By Jack R. Hart
Mystified over lost modifiers? In a trance from intransitive verbs? Paralyzed from utilizing the passive voice? to help writers, from rookies to execs, mythical writing trainer Jack Hart provides a accomplished, useful, step by step method of the writing technique. He stocks his suggestions for composing and maintaining strong writing and demonstrates find out how to triumph over the commonest hindrances akin to procrastination, writer’s block, and over the top sprucing. With instructive examples and excerpts from extraordinary writing to supply notion, A Writer’s Coach is a boon to writers, editors, lecturers, and students.
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Additional info for A Writer's Coach: The Complete Guide to Writing Strategies That Work
As Tom Tait, then editor of The Desert Sun in Palm Springs, once told me: "Our most common problem with poor writing is that it is usually a by-product of poor reporting. A story is difficult—sometimes impossible— to edit properly if it lacks essential facts. Details, which are the stuff of good writing, can't be edited in. I'd much rather edit a good reporter who struggles with how to say it than one who didn't say enough:' Building Materials Every writer works with three forms of raw material: • What people say happened (quotations from those who should know).
A Favorable Wind My colleagues are no doubt tired of my favorite quotations, including one from Michel de Montaigne. " You may start your thinking about a subject with a question. ") But you're in for nothing but aimless wander16 METHOD ing unless you convert your question into an assertion. ") That gives you a course of action. An you're likely to have a purposeful, productive journey even if your assertion turns out to be wrong. Good ideas, in navigation or in writing, take the form of hypotheses.
If they have doubts about a fact, they flag it for checking later. If they need a quotation or some other tidbit from their notes, they mark the spot and move along. They stroll through the story at a steady, even pace. " Remedial Drafting When it comes to producing a first draft quickly and easily, I confess that I'm my own worst example. My tendency is to fine-tune as I go, repeatedly looping back to the beginning, rewriting everything from the first line on down, plodding ahead on the leading edge of the piece.