Self-Editing for Fiction Writers, Second Edition: How to Edit Yourself Into Print by Renni Browne  (16)
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How to Grow a Novel by Sol Stein  (3)
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Characters and Viewpoint (The Elements of Fiction Writing) by Orson Scott Card  (7)
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Solutions for Writers: Practical Craft Techniques for Fiction and Non-fiction by Sol Stein (2)
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Plot and Structure: Techniques and Exercises for Crafting and Plot That Grips Readers from Start to Finish (Write Great Fiction) by James Scott Bell (9)
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Amazon.co.uk Review
"The best reading experiences", says Sol Stein, "defy interruption". With Stein's assistance, you can grab your reader on page one and not let go until "The End". Stein--author of nine novels (including the best-selling The Magician) and editor to James Baldwin, W H Auden, and Lionel Trilling--offers "usable solutions" for any writing problem you might encounter. He is authoritative, commanding, and neither cheerleader nor naysayer. Instead, he rails against mediocrity and demands that you expunge it from your work. Perhaps the concept of scrutinising every modifier, every metaphor, every character trait sounds like drudgery. But with Stein's lively guidance, it is a pleasure. Stein recommends that you brew conflict in your prose by giving your characters different "scripts". He challenges you, in an exercise concerning voice, to write the sentence you want the world to remember you by. He uses an excerpt from E L Doctorow to demonstrate poorly written monologue and a series of Taster's Choice commercials as an example of dialogue that works. Stein's bottom line is that good writing must be suspenseful. Your job, says Stein, "is to give readers stress, strain, and pressure. The fact is that readers who hate those things in life love them in fiction". --Jane Steinberg --This text refers to an out of print or unavailable edition of this title.
"The best reading experiences", says Sol Stein, "defy interruption". With Stein's assistance, you can grab your reader on page one and not let go until "The End". Stein--author of nine novels (including the best-selling The Magician) and editor to James Baldwin, W H Auden, and Lionel Trilling--offers "usable solutions" for any writing problem you might encounter. He is authoritative, commanding, and neither cheerleader nor naysayer. Instead, he rails against mediocrity and demands that you expunge it from your work. Perhaps the concept of scrutinising every modifier, every metaphor, every character trait sounds like drudgery. But with Stein's lively guidance, it is a pleasure. Stein recommends that you brew conflict in your prose by giving your characters different "scripts". He challenges you, in an exercise concerning voice, to write the sentence you want the world to remember you by. He uses an excerpt from E L Doctorow to demonstrate poorly written monologue and a series of Taster's Choice commercials as an example of dialogue that works. Stein's bottom line is that good writing must be suspenseful. Your job, says Stein, "is to give readers stress, strain, and pressure. The fact is that readers who hate those things in life love them in fiction". --Jane Steinberg --This text refers to an out of print or unavailable edition of this title.
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