Twenty of America's bestselling authors share tricks, tips, and secrets of the successful writing life. Anyone who's ever sat down to write a novel or even a story knows how exhilarating and heartbreaking writing can be. So what makes writers stick with it? In Why We Write, twenty well-known authors candidly share what keeps them going and what they love most—and least—about their vocation. Contributing authors include: Isabel Allende David Baldacci Jennifer Egan James Frey Sue Grafton Sara Gruen Kathryn Harrison Gish Jen Sebastian Junger Mary Karr Michael Lewis Armistead Maupin Terry McMillan Rick Moody Walter Mosley Susan Orlean Ann Patchett Jodi Picoult Jane Smiley Meg Wolitzer
Why We Write provides a forum for scholars, activists, and novelists to reflect on the ways in which they use their writing and academic work to create social change. This volume uncovers the political agendas, social missions, and personal and professional experiences that compel writers to bring their stories to the page. Why We Write examines the dual commitment of writing articles and books that are committed to high scholarly standards as well as social justice. These essays will be of great interest to college and graduate students who currently lack a model of social justice scholarship.
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
An indispensable and distinctive book that will help anyone who wants to write, write better, or have a clearer understanding of what it means for them to be writing, from widely admired writer and teacher Verlyn Klinkenborg. Klinkenborg believes that most of our received wisdom about how writing works is not only wrong but an obstacle to our ability to write. In Several Short Sentences About Writing, he sets out to help us unlearn that “wisdom”—about genius, about creativity, about writer’s block, topic sentences, and outline—and understand that writing is just as much about thinking, noticing, and learning what it means to be involved in the act of writing. There is no gospel, no orthodoxy, no dogma in this book. Instead it is a gathering of starting points in a journey toward lively, lucid, satisfying self-expression.
In the voices of twenty landmark memoirists—including New York Times bestselling authors Cheryl Strayed, Sue Monk Kidd, and Pat Conroy—a definitive text on the craft of autobiographical writing, indispensable for amateur and professional writers alike. For readers of Mary Karr’s The Art of Memoir and Judith Barrington’s Writing the Memoir, this follow-up to editor Meredith Maran’s acclaimed writers’ handbook, Why We Write, offers inspiration, encouragement, and pithy, practical advice for bloggers, journal-keepers, aspiring essayists, and memoirists. Curated and edited by Maran, herself an acclaimed author and book critic, these memoirists share the lessons they’ve learned through years of honing their craft. They reveal what drives them to tell their personal stories and examine the nuts and bolts of how they do it. Speaking frankly about issues ranging from turning oneself into an authentic, compelling character to exposing hard truths, these outstanding authors disclose what keeps them going, what gets in their way, and what they love most—and least—about writing about themselves. “It's possible that Why We Write About Ourselves is the first compilation of memoirists at the top of their game seriously and thoughtfully considering the genre.” – LA Times
Writing was the central passion of Emerson’s life. While his thoughts on the craft are well developed in “The Poet,” “The American Scholar,” Nature, “Goethe,” and “Persian Poetry,” less well known are the many pages in his private journals devoted to the relationship between writing and reading. Here, for the first time, is the Concord Sage’s energetic, exuberant, and unconventional advice on the idea of writing, focused and distilled by the preeminent Emerson biographer at work today. Emerson advised that “the way to write is to throw your body at the mark when your arrows are spent.” First We Read, Then We Write contains numerous such surprises—from “every word we speak is million-faced” to “talent alone cannot make a writer”—but it is no mere collection of aphorisms and exhortations. Instead, in Robert Richardson’s hands, the biographical and historical context in which Emerson worked becomes clear. Emerson’s advice grew from his personal experience; in practically every moment of his adult life he was either preparing to write, trying to write, or writing. Richardson shows us an Emerson who is no granite bust but instead is a fully fleshed, creative person disarmingly willing to confront his own failures. Emerson urges his readers to try anything—strategies, tricks, makeshifts—speaking not only of the nuts and bolts of writing but also of the grain and sinew of his determination. Whether a writer by trade or a novice, every reader will find something to treasure in this volume. Fearlessly wrestling with “the birthing stage of art,” Emerson’s counsel on being a reader and writer will be read and reread for years to come.
