All these years that the Good Lord has allowed me to live, I have been to many places met lots of good people and I have seen so much of our great country. The desire to write emerged since I attended high school, and to this day I still find myself writing. In this book, I have included some human interest poetry and also some religious stories. I sincerely hope you enjoy reading about the life that I have lived. God Bless. DUKE MARTELL
Mila has an exceptional talent for reading a room--sensing hidden facts and unspoken emotions from clues that others overlook... So when her father's best friend, Matthew, goes missing from his upstate New York home, Mila and her beloved father travel from London to find him. She collects information about Matthew from his belongings, from his wife and baby, from the dog he left behind and from the ghosts of his past--slowly piecing together the story everyone else has missed. But just when she's closest to solving the mystery, a shocking betrayal calls into question her trust in the one person she thought she could read best.
Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.
What makes a good story or a screenplay great? The vast majority of writers begin the storytelling process with only a partial understanding where to begin. Some labor their entire lives without ever learning that successful stories are as dependent upon good engineering as they are artistry. But the truth is, unless you are master of the form, function and criteria of successful storytelling, sitting down and pounding out a first draft without planning is an ineffective way to begin. Story Engineering starts with the criteria and the architecture of storytelling, the engineering and design of a story--and uses it as the basis for narrative. The greatest potential of any story is found in the way six specific aspects of storytelling combine and empower each other on the page. When rendered artfully, they become a sum in excess of their parts. You'll learn to wrap your head around the big pictures of storytelling at a professional level through a new approach that shows how to combine these six core competencies which include: • Four elemental competencies of concept, character, theme, and story structure (plot) • Two executional competencies of scene construction and writing voice The true magic of storytelling happens when these six core competencies work together in perfect harmony. And the best part? Anyone can do it!
In Point Made, Ross Guberman uses the work of great advocates as the basis of a valuable, step-by-step brief-writing and motion-writing strategy for practitioners. The author takes an empirical approach, drawing heavily on the writings of the nation's 50 most influential lawyers.
Every Character Has a Voice Point of view isn't just an element of storytelling–when chosen carefully and employed consistently in a work of fiction, it is the foundation of a captivating story. It's the character voice you can hear as clearly as your own. It's the unique worldview that intrigues readers–persuading them to empathize with your characters and invest in their tale. It's the masterful concealing and revealing of detail that keeps pages turning and plots fresh. It's the hidden agenda that makes narrators complicated and compelling. It's also something most writers struggle to understand. In The Power of Point of View, RITA Award-winning author Alicia Rasley first teaches you the fundamentals of point of view (POV)–who is speaking, why, and what options work best within the conventions of your chosen genre. Then, she takes you deeper to explain how POV functions as a crucial piece of your story–something that ultimately shapes and drives character, plot, and every other component of your fiction. Through comprehensive instruction and engaging exercises, you'll learn how to: • choose a point of view that enhances your characters and plots and encourages reader involvement • navigate the levels of a character's point of view, from objective viewing to action to emotion • craft unusual perspectives, including children, animal narrators, and villains A story changes depending on who's telling it, and The Power of Point of View will help you determine which of your characters can make your story come to life.
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
Designed for lawyers seeking to improve and strengthen their client relationships, this guide offers strategies for effectively communicating with clients. Top lawyers offer their own strategies for speaking and presenting themselves in a way that pleases clients and cultivates their practice. The importance of empathizing with a client's position is stressed and explained, as is creating a long-term business plan for a practice. How to conduct an efficient meeting, tips for creating an interactive legal presentation, and the ethical issues of selling and marketing a firm are also addressed.
