This book shows writers of all ages how to find and develop nonfiction topics that matter to them�in ways that make readers care too. It emphasizes writing for discovery, not just writing what one knows. It emphasizes a strong authorial presence (voice) and a convincing point of view. Most important, it not only tells but also shows how writing true involves the poet's attention to language, the fiction writer's power of storytellling, the journalist's pursuit of fact, and the scholar's reliance on research. The first part of the book offers ten practical chapters from getting started to turning first ideas into finished work. Topics include: The Power of the Notebook, Ten Ways to a Draft, Taking Shape, Finding Voice, Twenty Ways to Talk About Writing, The Craft of Revision, The Role of Research, The Ethics of Creative Nonfiction, Workshopping a Draft, and Exploring New Media. The second part of the book is an anthology of the best nonfiction writing for aspiring writers to read and study in order to write with creativity, integrity, and authenticity. Organized by form, they include Memoir, Personal Essay, Portrait, Essay of Place, Narrative Journalism, and Short Shorts. Selections represent a variety of experience from classic masters (E.B.White and George Orwell) to major contemporary writers (such as Alice Walker, Stephen Dunn, and Scott Russell Sanders) to up and coming writers (such as E.J. Levy and Amy Butcher). The anthology also includes "Stories of Craft," with five prominent writers, including Patricia Hampl and Sue Miller, describing the challenges and rewards of writing engaging nonfiction.

Interested in journalism and creative writing and want to write a book? Read inspiring stories and practical advice from America’s most respected journalists. The country’s most prominent journalists and nonfiction authors gather each year at Harvard’s Nieman Conference on Narrative Journalism. Telling True Stories presents their best advice—covering everything from finding a good topic, to structuring narrative stories, to writing and selling your first book. More than fifty well-known writers offer their most powerful tips, including: • Tom Wolfe on the emotional core of the story • Gay Talese on writing about private lives • Malcolm Gladwell on the limits of profiles • Nora Ephron on narrative writing and screenwriters • Alma Guillermoprieto on telling the story and telling the truth • Dozens of Pulitzer Prize–winning journalists from the Atlantic Monthly, New Yorker, New York Times, Los Angeles Times, Washington Post and more . . . The essays contain important counsel for new and career journalists, as well as for freelance writers, radio producers, and memoirists. Packed with refreshingly candid and insightful recommendations, Telling True Stories will show anyone fascinated by the art of writing nonfiction how to bring people, scenes, and ideas to life on the page.

Patti Miller's best-selling Writing True Stories is the essential book for anyone who has ever wanted to write a memoir or explore the wider territory of creative nonfiction. It provides practical guidance and inspiration on a vast array of writing topics, including how to access memories, find a narrative voice, build a vivid world on the page, create structure, use research, and face the difficulties of truth-telling. It first develops a wide range of writing skills for beginners, and then challenges more experienced writers to extend their knowledge and practice of the genre into literary nonfiction, true crime, biography, the personal essay, the diary, and travel writing. It offers inspiration from other nonfiction writers, such as Joan Didion, Helen Garner, Robert Dessaix, and Zadie Smith. Whether you want to write your own memoir, investigate a wide-ranging political issue, explore an idea, or bring to life an intriguing history, this book will be your guide. Writing True Stories is practical and easy to use as well as an encouraging and insightful companion on the writing journey. Written in a warm, clear, and engaging style, it will get you started on the story you want to write – and keep you going until you get there.

Fourteen accomplished writers investigate the tantalizing gray area where memory and history intersect.

Aspiring to be the fastest sprinter on his elite middle school's track team, gifted runner Ghost finds his goal challenged by a tragic past with a violent father.

The papers in this volume examine the interaction between history and hagiography in the late antique and medieval Middle East, exploring the various ways in which the two genres were used and combined to analyse, interpret, and re-create the past. The contributors focus on the circulation of motifs between the two forms of writing and the modifications and adaptations of the initial story that such reuse entailed. Beyond this purely literary question, the retold stories are shown to have been at the centre of a number of cultural, political, and religious strategies, as they were appropriated by different groups, not least by the nascent Muslim community. Writing 'True Stories' also foregrounds the importance of some Christian hagiographical motifs in Muslim historiography, where they were creatively adapted and subverted to define early Islamic ideals of piety and charisma.

