In her entertaining and edifying New York Times bestseller, acclaimed author Francine Prose invites you to sit by her side and take a guided tour of the tools and tricks of the masters to discover why their work has endured. Written with passion, humour and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart – to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; to look to John le Carré for a lesson in how to advance plot through dialogue and to Flannery O’ Connor for the cunning use of the telling detail; to be inspired by Emily Brontë ’ s structural nuance and Charles Dickens’ s deceptively simple narrative techniques. Most importantly, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted, and reminds us that good writing comes out of good reading.
In Writers Are Readers, the mutually supportive roles of reading and writing are made visible through the idea of "flipsides;" how a reader's insights can be turned around to provide insights into his own writing, and vice versa. Lester and Reba's trademark engaging style is woven throughout chapters full of sample lessons, student writing samples, and recommended texts for maximizing the flipped concept across the year. "Leading the student to understand what he did as a reader can become a lens that brings into focus what the writer had to do before a reader ever saw the page," they write. Discover fresh new ways to turn reading strategies into writing opportunities that your students will be excited about and deeply understand.
This collection of essays looks at the essential elements of writing poetry and fiction. It includes a diverse range of experienced writers and academics discussing genre, technique, the reader, and publishing. Contributions from Delia Falconer, Marele Day and Marion Halligan.
When you Read Like a Writer (RLW) you work to identify some of the choices the author made so that you can better understand how such choices might arise in your own writing. The idea is to carefully examine the things you read, looking at the writerly techniques in the text in order to decide if you might want to adopt similar (or the same) techniques in your writing. You are reading to learn about writing. Instead of reading for content or to better understand the ideas in the writing (which you will automatically do to some degree anyway), you are trying to understand how the piece of writing was put together by the author and what you can learn about writing by reading a particular text. As you read in this way, you think about how the choices the author made and the techniques that he/she used are influencing your own responses as a reader. What is it about the way this text is written that makes you feel and respond the way you do?
In his New York Times bestseller Steal Like an Artist, Austin Kleon showed readers how to unlock their creativity by “stealing” from the community of other movers and shakers. Now, in an even more forward-thinking and necessary book, he shows how to take that critical next step on a creative journey—getting known. Show Your Work! is about why generosity trumps genius. It’s about getting findable, about using the network instead of wasting time “networking.” It’s not self-promotion, it’s self-discovery—let others into your process, then let them steal from you. Filled with illustrations, quotes, stories, and examples, Show Your Work! offers ten transformative rules for being open, generous, brave, productive. In chapters such as You Don’t Have to Be a Genius; Share Something Small Every Day; and Stick Around, Kleon creates a user’s manual for embracing the communal nature of creativity— what he calls the “ecology of talent.” From broader life lessons about work (you can’t find your voice if you don’t use it) to the etiquette of sharing—and the dangers of oversharing—to the practicalities of Internet life (build a good domain name; give credit when credit is due), it’s an inspiring manifesto for succeeding as any kind of artist or entrepreneur in the digital age.
With engaging readings and proven writing instruction, Subject & Strategy guides students in selecting, practicing, and mastering writing strategies that will help them succeed in any discipline. Example-driven instruction models writing strategies in action, and innovative classroom exercises and writing assignments help students identify strategies in the readings and put them into practice. Students are encouraged to see themselves as writers, and comprehensive, accessible coverage of reading and writing, research, documentation, and grammar provides a foundation for success. In this edition, students are more at the forefront than ever. Student feedback helped to inform the selection of readings, and with every student essay featured in the book, real students share and reflect on reading and writing strategies that work. In the words of one student, “Subject & Strategy made my freshman year of college much easier. I learned how to actually read, not just say the words but to look deep into them and understand what the writer is trying to tell us.”
"In the United States, we are constantly defining and redefining who we are to each other. As quick as we are to pull ourselves together as "Americans" in times of war or natural disaster, we also incessantly define the other, at times favorably, at other times not so much. We band together as "us" to defend our freedoms and safety from outside threats, yet we also move away from each other and maintain our differences, our uniqueness, our independence. We are a nation of commonalities, differences, natives, immigrants, and visitors. We recognize that our strength is our ability to intelligently negotiate our independence and dependence, and similarities and differences with each other. The negotiation process takes place because we are a nation of readers and writers. We inform ourselves to understand issues important to us, and we then share our thoughts with others, trying to inform or persuade them of what we believe is the correct way to understand or act in a situation. To understand our ever-changing society, the issues important to it, and take stands on issues, we by necessity must read. To get our views out there, we write. In order to read and write well, we must understand rhetorical principles, our roles and identities, and the writing processes that are the foundations of literacy and writing practices. Why learn to read and write, or become more sophisticated readers and writers? Take a moment to think about what we could not do if we could not read or write. Could we shop online? Could we read the text that helps as we play a video game? Could we read or send an e-mail, a text or tweet, or post to our Facebook or Skype accounts? The answer to all of these is, No. Nothing in these environments would make any sense. Imagine trying to make a résumé or write a research paper or lab report. Our world and work possibilities would diminish substantially from how we experience them now. The more schooling we have the better and more varied are our reading and writing skills, and from these refined skills more opportunities exist for us. The processes that we go through to become highly literate are many and complex. Traditional literacies, the abilities to read and write, and digital or electronic literacies, the abilities to communicate and understand using multimodal means, are a vast network of possibilities and challenges that we must learn at increasing levels of sophistication and complexity. Throughout our years in school we will need to advance our critical reading and writing skills through study and practice. Each chapter's title in Identity: A Reader for Writers is a question about our identity, from "What's in a Name? The Role of Language and Identity" to "Where Do You Draw the Line? Privacy, Socializing, and Life without Boundaries." The Second edition of Identity includes three new chapters: Chapters 6 explores readings that help us talk about gender: "Who Decides Gender? Notions of Gender & Identity," Chapter 7 "How Are Your Political Views Formed? Political Identity, Alliance, & Exclusion" helps us find common language among the complexities in identifying and taking political stances, and Chapter 8 "How Can I Become a Better Writer?" guides us to better understand what is involved in transitioning from student writers to experienced writers"--
In this delightful collection, forty acclaimed writers explain what first made them interested in literature, what inspired them to read, and what makes them continue to do so. First published in 1992 in hardback only, original contributors include Margaret Atwood, J. G. Ballard, Melvyn Bragg, A. S. Byatt, Catherine Cookson, Carol Ann Duffy, Germaine Greer, Alan Hollinghurst, Doris Lessing, Candia McWilliam, Edna O'Brien, Ruth Rendell, Tom Stoppard, Sue Townsend, and Jeanette Winterson. The new edition will include essays from ten new writers.
Presents, in graphic novel format, the story of Alissa Torres, whose husband was killed in the September 11 terrorist attack on the World Trade Center, and her legal and psychological battles over his death.