A fun, practical guide that reveals the essentials of good fiction and memoir writing by exposing the most common mistakes literary writers make. All great works of fiction and memoir are unique-but most bad novels, stories, and memoirs have a lot in common. From clunky dialogue to poorly sketchedout characters, sagging pacing to exaggerated prose, these beginners' mistakes drive any agent or editor to their stock rejection letter, telling the aspiring writer "Thanks, but this isn't for us," and leaving many to wonder what exactly it is that they're doing wrong. Veteran writing coach, developmental editor, and writing instructor Jessica Page Morrell will fill in the gaps in every rejection letter you've ever received. In Thanks, But This Isn't for Us, Morrell uses her years of experience to isolate the specific errors beginners make, including the pitfalls of unrealistic dialogue, failing to "show, not tell," and over-the-top plot twists. These are just a few of the problems that keep writers from breaking through with their work. Sympathetic and humane, but pulling no punches, Thanks, But This Isn't for Us shows writers precisely where they've gone wrong and how to get on the right track. In sixteen to-the-point chapters, with checklists, exercises, takeaway tips, and a glossary, Morrell helps readers transcend these mistakes so that they don't have to learn the hard way: with another rejection letter.
A superb collection of short fiction--her first in thirty years and spanning many geographies--from the critically acclaimed author of Monkeys, Evening, and Thirty Girls. A NEW YORK TIMES NOTABLE BOOK. A writer dryly catalogs the myriad reasons she cannot write; an artist bicycles through a protest encampment in lower Manhattan and ruminates on an elusive lover; an old woman on her deathbed calls out for a man other than her husband; a hapless fifteen-year-old boy finds himself in sexual peril; two young people in the 1990s fall helplessly in love, then bicker just as helplessly, tortured by jealousy and mistrust. In each of these stories Minot explores the difficult geometry of human relations, the lure of love and physical desire, and the lifelong quest for meaning and connection. Her characters are all searching for truth, in feeling and in action, as societal norms are upended and justice and coherence flounder. Urgent and immediate, precisely observed, deeply felt, and gorgeously written, the stories in Why I Don't Write showcase an author at the top of her form.
“A funny, seasoned take on dashed illusions.”—O Magazine “I love everything Meredith Maran writes. She is insightful, funny, and human, and the things she writes about matter to me deeply. Her memoir, The New Old Me, is a book I don’t just want to read—I need to read it. So does everyone else who’s getting older and wants to live fully, with immediacy and enjoyment, which is to say, everyone.”—Anne Lamott, author of Hallelujah Anyway For readers of Anne Lamott, Abigail Thomas, and Ayelet Waldman comes one woman's lusty, kickass, post-divorce memoir of starting over at 60 in youth-obsessed, beauty-obsessed Hollywood. After the death of her best friend, the loss of her life’s savings, and the collapse of her once-happy marriage, Meredith Maran leaves her San Francisco freelance writer’s life for a 9-to-5 job in Los Angeles. Determined to rebuild not only her savings but also herself while relishing the joys of life in La-La land, Maran writes “a poignant story, a funny story, a moving story, and above all an American story of what it means to be a woman of a certain age in our time” (Christina Baker Kline, number-one New York Times–bestselling author of Orphan Train). Praise for The New Old Me: “High time we had a book that celebrates becoming an elder! Meredith Maran writes of the difficulties of loss and change and aging, but makes it clear that getting on can be more interesting, more fun, and a lot more exciting than youth.”—Abigail Thomas, author of the New York Times bestseller What Comes Next and How to Like It “By turns poignant and funny, the book not only shows how one feisty woman coped with a ‘Plan B life’ she didn't want or expect with a little help from her friends. It also celebrates how she transformed uncertainty into a glorious opportunity for continued late-life personal growth. A spirited and moving memoir about how ‘it's never too late to try something new.’”—Kirkus
In this highly readable and provocative book, Thomas Newkirk explodes the long standing habit of opposing abstract argument with telling stories. Newkirk convincingly shows that effective argument is already a kind of narrative and is deeply "entwined with narrative." --Gerald Graff, former MLA President and author of Clueless in Academe Narrative is regularly considered a type of writing-often an "easy" one, appropriate for early grades but giving way to argument and analysis in later grades. This groundbreaking book challenges all that. It invites readers to imagine narrative as something more-as the primary way we understand our world and ourselves. "To deny the centrality of narrative is to deny our own nature," Newkirk explains. "We seek companionship of a narrator who maintains our attention, and perhaps affection. We are not made for objectivity and pure abstraction-for timelessness. We have 'literary minds" that respond to plot, character, and details in all kind of writing. As humans, we must tell stories." When we are engaged readers, we are following a story constructed by the author, regardless of the type of writing. To sustain a reading-in a novel, an opinion essay, or a research article- we need a "plot" that helps us comprehend specific information, or experience the significance of an argument. As Robert Frost reminds us, all good memorable writing is "dramatic." Minds Made for Stories is a needed corrective to the narrow and compartmentalized approaches often imposed on schools-approaches which are at odds with the way writing really works outside school walls.