Everyone talks about style, but no one explains it. The authors of this book do; and in doing so, they provoke the reader to consider style, not as an elegant accessory of effective prose, but as its very heart. At a time when writing skills have virtually disappeared, what can be done? If only people learned the principles of verbal correctness, the essential rules, wouldn't good prose simply fall into place? Thomas and Turner say no. Attending to rules of grammar, sense, and sentence structure will no more lead to effective prose than knowing the mechanics of a golf swing will lead to a hole-in-one. Furthermore, ten-step programs to better writing exacerbate the problem by failing to recognize, as Thomas and Turner point out, that there are many styles with different standards. In the first half of Clear and Simple, the authors introduce a range of styles--reflexive, practical, plain, contemplative, romantic, prophetic, and others--contrasting them to classic style. Its principles are simple: The writer adopts the pose that the motive is truth, the purpose is presentation, the reader is an intellectual equal, and the occasion is informal. Classic style is at home in everything from business memos to personal letters, from magazine articles to university writing. The second half of the book is a tour of examples--the exquisite and the execrable--showing what has worked and what hasn't. Classic prose is found everywhere: from Thomas Jefferson to Junichirō Tanizaki, from Mark Twain to the observations of an undergraduate. Here are many fine performances in classic style, each clear and simple as the truth. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

A Glamour Best Book of 2020 • A Bustle Best Books of 2020 • Winner of an Audiofile Earphones Award • An Entertainment Weekly 30 Hottest Book of the Summer • A Refinery29 25 Book You’ll Want To Read This Summer Selection • A Chicago Review of Books 10 Must-Read Books of the Month • A LitHub Most Anticipated Book of the Year • A The Millions Most Anticipated Book of the Year • A Shondaland 15 Hot Books for Summer One of today’s most provocative literary writers—the author of the critically-acclaimed Sunshine State and the Los Angeles Times First Fiction Award finalist Binary Star—captures the confused state of modern romance and the egos that inflate it in a dark comedy about a woman's search for acceptance, identity, and financial security in the rise of Trump. Nina is a struggling writer, a college drop-out, a liar, and a cheater. More than anything she wants love. She deserves it. From the burned-out suburbs of Florida to the anonymous squalor of New York City, she eats through an incestuous cast of characters in search of it: her mother, a narcissistic lesbian living in a nudist polycule; Odessa, a single mom with even worse taste in men than Nina; Seth, an artist whose latest show is comprised of three Tupperware containers full of trash; Brian, whose roller-coaster affair with Nina is the most stable “relationship” in his life; and Aaron, an aspiring filmmaker living at home with his parents, with whom Nina begins to write her magnum opus. Nina’s quest for fulfillment is at once darkly comedic, acerbically acute, and painfully human—a scathing critique of contemporary society, and a tender examination of our anguished yearning for connection in an era defined by detachment.

In this book, there are three paths. The whole track-from beginning to end-is a developmental sequence of information and exercises designed to ease you into writing an artist statement. The journey integrates the technical and professional levels of writing with an emotional and spiritual understanding of why you are doing this. The fast track-the technical nuts and bolts on how to write an artist statement-can be pulled together from chapters: 2, 5, 7, 9, 12, 24, 27, 28-39, and 41-44. The contemplative track-a tapestry of psychological, philosophical, and spiritual information, which relates to a range of professional and personal pursuits besides the artist statement-can be found in chapters 1, 3, 4, 6, 8, 11, 13-23, 26, 30 and 46.

This national bestseller is "a significant contribution to discussions of the art of fiction and a necessary challenge to received views about whose stories are told, how they are told and for whom they are intended" (Laila Lalami, The New York Times Book Review). The traditional writing workshop was established with white male writers in mind; what we call craft is informed by their cultural values. In this bold and original examination of elements of writing—including plot, character, conflict, structure, and believability—and aspects of workshop—including the silenced writer and the imagined reader—Matthew Salesses asks questions to invigorate these familiar concepts. He upends Western notions of how a story must progress. How can we rethink craft, and the teaching of it, to better reach writers with diverse backgrounds? How can we invite diverse storytelling traditions into literary spaces? Drawing from examples including One Thousand and One Nights, Curious George, Ursula K. Le Guin's A Wizard of Earthsea, and the Asian American classic No-No Boy, Salesses asks us to reimagine craft and the workshop. In the pages of exercises included here, teachers will find suggestions for building syllabi, grading, and introducing new methods to the classroom; students will find revision and editing guidance, as well as a new lens for reading their work. Salesses shows that we need to interrogate the lack of diversity at the core of published fiction: how we teach and write it. After all, as he reminds us, "When we write fiction, we write the world."