If a story is going to fail, it will do so first at the premise level. Anatomy of a Premise Line: How to Master Premise and Story Development for Writing Success is the only book of its kind to identify a seven-step development process that can be repeated and applied to any story idea. This process will save you time, money, and potentially months of wasted writing. So whether you are trying to write a feature screenplay, develop a television pilot, or just trying to figure out your next story move as a writer, this book gives you the tools you need to know which ideas are worth pursuing. In addition to the 7-step premise development tool, Anatomy of a Premise Line also presents a premise and idea testing methodology that can be used to test any developed premise line. Customized exercises and worksheets are included to facilitate knowledge transfer, so that by the end of the book, you will have a fully developed premise line, log line, tagline, and a completed premise-testing checklist. Here is some of what you will learn inside: Ways to determine whether or not your story is a good fit for print or screen Case studies and hands-on worksheets to help you learn by participating in the process Tips on how to effectively work through writer’s block A companion website (www.routledge.com/cw/lyons) with additional worksheets, videos, and interactive tools to help you learn the basics of perfecting a killer premise line

The "World" in Robert Lee Brewer's Solving the World's Problems is a slippery world ... where chaos always hovers near, where we are (and should be) "splashing around in dark puddles." And one feels a bit dizzy reading these poems because (while always clear, always full of meaning) they come at reality slantwise so that nothing is quite the same and the reader comes away with a new way of looking at the ordinary objects and events of life. The poems are brim-full of surprises and delights, twists in the language, double-meanings of words, leaps of thought and imagination, interesting line-breaks. There are love and relationship poems, dream poems, poems of life in the modern world. And always the sense (as he writes) of "pulling the world closer to me/leaves falling to the ground/ birds flying south." I read these once, twice with great enjoyment. I will go back to them often. -Patricia Fargnoli, former Poet Laureate of New Hampshire and author of Then, Something

This book examines the most salient and misunderstood aspect of twentieth-century poetry, free verse. Although the form is generally approached as if it were one indissoluble lump, it is actually a group of differing poetic genres proceeding from much different assumptions. Separate chapters on T.S. Eliot, Wallace Stevens, H.D., and William Carlos Williams elucidate many of these assumptions and procedures, while other chapters address more general theoretical questions and trace the continuity of Modern poetics in contemporary poetry. Taking a historical and aesthetic approach, this study demonstrates that many of the forms considered to have been invented in the Modern period actually extend underappreciated traditions. Not only does this book examine the classical influence on Modern poetry, it also features discussions of the poetics of John Milton, Abraham Cowley, Matthew Arnold, and a host of lesser-known poets. Throughout it is an investigation of the prosodic issues that free verse foregrounds, particularly those focusing on the reader's part in interpreting poetic rhythm.

A moving, bittersweet tale reminiscent of Sharon Creech’s Walk Two Moons set in a West Virginia coal-mining town When her brother dies in a fire, Sasha Harless has no one left, and nowhere to turn. After her father died in the mines and her mother ran off, he was her last caretaker. They’d always dreamed of leaving Caboose, West Virginia together someday, but instead she’s in foster care, feeling more stuck and broken than ever. But then Sasha discovers family she didn’t know she had, and she finally has something to hold onto, especially sweet little Mikey, who’s just as broken as she is. Sasha even makes her first friend at school, and is slowly learning to cope with her brother’s death through writing poetry, finding a new way to express herself when spoken words just won’t do. But when tragedy strikes the mine her cousin works in, Sasha fears the worst and takes Mikey and runs, with no plans to return. In this sensitive and poignant portrayal, Sarah Dooley shows us that life, like poetry, doesn’t always take the form you intend.

First published in 1970, this work outlines the principles of English prosody in a way that will enable the reader to recognise and scan any piece of English verse. It illustrates the close relationship between English speech patterns and verse patterns, and the primary importance of the phenomenon of stress. It also discusses the suitability of various kinds of metrical pattern for various kinds of poetic effect. This book will be of interest to those studying poetry and English literature.

Recently appointed as the new U. S. Poet Laureate, Ted Kooser has been writing and publishing poetry for more than forty years. In the pages of The Poetry Home Repair Manual, Kooser brings those decades of experience to bear. Here are tools and insights, the instructions (and warnings against instructions) that poets—aspiring or practicing—can use to hone their craft, perhaps into art. Using examples from his own rich literary oeuvre and from the work of a number of successful contemporary poets, the author schools us in the critical relationship between poet and reader, which is fundamental to what Kooser believes is poetry’s ultimate purpose: to reach other people and touch their hearts. Much more than a guidebook to writing and revising poems, this manual has all the comforts and merits of a long and enlightening conversation with a wise and patient old friend—a friend who is willing to share everything he’s learned about the art he’s spent a lifetime learning to execute so well.

In Ghost Letters, one emigrates to America again, and again, and again, though one also never leaves Senegal, the country of one’s birth; one grows up in America, and attends university in America, though one also never leaves Senegal, the country of one’s birth; one wrestles with one’s American blackness in ways not possible in Senegal, though one never leaves Senegal, the country of one’s birth; and one sees more deeply into Americanness than any native-born American could. Ghost Letters is a 21st century Notebook of a Return to the Native Land, though it is a notebook of arrival and being in America. It is a major achievement. —Shane McCrae

A major addition to the literature of poetry, Edward Hirsch’s sparkling new work is a compilation of forms, devices, groups, movements, isms, aesthetics, rhetorical terms, and folklore—a book that all readers, writers, teachers, and students of poetry will return to over and over. Hirsch has delved deeply into the poetic traditions of the world, returning with an inclusive, international compendium. Moving gracefully from the bards of ancient Greece to the revolutionaries of Latin America, from small formal elements to large mysteries, he provides thoughtful definitions for the most important poetic vocabulary, imbuing his work with a lifetime of scholarship and the warmth of a man devoted to his art. Knowing how a poem works is essential to unlocking its meaning. Hirsch’s entries will deepen readers’ relationships with their favorite poems and open greater levels of understanding in each new poem they encounter. Shot through with the enthusiasm, authority, and sheer delight that made How to Read a Poem so beloved, A Poet’s Glossary is a new classic.

Leaping Poetry is Robert Bly's testament to the singular importance of the artistic leap that bridges the gap between conscious and unconscious thought in any great work of art; the process that Bly refers to as "riding on dragons." Originally published in 1972 in Bly's literary journal The Seventies, Leaping Poetry is part anthology and part commentary, wherein Bly seeks to rejuvenate modern Western poetry through his revelations of "leaping" as found in the works of poets from around the world, including Federico Garcia Lorca, Chu Yuan, Tomas Transtromer, and Allen Ginsberg, among others, while also outlining the basic principles that shape his own poetry. Bly seeks the use of quick, free association of the known and the unknown-the innate animal and rational cognition-which, he maintains, have been kept apart in the development of Western religious, intellectual, and literary thought.