Este libro aborda el concepto de investigación-creación desde la discusión contemporánea sobre las maneras de producir nuevo conocimiento en las artes, la arquitectura y el diseño.

Lo que nos toca escuchar (y soportar) todos los días: "Yo mismo". El "mutuo diálogo". Lo que tienes que leer "antes de morir". Lo "bastante frecuente". Lo "actualmente en vigor". Las "falsas mentiras" de las "grandes multitudes". El "robo ilegal" de "productos organicos". "Repetir lo mismo", asi sea un "rumor no confirmado". ras el catalogo de errores en el uso comun del español que Juan Domingo Arguelles elaboro en Las malas lenguas, este nuevo volumen continua su recorrido por las expresiones que el descuido, la insistencia en calcar formas de otras lenguas, la pandemia de la correccion politica y la simple ignorancia de las palabras y sus significados han sembrado en los medios informativos, las redes sociales e incluso libros de toda indole.Como señala el autor en su prologo, ¡No valga la redundancia! " va dirigido a unos pocos millares de personas a quienes el cuidado del idioma les interesa, sea porque es su ambito profesional o bien su gozo, ademas de su prodigioso instrumento de comunicacion". En esta ocasion, se concentra en "los sinsentidos y redundancias, los pleonasmos y ultracorrecciones" que leemos y escuchamos todos los dias. Con mordaz sentido del humor y un espiritu tan critico como didactico, este libro es a la vez una obra de consulta y un divertido recordatorio de lo que ocurre cuando olvidamos, ignoramos o desdeñamos la precision en el lenguaje.

Desde la Epístola a los pisones de Horacio hasta las Cartas a un joven poeta de Rainer Maria Rilke, podríamos decir que los consejos a jóvenes escritores forman un género literario en sí mismo. Filippo DAngelo ha reunido en este volumen una serie de textos entresacados de articulos, cartas e incluso novelas de algunos de los grandes autores nacidos en el XIX frances Balzac, Baudelaire, Flaubert, Maupassant, Zola, Gide y Proust que tratan los desvelos, los desafios, las dificultades tecnicas a que debe enfrentarse todo joven que aspira a convertirse en escritor. ¿Como sobrevivir en la selva del mercado literario? ¿Son tan importantes la disciplina y una rutina la-boriosa? ¿Las preocupaciones mundanas son un enemigo o un aliado? ¿Hay que aislarse o mezclarse con la gente? ¿Que respeto debemos a nuestros mayores? ¿Como encajar las criticas? ¿Y los aplausos? ¡Demasiadas putas! ¡Demasiado remo! (consejo de Flaubert a un joven y distraido Maupassant) constituye un ameno y util compendio sobre los peligros y satisfacciones que acechan a un escritor, sea del siglo XIX o de nuestros dias.

¡Reeditamos un clásico para celebrar el centenario Ray Bradbury!Once exuberantes ensayos sobre el placer de escribir por uno de los más imaginativos y prolíficos autores del siglo veinte, un escritor que disfrutaba en verdad de su oficio. Bradbury examina con sabiduria y entusiasmo toda una vida dedicada a la creacion y a la composicion de docenas de cuentos, novelas, guiones de peliculas, obras de teatro, programas de television y musicales. Refrescantes y directos, todos ellos tienen en comun: escribir es una celebracion, no una pesada tarea. Nos habla de la fiebre, el ardor, la felicidad que el ha encontrado en el acto de escribir y nos dice que estos hallazgos tambien pueden ser nuestros. La necesidad de plasmar en el papel aquello que permanece sumergido en el inconsciente durante mucho tiempo no puede ser una ardua tarea dirigida a lectores o criticos, sino a uno mismo.

Yes! No! But Wait! is the most straightforward book on writing a novel ever published.It is also the most practical, honest and useful.Tim Lott admits he cant teach someone how to write a novel (thats one of the myths propagated by the novel-writing industry).But he can help anyone construct a solid platform on which they can stand to discover whether they have the talent, will and imagination required of any novelist.A distillation of a lifetimes reading, writing and thinking about stories and how to tell them, Yes! No! But Wait! is the one book any aspiring author needs.

Y ni siquiera soy el mismo cuando escribo podría ser un ensayo más sobre el oficio del escritor, una suerte de decálogo para escritores —con digresiones, eso sí—, un manual para solitarios; o mejor,

Strategy and activity book about writing, reading and research for graduate students, teachers or researchers who need to write, practice and/or develop academic writing in English. In this book, the writing process should be understood as dynamic and flexible. Users will be able to practice the strategies according to their requirements.

Were living in a time of unprecedented diversity in produced media content, with more characters appearing who are Black, Asian and Minority Ethnic (BAME), Lesbian, Gay, Bisexual and Transgender (LGBT), disabled, or from other religions or classes. Whats more, these characters are appearing more and more in genre pieces, accessible to the mainstream, instead of being hidden away in so-called worthier pieces, as in the past. How to Write Diverse Characters discusses issues of all identities with specific reference to characterisation, not only in movies and TV, but also novel writing. It explores: How character role function really works What is the difference between stereotype and archetype? Why trope does not mean what Twitter and Tumblr think it means How the burden of casting affects both box office and audience perception Why diversity is not about agendas, buzzwords or being politically correct What authenticity truly means and why research is so important Why variety is key in ensuring true diversity in characterisation Writers have to catch up. Knowing not only what makes a good diverse character doesnt always cut it; they need to know what publishers, producers and filmmakers and other creatives are looking for - and why. This book gives writers the tools to create three dimensional, authentic characters... Who just happen to be diverse.

