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INGLÊS

On The Art Of Writing

de Arthur Thomas Quiller-Couch

~~2,41€~~ 1,93€ 20% IMEDIATO

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 <div>"The art of writing is a living business," Declares Sir Arthur Quiller-Couch in the Preface to this classic. "Literature is not a mere science, to be studied; but an art, to be practiced. Great as is our own literature, we must consider it as a legacy to be improved . . . if we persist in striving to write well, we can easily resign to other nations all the secondary fame." Renowned as a critic, teacher, and educational reformer, Quiller-Couch delivered a series of lectures at the University of Cambridge in 1913-14. His subjects--the artistic and vital nature of language as well as the skills needed to convey and receive the written word--remain as timeless as his advice. This book contains the eminent scholar''s remarks from those lectures on the practice of writing, the difference between verse and prose, the use of jargon, the history of English literature, the ways in which English literature is taught at the university, and the importance of style. The principles and practical guidelines he sets forth in this volume offer aspiring writers an enduring source of guidance. Sir Arthur Thomas Quiller-Couch (21 November 1863 - 12 May 1944) was a British writer who often published under the pen name of Q. A novelist and poet who was also a Professor of English, he helped to form the literary tastes of generations of literary students and scholars who came after him. He is primarily remembered for the monumental Oxford Book Of English Verse 1250-1900 (later extended to 1918), and for his literary criticism. Every writer should have this book as reference and inspiration.Get Your Copy Now.</div>
INGLÊS

How To Tell A Story And Other Essays

de Mark Twain

~~2,94€~~ 2,35€ 20% IMEDIATO

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 <div>Why the Humorous Story Can Only Be Told by AmericansI do not claim that I can tell a story as it ought to be told. I only claim to know how a story ought to be told, for I have been almost daily in the company of the most expert story-tellers for many years.There are several kinds of stories, but only one difficult kind—the humorous. I will talk mainly about that one. The humorous story is American, the comic story is English, the witty story is French. The humorous story depends for its effect upon the manner of the telling; the comic story and the witty story upon the matter.The humorous story may be spun out to great length, and may wander around as much as it pleases, and arrive nowhere in particular; but the comic and witty stories must be brief and end with a point. The humorous story bubbles gently along, the others burst.The humorous story is strictly a work of art—high and delicate art—and only an artist can tell it; but no art is necessary in telling the comic and the witty story; anybody can do it. The art of telling a humorous story—understand, I mean by word of mouth, not print—was created in America, and has remained at home.The humorous story is told gravely; the teller does his best to conceal the fact that he even dimly suspects that there is anything funny about it; but the teller of the comic story tells you beforehand that it is one of the funniest things he has ever heard, then tells it with eager delight, and is the first person to laugh when he gets through. And sometimes, if he has had good success, he is so glad and happy that he will repeat the "nub" of it and glance around from face to face, collecting applause, and then repeat it again. It is a pathetic thing to see.Very often, of course, the rambling and disjointed humorous story finishes with a nub, point, snapper, or whatever you like to call it. Then the listener must be alert, for in many cases the teller will divert attention from that nub by dropping it in a carefully casual and indifferent way, with the pretense that he does not know it is a nub.Artemus Ward used that trick a good deal; then when the belated audience presently caught the joke he would look up with innocent surprise, as if wondering what they had found to laugh at. Dan Setchell used it before him, Nye and Riley and others use it to-day.But the teller of the comic story does not slur the nub; he shouts it at you—every time. And when he prints it, in England, France, Germany, and Italy, he italicizes it, puts some whooping exclamation-points after it, and sometimes explains it in a parenthesis. All of which is very depressing, and makes one want to renounce joking and lead a better life.Get Your Copy Now = = =This anthology is a thorough introduction to classic literature for those who have not yet experienced these literary masterworks. For those who have known and loved these works in the past, this is an invitation to reunite with old friends in a fresh new format. From Shakespeare’s finesse to Oscar Wilde’s wit, this unique collection brings together works as diverse and influential as The Pilgrim’s Progress and Othello. As an anthology that invites readers to immerse themselves in the masterpieces of the literary giants, it is must-have addition to any library ** ### About the Author Samuel Langhorne Clemens (1835 1910), better known by his pen name Mark Twain, was an American author and humorist. He is noted for his novels Adventures of Huckleberry Finn (1885), called "the Great Ameri...
INGLÊS

