Research Writing

Manual básico de escritura con el que aprenderás qué elementos imprescindibles debes incluir en tu novela o relato y cómo debes trabajarlos para que tu obra no tenga agujeros de guión. Incluye seis relatos de autoras españolas especialistas en CiFi, Terror y Fantasía, analizados en profundidad a modo de ejemplos: Nieves Delgado, Nieves Mories, Yolanda Camacho, Carmen Moreno, Cristina Jurado y Nahikari Diosdado.

Creative flow has blessed me with 39 novels that have collectively sold over 5 million copies, in sixteen languages, in under eight years, earning me over $10 million and over fifty spots on The New York Times, Wall Street Journal, USA Today, and foreign bestselling lists. All of my dreams came true because I learned to write amazing fiction. I wrote this book for the old me—the girl who had big dreams, but no real idea how to write the books she’d need to make those big dreams come true. I wanted to make it easier for her to get to where I am now by sharing what I learned along the way.

In this digital age, artists have discovered a new frontier for sharing and selling their creations. From ebooks to paintings, the online world offers a vast array of platforms and strategies for artists to showcase and monetise their work. Writing and Drawing as Art Forms is a concise guide designed to help artists navigate this digital landscape and turn their passion into profit.

This audiobook is your last obstacle to finally getting all those ideas out of your head. It will help you "die empty".

The Zettelkasten method is the perfect way to harness the power of technology to remember what you read and boost creativity. Invented in the 16th century and practiced to its fullest extent by a German sociologist who wrote 70 books and hundreds of articles, the Zettelkasten method is exploding in popularity. Writers of all types are discovering that digital tools make the method more powerful than ever, turning your digital life into an “external brain” or “bicycle for the mind”.

Are you tired of "how to publish books" that are full of fluff and no real information? I was, too. I determined to jump in and learn for myself - and that's exactly what I did. I started with my first book, How to Work from Home and Make Money, and then quickly published three more. I was looking for the topic of my fifth book when it hit me - why not share what I've learned with the people who still haven't made the leap and published their own book?

What makes a fantasy fantastic? Magic, of course! Whether it’s unearthly beasts, scheming sorcerers, legendary swords, or locales that defy logic and physics, a compelling fantasy story needs magical elements. The tricky part is that in order for the story to work, you have to get your reader or player to believe the unbelievable. The Kobold Guide to Magic takes you behind the scenes to learn the secrets of designing and writing about magic from 20 top fantasy authors and game designers.

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.

When producer Ira Rosen walked into the 60 Minutes offices in June 1980, he knew he was about to enter television history. His career catapulted him to the heights of TV journalism, breaking some of the most important stories in TV news. But behind the scenes was a war room of clashing producers, anchors, and the most formidable 60 Minutes figure: legendary correspondent Mike Wallace.

As the author of 24 novels, Elizabeth George is one of the most successful - and prolific - novelists today. In Mastering the Process, George offers listeners a master class in the art and science of crafting a novel. This is a subject she knows well, having taught creative writing both nationally and internationally for over 30 years. Drawing from her personal photos, early notes, character analyses, and rough drafts, George shows us every stage of how she wrote her novel Careless in Red.

Harness the power of context, confidence, and a funny group of writers like the pros do on legendary TV shows like SNL or The Simpsons or at comedy institutions like The Onion. Scott Dikkers will show you how it’s done. He’s cofounder and longest-serving editor in chief of The Onion, the world’s most popular humor publication, and founder of the Onion Training Center at the Second City in Chicago. He’s also a number one best-selling humor author, comedy performer, and winner of the Thurber Prize for American Humor.

In Sit Down and Cheer, Martin Kelner traces the development of this relationship from its humble origins in the 1960 Olympics, by way of the first-ever Match of the Day in 1964, through to the financial impact of Sky, right up to the high-tech gadgetry of our present-day viewing. Insightful and very funny, this is an entertaining exploration of two major national pastimes and not to be missed.

Copywriting is dead. Learn how to write copy that sells, and stop wasting money on your ads.

A master class of 27 lessons, drawn from 27 diverse narratives, for novelists, storytellers, filmmakers, graphic designers, and more. Author Daniel Joshua Rubin unlocks the secrets of what makes a story work, and then shows how to understand and use these principles in your own writing. The result is “an invaluable resource” (Publishers Weekly, starred review), offering priceless advice like escalate risk, with an example from Pulp Fiction.

A great recurring character in a series you love becomes an old friend. You learn about their strange quirks and their haunted pasts and root for them every time they face danger. But where do some of the most fascinating sleuths in the mystery and thriller world really come from? What was the real-life location that inspired Michael Connelly to make Harry Bosch a Vietnam vet tunnel rat? Why is Lee Child's Jack Reacher a drifter?

You've probably already realized that storytelling is ubiquitous today and that it's hard to imagine marketing without it. In this guide, you will first get an overview of what storytelling actually is and why it is an important part of a successful marketing strategy. In addition, you will learn in the theory section how a classic story is structured, to what extent this structure can be integrated into business practice and what alternatives there are.

This House of Grief is a heartbreaking audiobook by one of Australia's most admired authors. Anyone can see the place where the children died. You take the Princes Highway past Geelong, and keep going west in the direction of Colac. Late in August 2006, soon after I had watched a magistrate commit Robert Farquharson to stand trial before a jury on three charges of murder, I headed out that way on a Sunday morning, across the great volcanic plain.

Kate Webb, an Australian iconoclast, Catherine Leroy, a French daredevil photographer, and Frances FitzGerald, a blue-blood American intellectual, arrived in Vietnam with starkly different life experiences but one shared purpose: to report on the most consequential story of the decade. At a time when women were considered unfit to be foreign reporters, Frankie, Catherine, and Kate challenged the rules imposed on them by the military, ignored the belittlement of their male peers, and ultimately altered the craft of war reportage for generations.

In the 1980s, Lawrence Block developed an interactional seminar that adapted elements of the human potential movement specifically for writers. For several years, he and his wife, Lynne, traveled the country conducting seminars that focused on the inner game of writing and designed to enable participants to get out of their own way and put their best work on paper.

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.