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On Writing Well: The Classic Guide to Writing Nonfiction Capa comum – 9 maio 2006
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On Writing Well has been praised for its sound advice, its clarity and the warmth of its style. It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does in the age of e-mail and the Internet.
Whether you want to write about people or places, science and technology, business, sports, the arts or about yourself in the increasingly popular memoir genre, On Writing Well offers you fundamental priciples as well as the insights of a distinguished writer and teacher. With more than a million copies sold, this volume has stood the test of time and remains a valuable resource for writers and would-be writers.
- ISBN-109780060891541
- ISBN-13978-0060891541
- Edição30th Anniversary ed.
- Data da publicação9 maio 2006
- IdiomaInglês
- Dimensões1.93 x 13.49 x 20.32 cm
- Número de páginas321 páginas
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Descrição do produto
Sobre o Autor
William Zinsser is a writer, editor and teacher. He began his career on the New York Herald Tribune and has since written regularly for leading magazines. During the 1970s he was master of Branford College at Yale. His 17 books, ranging from baseball to music to American travel, include the influential Writing to Learn and Writing About Your Life. He teaches at the New School in New York.
Trecho. © Reimpressão autorizada. Todos os direitos reservados
On Writing Well, 30th Anniversary Edition
The Classic Guide to Writing NonfictionBy William ZinsserHarperCollins Publishers, Inc.
Copyright ©2006 William ZinsserAll right reserved.
ISBN: 0060891548
Chapter One
The Transaction
A school in Connecticut once held "a day devoted to the arts," and I was asked if I would come and talk about writing as a vocation. When I arrived I found that a second speaker had been invited -- Dr. Brock (as I'll call him), a surgeon who had recently begun to write and had sold some stories to magazines. He was going to talk about writing as an avocation. That made us a panel, and we sat down to face a crowd of students and teachers and parents, all eager to learn the secrets of our glamorous work.
Dr. Brock was dressed in a bright red jacket, looking vaguely bohemian, as authors are supposed to look, and the first question went to him. What was it like to be a writer?
He said it was tremendous fun. Coming home from an arduous day at the hospital, he would go straight to his yellow pad and write his tensions away. The words just flowed. It was easy. I then said that writing wasn't easy and wasn't fun. It was hard and lonely, and the words seldom just flowed.
Next Dr. Brock was asked if it was important to rewrite. Absolutely not, he said. "Let it all hang out," he told us, and whatever form the sentences take will reflect the writer at his most natural. I then said that rewriting is the essence of writing. I pointed out that professional writers rewrite their sentences over and over and then rewrite what they have rewritten.
"What do you do on days when it isn't going well?" Dr. Brock was asked. He said he just stopped writing and put the work aside for a day when it would go better. I then said that the professional writer must establish a daily schedule and stick to it. I said that writing is a craft, not an art, and that the man who runs away from his craft because he lacks inspiration is fooling himself. He is also going broke.
"What if you're feeling depressed or unhappy?" a student asked. "Won't that affect your writing?"
Probably it will, Dr. Brock replied. Go fishing. Take a walk. Probably it won't, I said. If your job is to write every day, you learn to do it like any other job.
A student asked if we found it useful to circulate in the literary world. Dr. Brock said he was greatly enjoying his new life as a man of letters, and he told several stories of being taken to lunch by his publisher and his agent at Manhattan restaurants where writers and editors gather. I said that professional writers are solitary drudges who seldom see other writers.
"Do you put symbolism in your writing?" a student asked me.
"Not if I can help it," I replied. I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had any idea of what is being conveyed.
"I love symbols!" Dr. Brock exclaimed, and he described with gusto the joys of weaving them through his work.
So the morning went, and it was a revelation to all of us. At the end Dr. Brock told me he was enormously interested in my answers -- it had never occurred to him that writing could be hard. I told him I was just as interested in his answers -- it had never occurred to me that writing could be easy. Maybe I should take up surgery on the side.