How To Write A Novel - A Practical Guide To The Art Of Fiction

de Anonymous

~~2,41€~~ 1,93€ 20% IMEDIATO

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 <div>A Hundred Year-old Book Answers the Same Questions Struggling Authors Have NowThis little book is one which so well explains itself that no introductory word is needed; and I only venture to intrude a sentence or two here with a view to explain the style in which I have conveyed my ideas. I desired to be plain and practical, and therefore chose the direct and epistolary form as being most suitable for the purpose in hand.I address myself to the man or woman of talent—those people who have writing ability, but who need instruction in the manipulation of characters, the formation of plots, and a host of other points with which I shall deal hereafter.As to what is teachable, and not teachable, in writing novels, perhaps I may be permitted to use a close analogy. Style, per se, is absolutely unteachable simply because it is the man himself; you cannot teach personality.Can Dickens, Thackeray, and George Meredith be reduced to an academic schedule? Never. Every soul of man is an individual entity and cannot be reproduced.But although style is incommunicable, the writing of easy, graceful English can be taught in any class-room—that is to say, the structure of sentences and paragraphs, the logical sequence of thought, and the secret of forceful expression are capable of exact scientific treatment.In like manner, although no school could turn out novelists to order—a supply of Stevensons annually, and a brace of Hardys every two years—there is yet enough common material in all art- work to be mapped out in a course of lessons.I shall show that the two great requisites of novel-writing are(1) a good story to tell, and(2) ability to tell it effectively.Briefly stated, my position is this: no teaching can produce "good stories to tell," but it can increase the power of "the telling," and change it from crude and ineffective methods to those which reach the apex of developed art.Of course there are dangers to be avoided, and the chief of them is that mechanical correctness, "so praiseworthy and so intolerable," as Lowell says in his essay on Lessing. But this need not be an insurmountable difficulty. A truly educated man never labours to speak correctly; being educated, grammatical language follows as a necessary consequence.The same is true of the artist: when he has learned the secrets of literature, he puts away all thoughts of rule and law—nay, in time, his very ideas assume artistic form.- - - -Some headings:* A Model Lesson in Novel-Writing * The Teachable and the Unteachable * Where do Novelists get their Stories from? * Is there a Deeper Question? * What about the Newspapers? * Formation of the Plot * The Agonies and Joys of "Plot-Construction" * Care in the Use of Actual Events * The Natural History of a Plot * Sir Walter Besant on the Evolution of a Plot * Plot-Formation in Earnest * Characters first: Plot afterwards * The Natural Background * The Chief Character * How to Portray Character * Methods of Characterization * The Trick of "Idiosyncrasies" * Narrative Art * Movement * Aids to Description: The Point of View * Selecting the Main Features * Description by Suggestion * Facts to Remember * Color: Local and Otherwise * What about Dialect? * On Dialogue * Points in Conversation * "Atmosphere" * Topography and Geography * Scientific Facts * Grammar * Quick and Slow * How many Words a Day? * Curious Methods * Practice the Short Story * Short Story Writers on their Art * The Truth about Success (Minor Conditions of Success) * And more including "The Philosophy of Composition" by Edgar Allan Poe</div>
INGLÊS

How To Speak And Write Correctly

de Joseph Devlin

~~2,41€~~ 1,93€ 20% IMEDIATO

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 <div>Learn the Easy Way to Speak and Write Well.I found this book by accident while browsing through a now-defunct Los Angeles bookstore/cafe. It was the luckiest accident of my life.At that point I had been a professional writer for more than twenty years, but I rarely enjoyed my work, and I felt all of it was disposable in one way or another. At first, reading this book gave me an incredible, if unfamiliar, feeling of joy and self-confidence. Afterwards, I began to surprise the hell out of myself in terms of what I was able to accomplish. This little book is very practical and precise. The best plan is to follow the best authors and these masters of language will guide you safely along the way. There are chapters devoted to all the essential components to make writing interesting. Devlin delivers a concise book that allows you to starts improving your speech and writing quickly, and covers a truck load of good grammar taught well.As Devlin tells it:"In the preparation of this little work the writer has kept one end in view: To make it serviceable for those for whom it is intended, that is, for those who have neither the time nor the opportunity, the learning nor the inclination, to peruse elaborate and abstruse treatises on Rhetoric, Grammar, and Composition. "To them such works are as gold enclosed in chests of steel and locked beyond power of opening. "This book has no pretension about it whatever. It is neither a Manual of Rhetoric, expatiating on the dogmas of style, nor a Grammar full of arbitrary rules and exceptions. "It is merely an effort to help ordinary, everyday people to express themselves in ordinary, everyday language, in a proper manner. "Some broad rules are laid down, the observance of which will enable the reader to keep within the pale of propriety in oral and written language. Many idiomatic words and expressions, peculiar to the language, have been given, besides which a number of the common mistakes and pitfalls have been placed before the reader so that he may know and avoid them. "The writer has to acknowledge his indebtedness to no one in particular, but to all in general who have ever written on the subject. "The little book goes forth - a finger-post on the road of language pointing in the right direction. It is hoped that they who go according to its index will arrive at the goal of correct speaking and writing."It is very easy to learn how to speak and write correctly, as for all purposes of ordinary conversation and communication, only about 2,000 different words are required. The mastery of just that many words, and knowing where to place them, will make us not masters of the English language, but masters of correct speaking and writing."To use a big word or a foreign word when a small one and a familiar one will answer the same purpose, is a sign of ignorance. Great scholars and writers and polite speakers use simple words."We find that a great many people who pass in society as being polished, refined and educated use less, for they know less. The greatest scholar alive hasn''t more than four thousand different words at his command, and he never has occasion to use half the number."It is the purpose of this book, as briefly and concisely as possible, to direct the reader along a straight course, pointing out the mistakes he must avoid and giving him such assistance as will enable him to reach the goal of a correct knowledge of the English language. It is not a Grammar in any sense, but a guide, a silent signal-post pointing the way in the right direction."Every writer should have this book as a ready reference and guide.Get Your Copy Now.</div>

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