Pulitzer Prizes. He spent time with small-town hoodlums and big-time politicians and crossed swords with both Big Oil and Big Labor as he rose from foot soldier to field marshal in the Great Alaska Newspaper War. Weaver's journey encompassed the defining political struggles of the era-from oil development to Native sovereignty, from parkland designations to environmental activism. His newspaper pulled no punches then, and Weaver has pulled none in this definitive account of the fierce and sometimes funny fight to the finish against the long-dominant Anchorage Times. The Author: A former editor of the Anchorage Daily News and later vice president for news for the McClatchy Company's thirty-one daily newspapers, Howard Weaver lives with his wife Barbara Hodgin in the Sierra foothills of central California. Book jacket.
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
Would the real Alaska please stand up? This was the challenge put to ten of Alaska's finest authors: to share unique and intimate perspectives--some previously published, some new to this volume--that reach beyond the usual stereotypes to an Alaska that can't be packaged or staged. These stories, musings, and rants come from authors whose roots run deep in the Far North. There's Dana Stabenow, author of more than thirty novels, who was raised on 75-foot fish tender in the Gulf of Alaska--she knew there had to be a warmer, drier job out there somewhere. And there's David Marusek, who writes full time in his low-maintenance cabin near Fairbanks, Alaska, producing fiction that's "ferociously smart, [and] simultaneously horrific and funny," according to Publishers Weekly. The Alaska Sampler features memoir by Leigh Newman, whose Great Alaskan Dad taught her to fish, hunt, curl up and play dead in the case of curious black bears, and to throw up artfully in the hood of parka while flying in a single prop plane. Another memoir comes from Jan Harper Haines, whose stories of floods and ghosts were passed down by her Koyukon Athabascan mother. From forty-five years in Alaska, including twelve as editor of the Anchorage Daily News, Howard Weaver takes a fresh look at how the state is changing (and not for the better). Another longtime Alaskan, Kaylene Johnson, recounts a death-defying journey by adventurer Dick Griffith. On the lighter side, science writer Ned Rozell gives voice to one of Alaska's ubiquitous ravens, who has a score or two to settle with us humans. In fiction, longtime Alaskan Deb Vanasse writes of a woman obsessed with a glacier, while Don Rearden transports us to the tundra with a story that sheds light on everyday struggles in rural Alaska. In novel excerpts by Tanyo Ravicz, a young family faces violent weather, wild bears, illness, isolation, and the intrusion of poachers on Kodiak Island. Long after you finish, the stories, characters, and images of these authors will linger. Be forewarned: you'll want to read more.
This volume looks back at the last half of the 20th century through the work and reminiscences of ten of the era's preeminent journalists. Reporters Who Made History: Great American Journalists on the Issues and Crises of the Late 20th Century looks at a series of extraordinary chapters in the American story through the eyes of ten giants of journalism: Helen Thomas, Anthony Lewis, Morley Safer, Earl Caldwell, Ben Bradlee, Georgie Anne Geyer, Ellen Goodman, Juan Williams, David Broder, and Judy Woodruff. Taking each of these journalists in turn, Hallock focuses on his or her work in the course of a single decade, drawing on the author's interviews with the journalist, archival research, memoirs, and critical studies. These exemplars of the best postwar American news reporting never took the easy path of simply restating policies and uncritically regurgitating press releases. Instead, their skeptical, independent, and searching methods of investigative and analytical journalism actually influenced the course of the very events they covered and significantly shaped our understanding of our national past.
"Perseverance is much more important than talent. Because so many talented people fall by the wayside." --James Michener The history of writing is full of authors striving to succeed in a hyper-competitive publishing world, contending with agents, editors, publishers, critics, and sometimes the greatest challenge of all - overnight success. For all of the extaordinary changes that have recently taken place, however, there are a few things that remain the same. Getting published still requires persistence, preparation, and smarts, as well as an understanding of how the business works, where it's been, and where it's going. An Insider's Guide to Publishing pulls back the industry curtain for millions of published and aspiring authors, revealing Hemingway's famous feuds, Poe's raving madness, Capote's vengeful wit, and much more. With clever insights and dark humor to spare, David Comfort, a thirty-year veteran of the publishing trenches, explores the achivements and faultures of literary masters and editorial workaholics to show readers how they, too, can: • Use their creativity and composure to overcome publishing pitfalls. • Work with agents, editors, publishers, and critics like a pro. • Deal with rejection - and success - while avoiding the madhouse. • Navigate the pros and cons of both traditional and self-publishing. An Insider's Guide to Publishing shares the wicked wit and wisdom of some of the craziest and most ambitious authors and editors of all time - proving that even the talented need luck, pluck, persistence, and the inside scoop on this rapidly changing industry in order to succeed!
