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Schreiben heißt für Doris Dörrie, das eigene Leben bewusst wahrzunehmen. Wirklich zu sehen, was vor unseren Augen liegt. Oder wiederzufinden, was wir verloren oder vergessen haben. Es ist Trost, Selbstvergewisserung, Anklage, Feier des Lebens. Doris Dörrie denkt auf diesem einzigartigen Hörbuch über das autobiographische Schreiben nach, gibt Tipps und kreative Anleitungen. Und sie legt gleich selbst los und erzählt hinreißend ehrlich von ihrem eigenen Leben.

Comment raconter une histoire pour que le lecteur soit accroché du début à la fin ? Comment structurer son roman pour qu'il ou elle le lise sans s'arrêter et dise à la fin : "c'est un bon roman" ? Que vous écriviez un policier, de la fantasy ou du fantastique, de la romance même, il existe des structures narratives qui font partie de l'inconscient collectif et que les auteurs à succès utilisent avec succès pour écrire des best-sellers.

Est-ce que le fait de préparer intensivement votre roman peut vous aider à écrire une meilleure histoire ? Les auteurs considèrent souvent les ébauches et la préparation avec peur et tremblements. Mais quand cette phase est bien comprise et correctement exécutée, elle devient une flèche redoutable dans votre carquois d'auteur.

Un auteur de romans doit être une machine à produire des idées. Pas le choix ! Mais d'où viennent les bonnes idées et comment les rendre meilleures pour écrire un roman à succès ? Vous avez une idée de roman ? OK, mais est-ce qu'une idée ça suffit pour écrire un roman de 25 000, 50 000 ou 120 000 mots ? Non ! Il en faut des dizaines et des dizaines. Et même si vous avez une bonne idée pour tout votre roman, vous pouvez encore l'améliorer pour en faire une grande idée, qui portera toute votre écriture.

La romance est un genre majeur de la fiction romanesque et probablement le genre préféré des lecteurs et des lectrices. Savoir comment écrire un livre en romance est donc un atout majeur pour votre carrière d'auteur. Écrire une romance est à la fois similaire et différent des autres genres.

Pour écrire un bon roman, le talent ne suffit pas. La technique ne suffit pas non plus. La méthodologie est un outil. Associez les trois et vous atteindrez le succès, vous écrirez des livres que les générations actuelles et futures liront avec plaisir. Méthode, Structure, Créativité sont les trois piliers de la Méthode Godefroy. Dans la Méthode Godefroy, la méthode la plus complète en français pour apprendre à écrire un roman, vous allez concrètement apprendre à choisir les bonnes idées, les organiser, utiliser les techniques indispensables et structurer vos romans.

Hart covers what writers in this genre need to know, from understanding story theory and structure, to mastering point of view and such basic elements as scene, action, and character, to drafting, revising, and editing work for publication. Revealing the stories behind the stories, Hart brings listeners into the process of developing nonfiction narratives by sharing tips, anecdotes, and recommendations he forged during his decades-long career in journalism.

Ward Farnsworth provides a wide-ranging, practical tour of metaphors, arranged by theme. He shows how the best writers have put figurative comparisons to distinctive use - for the sake of caricature, to make an abstract idea visible, to make a complicated idea simple. Using hundreds of examples, Farnsworth demonstrates all the different stylistic ways that points can be unforgettably made. There are quotations from novelists, playwrights, philosophers, and orators - along with commentary on how and why they work to bring power to words both in person and and on paper.

The biggest crime story in American history began on the night of March 1, 1932, when the 20-month-old son of Charles and Anne Lindbergh was snatched from his crib in Hopewell, New Jersey. The news shocked a nation enthralled with the aviator, the first person to fly solo nonstop across the Atlantic. American law enforcement marshalled all its resources to return “Little Lindy” to the arms of his parents - and perhaps even more energized were the legions of journalists catering to a public whose appetite for Lindbergh news was insatiable.

Countless would-be readers and listeners of Finnegans Wake - James Joyce's 1939 masterwork, on which he labored for a third of his life - have given up after a few pages and "dismissed the book as a perverse triumph of the unintelligible." In 1944, a young professor of mythology and literature named Joseph Campbell, working with novelist and poet Henry Morton Robinson, wrote the first guide to understanding the fascinating world of Finnegans Wake.

From drawing a map of a remembered neighborhood to signing a form releasing yourself to take risks in your work, Roorbach offers innovative techniques that will trigger ideas for all writers. Writing Life Stories is a classic text that appears on countless creative nonfiction and composition syllabi the world over. This updated 10th anniversary edition gives you the same friendly instruction and stimulating exercises along with updated information on current memoir writing trends, ethics, internet research, and even marketing ideas.

As practical as it is inspiring, The Art of Creative Writing remains a timeless, illuminating guide that teaches every writer, and aspiring writer, how to create works that are both compelling and enduring. 

For aspiring writers, few experiences offer the thrill of a well-taught creating writing workshop—imagine the surge of fresh ideas filling your mind, exercise by exercise, as you absorb the skills of the craft from a seasoned expert, almost effortlessly. Now you can experience this unmatched...

A creative writer's shelf should hold at least three essential books: a dictionary, a style guide, and Writing Fiction. Janet Burroway's best-selling classic is the most widely used creative writing text in America, and for more than three decades, it has helped hundreds of thousands of students learn the craft.  

"They Say / I Say" identifies the key rhetorical moves in academic writing, showing students how to frame their arguments in the larger context of what others have said and providing templates to help them make those moves. And, because these moves are central across all disciplines, the audiobook includes chapters on writing in the sciences, writing in the social sciences, and - new to this edition - writing about literature.

Can you recognise the cheerful chirrups of the house sparrow? A song thrush singing out at winter's darkest hour? Or the beautiful, haunting call of the curlew? At a time of great anxiety and uncertainty, while coping with the untimely death of his mother, Charlie Corbett realised his perspective on life was slipping. In a moment of despair, he found himself - somewhat damp - lying on the side of a lonely hill staring up at a leaden sky, a melancholy drizzle seeping into his bones.

In April 1986 a series of explosions shook the Chernobyl nuclear reactor. Flames lit up the sky, and radiation escaped to contaminate the land and poison the people for years to come. While officials tried to hush up the accident, Svetlana Alexievich spent years collecting testimonies from survivors - clean-up workers, residents, firefighters, resettlers, widows, orphans - crafting their voices into a haunting oral history of fear, anger and uncertainty, but also dark humour and love.

This isn't a typical book on writing essays. First, it's for college students, graduate students, and even high school students—good writing is good writing; all that changes is the length and complexity of what you write. But the plan stays the same. Second, I'm not going to tell you any cute stories about writing. I'm not going to tell you the standard information about writing. Nor am I going to give you a simple formula for writing an essay. They don't work, and in the long run, they won't help you. What I am going to do is give you a plan for how you should approach writing essays.

First published in 1909, this compact yet powerful manual exposes the most common blunders of language and style, offering Bierce’s signature blend of precision, humor, and biting critique. From misused words and illogical phrases to lazy constructions and pompous diction, Bierce spares no one in his mission to defend the integrity of English prose.

This inaugural edition of what will be a yearly collection offers a fascinating variety of essays and crime reporting, taken from regional, national, and international publications. The stories range from reports of homicide at a Toronto massage parlor to blackmail and murder-for-hire in Austin, Texas, to an unusual murder weapon in rural Minnesota. Other stories examine controversial rehabilitation techniques for sexual criminals and explore the phenomenon of victims' relatives appearing as guests at true crime conventions.