As for the students, anyone might think we left them bewildered. But in fact we gave them a broader glimpse of the writing process than if only one of us had talked. For there isn't any "right" way to do such personal work. There are all kinds of writers and all kinds of methods, and any method that helps you to say what you want to say is the right method for you. Some people write by day, others by night. Some people need silence, others turn on the radio. Some write by hand, some by word processor, some by talking into a tape recorder. Some people write their first draft in one long burst and then revise; others can't write the second paragraph until they have fiddled endlessly with the first.
But all of them are vulnerable and all of them are tense. They are driven by a compulsion to put some part of themselves on paper, and yet they don't just write what comes naturally. They sit down to commit an act of literature, and the self who emerges on paper is far stiffer than the person who sat down to write. The problem is to find the real man or woman behind the tension.
Ultimately the product that any writer has to sell is not the subject being written about, but who he or she is. I often find myself reading with interest about a topic I never thought would interest me -- some scientific quest, perhaps. What holds me is the enthusiasm of the writer for his field. How was he drawn into it? What emotional baggage did he bring along? How did it change his life? It's not necessary to want to spend a year alone at Walden Pond to become involved with a writer who did.
This is the personal transaction that's at the heart of good nonfiction writing. Out of it come two of the most important qualities that this book will go in search of humanity and warmth. Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it's not a question of gimmicks to "personalize" the author. It's a question of using the English language in a way that it will achieve the greatest clarity and strength.
Can such principles be taught? Maybe not. But most of them can be learned.
Continues...
Excerpted from On Writing Well, 30th Anniversary Editionby William Zinsser Copyright ©2006 by William Zinsser. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Detalhes do produto
- ASIN : 0060891548
- Editora : HarperCollins Publishers; 30th Anniversary ed. edição (9 maio 2006)
- Idioma : Inglês
- Capa comum : 321 páginas
- ISBN-10 : 9780060891541
- ISBN-13 : 978-0060891541
- Dimensões : 1.93 x 13.49 x 20.32 cm
- Ranking dos mais vendidos: Nº 45,401 em Livros (Conheça o Top 100 na categoria Livros)
- Avaliações dos clientes:
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That is a book to a specific public: journalism students, newspapermen, and journalists. I'm not sure we can call it a ''classic guide''. The author expresses the rules without a method, and the display of the chapters is confusing. Only the first three chapters and the last one are helpful. Zinsser is superficial in many passages to explain how to produce a specific kind of nonfiction text. You'll learn very little from that book.
Principais avaliações de outros países
It talks about what writing should look like whether you are a sportswriter or travel writer. It keeps its focus on nonfiction writing but you get many lessons on fiction writing as well.
MUST READ if you are a writer or editor or just hoping to be a writer some day.
William Zinsser tells with clear examples that clutter and clichés in writing are present everywhere, we read them so often that we’ve become numb, narrowing our sense of what a good piece of writing looks like. Then he elegantly shows what it looks like. Humour and optimism are “lubricants in writing”, it also requires “a good musical ear, a sense of rhythm and a feeling for words”, he says.
My favourite chapter of this book is A Writer’s Decision in which William Zinsser deconstructs one of his travel piece on Timbuktu, which had appeared in Condé Nast Traveller magazine. Leading up to that section, with my fresh pair of reading eyes and heightened reading senses, I thoroughly enjoyed it from start to finish. That chapter summed it up for me, the experiences of Timbuktu lingered for several days in my mind, so did the intertwined writing lessons. I imagined that I was reading the Timbuktu article in the magazine and thought, “how could someone, after reading it, not want to visit Timbuktu and relive for themselves what William Zinsser did”.
The book is neatly organised, starting with the fundamental principles of writing, followed by the methods to use during the execution. At this point you’re hooked which is when he takes you with him to dive deep and long into the various forms of writing — such as an interview, a travel, a business, or a science article — each consisting of some brilliant examples to take home an important lesson. In the last section, he covers attitudes which one can develop to become a complete writer.
Never ever will I be fooled and mislead again by a poor piece of writing even if it appears in the most prestigious publication. On the other hand, I’ve realised that a fresh piece can appear even in the least reputed newspaper.