Some of the country’s most admired authors—including Andre Dubus III, Mark Doty, Marianne Leone, Michael Patrick MacDonald, Richard Blanco, Abigail Thomas, Kate Bornstein, Jerald Walker, and Kyoko Mori—describe their treks through dark memories and breakthrough moments and attest to the healing power of putting words to experience. What does it take to write an honest memoir? And what happens to us when we embark on that journey? Melanie Brooks sought guidance from the memoirists who most moved her to answer these questions. Called an essential book for creative writers by Poets & Writers, Writing Hard Stories is a unique compilation of authentic stories about the death of a partner, parent, or child; about violence and shunning; and about the process of writing. It will serve as a tool for teachers of writing and give readers an intimate look into the lives of the authors they love. Authors profiled in Writing Hard Stories: Andre Dubus III, Sue William Silverman, Michael Patrick MacDonald, Joan Wickersham, Kyoko Mori, Richard Hoffman, Suzanne Strempek Shea, Abigail Thomas, Monica Wood, Mark Doty, Edwidge Dantict, Marianne Leone, Jerald Walker, Kate Bornstein, Jessica Handler, Richard Blanco, Alysia Abbott, and Kim Stafford Insights from Writing Hard Stories “Why we endeavor collectively to write a book or paint a canvas or write a symphony...is to understand who we are as human beings, and it’s that shared knowledge that somehow helps us to survive.”—Richard Blanco “Here’s what you need to understand: your brothers [or family or friends] are going to have their own stories to tell. You don’t have to tell the family story. You have to tell your story of being in that family.”—Andre Dubus III “We all need a way to express or make something out of experiences that otherwise have no meaning. If what you want is clarity and meaning, you have to break the secrets over your knee and make something of those ingredients.”—Abigail Thomas “What we remember and how we remember it really tells us how we became who we became.”—Michael Patrick MacDonald “The reason I write memoir is to be able to see the experience itself...I hardly know what I think until I write...Writing is a way to organize your life, give it a frame, give it a structure, so that you can really see what it was that happened.”—Sue William Silverman “After a while in the process, you have some distance and you start thinking of it as a story, not as your story...It was a personal grief, but no longer personal...[It’s] something that has not just happened to me and my family, but something that’s happened in the world.”—Edwidge Danticat “Tibetan Buddhists believe that eloquence is the telling of a truth in such a way that it eases suffering...The more suffering that is eased by your telling of the truth, the more eloquent you are. That’s all you can really hope for—being eloquent in that fashion. All you have to do is respond to your story honestly, and that’s the ideal.”—Kate Bornstein “You can never entirely redeem the experience. You can’t make it not hurt anymore. But you can make it beautiful enough so that there’s something to balance it in the other scale. And if you understand that word beautiful as not necessarily pretty, then you’re getting close to recognizing the integrative power of restoring the balance, which is restoring the truth.”—Richard Hoffman
A half-Chinese orphan whose mother sacrificed everything to give him a better chance is raffled off as a prize at Seattle's 1909 World's Fair, only to land in the ownership of the madam of a notorious brothel where he finds friendship and opportunities, in a story based on true events.
Education is the new currency.Regardless of what business or industry you are in; if you wish to sell what you have to others, your commercial survival depends on you becoming the EDUPRENEUR.Consumers are tired of sales pitches and promises, and instead are seeking information and knowledge. By giving it to them you get to demonstrate your capability and expertise as much as they get to experience it - making you choice number 1 for their needs.Edupreneurs strategically share their expertise in a way that provides unprecedented global reach, immeasurable impact on the lives of others, and unlimited income potential.Every single person on Earth has an abundant and unique set of skills, experiences, and knowledge that could be turned into commercially profitable products and services.In this book, Sarah Cordiner will take you through the fundamentals of monetising your expertise and profitably sharing what you know with the world.Whether you are an absolute beginner in creating and selling information and education-based products and services, or are up-levelling to a serious education-based business operation; this book will help you get there.Inside this book:How to commercialise your skills, knowledge, and expertise and start profiting from what is already in your head.How to create your own unique `funnel of service',so that you no longer need to `sell', and instead have your customers coming eagerly to you for your advice and expertise.A deep dive into the 10 stages of designing and building a highly successful information or education-based business so that you maximise your impact and income.How to price your informational and educational products and services; including courses, consulting, workshops and more.Where and how to sell your educational products for maximum exposure and sales - particularly online courses.The critical elements of an online education based business. What online tools, apps and products you need and how they all fit together for maximum profitability, scalability, and automation. How to use your expertise to become a well-known leader in your industry.
The first novel-writing guide from the best-selling Save the Cat! story-structure series, which reveals the 15 essential plot points needed to make any novel a success. Novelist Jessica Brody presents a comprehensive story-structure guide for novelists that applies the famed Save the Cat! screenwriting methodology to the world of novel writing. Revealing the 15 "beats" (plot points) that comprise a successful story--from the opening image to the finale--this book lays out the Ten Story Genres (Monster in the House; Whydunit; Dude with a Problem) alongside quirky, original insights (Save the Cat; Shard of Glass) to help novelists craft a plot that will captivate--and a novel that will sell.