Research Fiction

The second wave of the Siberian Flu catches the country completely unprepared. Instead of killing the old and frail, the young and healthy are dropping . . . in hours, not days. Kate, a new doctor, will sacrifice everything to break her and her sister free from a controlling stepfather and a dead-end small town existence. Moments from landing the critical job she needs, St. Louis falls apart around her.

Hundreds of deadly miles stand between Kate and her sister fighting for her life back home. Kate fights through the desperate people and a terrain that becomes more treacherous by the day. No longer waiting to be rescued, Alisa braves the powerful cabal that has taken over their small town and risks her own life to protect the innocent. The sisters can’t give up. They won’t. No matter the cost.

Both sisters are trapped. Kate fights to escape a city with closing borders as the leaders desperately try to contain the outbreak. Betrayed by family and embroiled in the chaos of an organized crime syndicate, Alisa struggles to get out before she breaks under the unbearable strain. Even if she escapes, Kate still faces miles of lawless country with dangers even worse than the virus. Back home, Alisa can’t turn her back on the other trapped victims and is determined to find a way to save them all.

n principio ci sono le storie. Campi magnetici. Singole tessere del reale escono dal rumore bianco del mondo e si mettono a vibrare con un'intensità particolare, anomala. La genesi di una storia può durare un attimo o incubare per anni. Le forme dei campi magnetici che chiamiamo storie sono illimitate. Don Giovanni e Dracula sono buchi neri attorno ai quali un intero mondo prende vita. Nell'Amleto e nei Vangeli un frammento, apparentemente impazzito, diserta e mette in pericolo tutta la sequenza del reale. Poi ci sono le trame. Abitano le storie, le attraversano, e le rendono leggibili.

Dir liegt jetzt eine Rohfassung deines Romans vor. Zuerst einmal solltest du sie eine Weile liegen lassen. Das schärft deinen Blick für die Bearbeitung. Widme dich eine Weile ganz anderen Dingen, sammle andere Eindrücke, mach Urlaub, wenn du kannst.

Die Vorarbeiten für einen Roman dauern oft länger, als das Schreiben selbst. Wenn deine Lust, endlich mit dem ersten Kapitel zu beginnen, zu groß wird, schleichen sich leicht diese verhängnisvollen Gedanken ein: Ich rette mich vorerst schon drüber. Ich schreibe erstmal irgendetwas hin. Aber das funktioniert nicht. Eine Geschichte, die du gut vorbereitet angehst, nimmt ganz andere und viel glaubwürdigere Wege, ganz von selbst ergeben sich spannende Figuren und überraschende Pointen.

Eine künstlerische Beobachtung ist unwillkürlich. Du kannst dich selbst oder andere beobachten. Du hast dabei das Gefühl, dass dir ein Satz, ein Dialog, eine Szene, ein Gedanke, ein Bild oder eine Idee von selbst zufliegt. Ein guter Schriftsteller kannst du nur werden, wenn du deine eigenen künstlerischen Beobachtungen erkennen lernst.

Bevor du deine Geschichte endlich aufschreiben kannst, brauchst du ein Gerüst. Um ein Gerüst zu errichten, musst du deine Geschichte von Anfang bis zum Ende durchdenken, diesmal mit allen Wendungen und Entwicklungen.

Beim Schreiben geht es darum, dich von allem, das du entwickelt, beobachtet und recherchiert hast, zu lösen, und dein Konzept nach Belieben zu sprengen.

Vertreter anderer Berufsgruppen arbeiten mit ihrem Verstand oder mit ihren Händen. Als Künstler arbeitest du mit deinem Verstand und mit deinem Unterbewusstsein. Du wirst lernen, dein Unterbewusstsein mit Hilfe deines Verstandes einzusetzen und zu lenken. Auf diese Art entwickelst du deine Phantasie. Phantasie ist nichts aus der Luft Gegriffenes. Deine Phantasie entspringt dem innersten Kern deiner Persönlichkeit.

