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Roy Peter Clark - Writing Tools: 55 Essential Strategies for Every Writer

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Roy Peter Clark Writing Tools: 55 Essential Strategies for Every Writer
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A special 10th anniversary edition of Roy Peter Clarks bestselling guide to writing, featuring five bonus tools.
Ten years ago, Roy Peter Clark, Americas most influential writing teacher, whittled down almost thirty years of experience in journalism, writing, and teaching into a series of fifty short essays on different aspects of writing. In the past decade, Writing Tools has become a classic guidebook for novices and experts alike and remains one of the best loved books on writing available.
Organized into four sections, Nuts and Bolts, Special Effects, Blueprints for Stories, and Useful Habits, Writing Tools is infused with more than 200 examples from journalism and literature. This new edition includes five brand new, never-before-shared tools.
Accessible, entertaining, inspiring, and above all, useful for every type of writer, from high school student to novelist, Writing Tools is essential reading.

Roy Peter Clark: author's other books


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To Donald M. Murray

and to the memory of Minnie Mae Murray,

godparents to a nation of writers

What if we polled readers to determine the most influential writing books of all time? The winner, no doubt, would be The Elements of Style by the teacher/student team of William Strunk Jr. and E. B. White. I own a dozen copies in different editions. Any book that sells more than ten million copies in a half-century deserves the equivalent of a platinum record.

Next on the list would be On Writing Well by William Zinsser, which has sold more than one million copies over the last thirty years. If I had to summarize Zinssers advice in three words, it would be Dump the clutter. My appreciation for this book is marked by my affection for the man. I met him just after its publication and reunited with him by phone just before his death at the age of ninety-two. By then he was blind, but still working with visiting writers in his Manhattan apartment, and taking lessons from a poetry tutor.

If you checked lists of writing books at online booksellers, you would find Strunk and White along with Zinsser at the top. Not far below, you would find books such as:

Writing Down the Bones, by Natalie Goldberg

Bird by Bird, by Anne Lamott

On Writing, by Stephen King

These are noble and practical writing guides that deserve their place on your bookshelf, within arms reach of your computer. What I like best about them is that they combine narratives of the writers life with elements of the writers craft.

Over the last ten years there has been one pretty little book, thanks to designer Keith Hayes, that has elbowed its way into the company of these classics. You are holding it in your hands: Writing Tools: 50 Essential Strategies for Every Writer. For this Tenth Anniversary Edition weve brought you five new tools, for a total of fifty-five.

Students, teachers, journalists, and freelance writers often ask me, What one book should I buy to grow as a writer? I used to say The Complete Works of William Shakespeare or The Great Gatsby or Flannery OConnor: The Collected Works. Those are still good answers. No, they will respond, I mean what one writing book.

For a long time my answer was The Elements of Style. Then I started recommending On Writing Well. Now I say Writing Tools. I understand the immodesty and self-interest in that statement. But I say it anyway, in a spirit that I think rests in the heart of every passionate and influential writer: I believe in the work.

If you believe in the idea that motivates this book, that America should strive to become a nation of writers, then why not shout it out?

Ive been busy in the decade since the publication of Writing Tools. What followed that firstborn were these siblings: The Glamour of Grammar, Help! For Writers, How to Write Short, and The Art of X-Ray Reading, all published by Little, Brown. My confidence in this body of work has come from loyal readers. I hear from them all the time, and from all over the world. One wrote to say he was stuck writing his novel until someone handed him a copy of Writing Tools. Countless readers have testified that they keep the short list of tools at their workstations. High school students send me selfies in which theyre holding the book.

The most dramatic response came from a man in a store named Kramerbooks in Washington, DC. I just happened to be visiting with my brother Vincent, who noticed the man holding a copy of one of my books. Vincent ventured to tell him that the author was in the mens room but would be happy to sign it for him.

I did sign the book, as the man, almost tearful, told of how he nearly gave up graduate studies because of an inability to write a thesis, and how his sister, a college professor, had encouraged him by giving him a copy of Writing Tools. He earned his degree.

In my last conversation with Bill Zinsser, he offered me a word of encouragement: Lets keep this mission going. I took him to mean the craft of writing, the humanity of writing, the power of storytelling in the interests of literacy, learning, community, and democracy. That is where I plant my flag, and so, I venture to say, do my brothers and sisters of the word: Strunk, White, Zinsser, Goldberg, Lamott, and King. Read me. And read them, too.

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Americans do not write for many reasons. One big reason is the writers struggle. Too many writers talk and act as if writing were slow torture, a form of procreation without arousal and romanceall dilation and contraction, grunting and pushing. As New York sports writer Red Smith once observed, Writing is easy. All you do is sit down at a typewriter and open a vein. The agony in Madison Square Garden.

If you want to write, heres a secret: the writers struggle is overrated, a con game, a cognitive distortion, a self-fulfilling prophecy, the best excuse for not writing. Why should I get writers block? asked the mischievous Roger Simon. My father never got truck drivers block.

Good readers may struggle with a difficult text, but struggle is not the goal of reading. The goal is fluency. Meaning flows to the good reader. In the same way, writing should flow from the good writer, at least as an ideal.

The ability to read, society tells us, contributes to success in education, employment, and citizenship. Reading is a democratic craft. Writing, in contrast, is considered a fine art. Our culture taps only a privileged few on the shoulder. We are the talented ones, and youre not. The teacher read our stories aloud in class, or encouraged us to enter an essay contest, or pushed us toward the newspaper or literary magazine. We thrive on such recognition, but think of the millions left behind.

If you feel left behind, this book invites you to imagine the act of writing less as a special talent and more as a purposeful craft. Think of writing as carpentry, and consider this book your toolbox. You can borrow a writing tool at any time, and heres another secret: Unlike hammers, chisels, and rakes, writing tools never have to be returned. They can be cleaned, sharpened, and passed along.

These practical tools will help to dispel your writing inhibitions, making the craft central to the way you see the world. As you add tools to your workbench, youll begin to see the world as a storehouse of writing ideas. As you gain proficiency with each tool, and then fluency, the act of writing will make you a better student, a better worker, a better friend, a better citizen, a better parent, a better teacher, a better person.

I first gathered these tools at the Poynter Institute, a school for journalists, but thanks to the Internet they have traveled around the world and back. They have found their way into the hands of teachers, students, poets, fiction writers, magazine editors, students, freelancers, screenwriters, lawyers, doctors, technical writers, bloggers, and many other workers and professionals who traffic in words. To my surprise, online versions are being translated into several languages, including Italian, Spanish, Portuguese, Russian, Arabic, Japanese, and Indonesian, reminding me that writing strategies can and do cross boundaries of language and culture.

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