The definitive handbook for the novelist who is ready to revise This wise and friendly guide shows writers how to turn first-draft manuscripts into the novels of their dreams. A critic, longtime teacher, and award-winning novelist, Sandra Scofield illustrates how to reread a work of fiction with a view of its subject and vision, and how to take it apart and put it back together again, stronger and deeper. Scofield builds her explanations around helpful concepts like narrative structure, character agency, and core scenes, using models from classic and contemporary writers. The detailed, step-by-step plan laid out in The Last Draft offers invaluable advice to both novice and experienced writers alike. In Scofield, they will find a seasoned, encouraging mentor to steer them through this emotional and intellectual journey.
Laila Piedra doesn’t drink, doesn’t smoke, and definitely doesn’t sneak into the 21-and-over clubs on the Lower East Side. The only sort of risk Laila enjoys is the peril she writes for the characters in her stories: epic sci-fi worlds full of quests, forbidden love, and robots. Her creative writing teacher has always told her she has a special talent. But three months before graduation, Laila’s number one fan is replaced by Nadiya Nazarenko, a Pulitzer Prize–winning novelist who sees nothing at all special about Laila’s writing. A growing obsession with gaining Nazarenko’s approval—and fixing her first-ever failing grade—leads to a series of unexpected adventures. Soon Laila is discovering the psychedelic highs and perilous lows of nightlife, and the beauty of temporary flings and ambiguity. But with her sanity and happiness on the line, Laila must figure out if enduring the unendurable really is the only way to greatness.
"Every page bursts with humor, squee-inducing romance, and an abiding sense of the deep love and joy of its two writers . . . Always Never Yours is a necessary, feel-good addition to the YA canon.”—Entertainment Weekly Megan Harper is the girl before. All her exes find their one true love right after dating her. It's not a curse or anything, it's just the way things are. and Megan refuses to waste time feeling sorry for herself. Instead, she focuses on pursuing her next fling, directing theater, and fulfilling her dream school's acting requirement in the smallest role possible. But her plans quickly crumble when she's cast as none other than Juliet--yes, that Juliet--in her high school's production. It's a nightmare. Megan's not an actress and she's certainly not a Juliet. Then she meets Owen Okita, an aspiring playwright who agrees to help Megan catch the eye of a sexy stagehand in exchange for help writing his new script. Between rehearsals and contending with her divided family, Megan begins to notice Owen--thoughtful, unconventional, and utterly unlike her exes, and wonders: shouldn't a girl get to star in her own love story?
A treasure-trove of scene-writing wisdom from award-winning author and teacher Sandra Scofield To write a good scene, you have to know the following: • Every scene has an EVENT • Every scene has a FUNCTION in the narrative • Every scene has a STRUCTURE: a beginning, middle, and end • Every scene has a PULSE The Scene Book is a fundamental guide to crafting more effective scenes in fiction. In clear, simple language, Sandra Scofield shows both the beginner and the seasoned writer how to build better scenes, the underpinning of any good narrative.
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.
My first published novel took me five YEARS to write. The second took months. Now? I draft each of my novels in about a week. We live in a fast-paced world, and not everyone has the time to spend months or even years working on a novel. This book is a comprehensive guide over how I get a book from concept to fully-edited in the course of about a week. (It can take less or more depending on the length of the novel or my time constraints). This process can work for any genre of fiction, as I have used it for every novel I've written after the first. *** Kate Hall is a bestselling author who is known for her quick success and high earnings in the Paranormal Romance genre. In this guide, she shows how you, too, can write books fast to potentially increase your publishing income.
"Highly recommended: On Editing is indispensable reading for anyone who is or wants to be a writer. Every desk should have a copy!" - Dr Samantha J. Rayner, Director of the Centre for Publishing, UCL "On Editing is a feast with many courses. When you have finished this book, you will feel encouraged, empowered, and indomitable. If you are writing-or editing-a novel, you could do no better than to have this book by your side. Comprehensive, easily digestible, it is a classic in the making." - Shaye Areheart, Director of the Columbia Publishing Course Writing a novel is a magical but often difficult journey; and when your first draft is complete, that journey's not over. As the editing process gets underway, authors often find themselves in unfamiliar territory. What does it mean to 'map your plot'? How do you know if you're 'head-hopping'? When is your novel ready to send out to agents, and how do you make each submission count? Written by the team behind one of the world's most successful literary consultancies, On Editing will show you how to master the self-edit. You will learn to compose, draft, and edit while sharpening your writing and ensuring that your novel is structurally sound, authentic, well-written, and ready for submission. On Editing will help you harness your creative potential, transform the way you think about your writing, and revolutionise your editorial process. "It's easy for writers to be overwhelmed by the technicalities of writing, editing and getting published, but Helen Corner-Bryant and Kathryn Price share their decades of experience nurturing writers in On Editing. They know all the problems and how to fix them - including many you might not even think of - and explain it all in a clean, jargon-free, way that demystifies the whole process, with infectious enthusiasm that will have you ready, eager and bursting with the confidence to take your writing to the next level." - Writing Magazine