"How to Become an Epic Writer" by Bruce Roberts, a pseudonym for an experienced ghostwriter with a prolific background in both fiction and non-fiction, is a comprehensive guide designed to transform aspiring writers into masters of their craft. This book is an invaluable resource for authors, marketers, copywriters, journalists, and bloggers, providing them with the tools, techniques, and insights necessary to excel in the ever-evolving world of writing.

Crime Writing 101 is the ultimate toolkit for fiction writers who want to create a thrilling, suspenseful, and unpausable murder mystery. This comprehensive guide is the book you need to listen to before you sit down to write.

Che cosa ci possono dire sulle tecniche della scrittura, John Banville, Emmanuel Carrère, Javier Cercas, Jhumpa Lahiri, Petros Markaris, Yasmina Reza, Colm Tóibín, Edward St Aubyn, Elizabeth Strout e Luis Sepúlveda? Caterina Bonvicini e Alberto Garlini, da scrittori, ma soprattutto da attenti lettori, hanno chiesto a ciascuno il segreto della sua maestria: dall'incipit ai dialoghi, dalle descrizioni ai personaggi, dal giallo alla biografia, dieci scrittori stranieri rispondono alle domande di due scrittori italiani. Ne nasce un piccolo compendio, agile e sapiente, sull’arte di raccontare.

You have a story you want to tell. You’ve organized time to do it and have come a long way in finding your writer’s voice. Now you need to decide whose story you’re going to write, and how make them so interesting that the reader is compelled to follow their journey to the end. In this third volume of the Write This Way series, Dr. Amanda Apthorpe guides you in bringing your characters to life on the page using the successful strategies she has shared with hundreds of writing students. This easy-to-follow guide is the third step in your writing journey.

¿Crees qué tu novela es apta para ser publicada? Muchos escritores se enfrentan a esta pregunta, una vez terminada sus novelas. Con este maravilloso manual de corrección (no de faltas de ortografía), someterás tu obra a cien preguntas que pondrán a prueba los posibles errores que pueda esconder tu novela. Corrección a todos los niveles: Estructura, portada, diálogos, puntos de vista, narración, tramas, personajes, etc.

In What I Know About the Human Race, Christian Fennell explores the concept of humanity today through varying forms of writing: fiction, essays, poetry, reviews, and a one act play.

Descubre en qué aspectos se fija la crítica literaria para juzgar si un trabajo es bueno o malo. ¿Crees qué tu novela es apta para ser publicada? Muchos escritores se enfrentan a esta pregunta una vez terminan su novela. Con este maravilloso manual someterás tu obra a cien preguntas que revelarán los errores del texto. Corrección a todos los niveles: estructura, portada, diálogos, puntos de vista, narración, tramas, personajes, etc.

It’s no secret that amazing television starts with a great script. But what makes a television screenplay compelling? An effective screenplay is a blueprint, a loan application, and work order. But first and foremost, it must be a work of art and a captivating read all on its own. Using his script for the proposed reboot of Xena, Javier Grillo-Marxauch (Lost, The Witcher, The Dark Crystal: Age of Resistance) shares what he does to make a fascinating television screenplay, from the first slug line to the final fade to black.

In the second installment of the Ink to Impact series, "Worldbuilding," aspiring and established writers are invited on a journey to the heart of creation. This indispensable guide illuminates the path to crafting immersive, dynamic worlds that captivate listeners and breathe life into your narratives.

È una verità universalmente riconosciuta che uno scrittore in possesso di un po' di tempo e di un'idea non ha bisogno di nulla di più urgente della motivazione. Ora, se mi perdona se adatto questa citazione di Jane Austen alle circostanze, le spiego il mio pensiero: Si può avere un'idea rivoluzionaria e tutto il tempo del mondo, solo che è poco utile se manca la motivazione. Se è presente anche questa, tuttavia, possono sorgere domande che possono essere un po' opprimenti, soprattutto per i nuovi scrittori.