It may be drama features that win the most awards and kudos from critics, but in the current marketplace youre unlikely to sell a drama screenplay in the way you would a genre script.Breaking down the nuts and bolts of what differentiates drama from genre, Writing and Selling Drama Screenplays will consider questions such as: What is emotional truth? What separates stereotypical and authentic characters? What are the different types of drama feature screenplay? How do we make these films, when theres no money? What are the distribution opportunities for dramas? Exploring the ways in which drama and authenticity work, it will empower screenwriters to make their own story and character choices, so they can write and also help to package, finance and even make their own drama features.Writing and Selling Drama Screenplays includes detailed case studies of produced dramas made on both shoestring and bigger budgets, and industry insights from their writers, directors and producers. It looks in-depth at Scottish BAFTA-winning Night People, the iconic coming out movie Beautiful Thing, the touching New Orleans drama Hours, starring the late Paul Walker, and the ambitious true story of Saving Mr Banks, based on the battle of wills between Mary Poppins author PL Travers and Walt Disney himself. It will also discuss films such as Brokeback Mountain, American Beauty, The Kings Speech, Juno, Erin Brockovich, Changeling and Girl, Interrupted.

Aimed at screenwriters, producers, development executives and educators interested in the crime genre, this book provides an invaluable basis for crafting a film story that considers both audience and market expectations without compromising originality. A brief historical overview of the crime genre is presented for context along with an analysis of various crime sub-genres and their key conventions, including: police, detective, film noir, gangster, heist, prison and serial killer. Karen Lee Street focuses on the creative use of these conventions and offers strategies for focusing theme and improving characterisation, story design, structure and dialogue. Paradigms, story patterns and writing exercises are provided to assist the script development process and strategies for revision are discussed along with key questions to consider before approaching creative or financial partners.

Writing A Novel is not a set of rules and regulations. It is an atlas, a guide to finding your own way over the treacherous passes of your first novel. Pulling together his years of experience as a novelist and a teacher, Richard Skinner covers the basics of writing great fiction - narrators, characters, settings - with charm and rigour. But more than that, he argues that the journey towards a final manuscript is as important as the finished article itself.His approach works: many of Richards students have gone on to secure publishing deals and many more have left his courses with work to be proud of. With its balance of warmth and wisdom, Writing a Novel will give any aspiring writer the confidence to face the blank page -- and to fill it.

In "Write It Right: A Little Blacklist of Literary Faults," Ambrose Bierce delves into the intricacies of language and the common pitfalls that hinder effective communication. Written with his signature wit, Bierce presents a satirical yet instructional guide aimed at writers and scholars alike, addressing prevalent grammatical errors, stylistic inconsistencies, and linguistic pretensions. The book not only serves as a critique of literary pretension but also stands as a testament to Bierces own mastery of language. Its concise, acerbic prose reflects the literary context of the late 19th century, an era when prose style was often equated with intellectual merit. Ambrose Bierce was a notable journalist, lexicographer, and satirist whose sharp observations of society resonate throughout his works. His experiences as a Civil War veteran and his subsequent disillusionment with the world around him deeply influenced his perspective on language and communication. Bierces critical eye and relentless pursuit of clarity in writing propelled him to compose this work, which acts as both a guide and a cautionary tale against the misuse of language. "Write It Right" is an indispensable resource for aspiring writers, educators, and anyone who wishes to refine their command of the English language. Bierces insights not only illuminate the importance of clarity in expression but also provoke readers to reconsider the very nature of literary artistry, making it an essential read for those passionate about the written word.

The beginning is the most important part of your book. The first chapterprobably even the first pageis what makes agents and editors accept or reject a manuscript, and its what makes readers decide to buy a book or pick another. But writing a compelling opening is hard because there are so many things a great beginning needs to do and so many mistakes to avoid.In this book, Sandra Gerth draws on her experience as an editor and best-selling author to teach you where to start your novel, how to avoid common first chapter problems, and how to hook your readers from the very first page.Each chapter of this practical guide includes concrete examples and exercises that will help you write an irresistible beginning.Whether youre a novice writer working on your first story or an established author with several novels under your belt, this book will help you:Decide where to start your book,Understand important elements of every powerful opening such as the inciting incident,Write a kickass first line,Hook your readers from the very first page,Introduce your characters and get readers to care about them,Establish the time and place of your story,Get your readers emotionally involved in your story as soon as possible,Describe your setting and your characters without stopping the momentum of the story,Incorporate backstory and reveal your characters pasts without overwhelming readers,Create chapter endings that will make readers keep reading.Avoid openings that are boring, confusing, cliched, or misleading,Discover what types of openings to avoid,Find out why prologues and flashbacks can be problematic and how to handle them effectively.

Christianity Today 2020 Book of the Year Award, Culture and the Arts Writing is not easy. But it can get better.In this primer on nonfiction writing, Andrew Le Peau offers insights he has learned as a published author and an editor for over forty years, training, guiding, and cheering on hundreds of writers. Here are skills that writers can masterfrom finding strong openings and closings, to focusing on an audience, to creating a clear structure, to crafting a persuasive message.With wide-ranging examples from fiction and nonfiction, Le Peau also demystifies aspects of art in writing such as creativity, tone, and metaphor. He considers strategies that can move writers toward fresher, more vital, and perhaps more beautiful expressions of the human condition.One aspect of writing that rarely receives attention is who we are as writers and how writing itself changes us. Self-doubt, fear of criticism, downsides of success, questions of authority, and finding our voice are all a part of the exploration of our spirituality as writers found in these pages. Discover how the act of writing can affect our life in God.Whether youre a veteran writer, an occasional practitioner, a publishing professional, or a student just starting to explore such skills, Le Peaus wit and wisdom can speed you on your way.

What motivates poets in the 21st century? How do they find their voice? What themes and subject matters inspire them? How do they cope with set-backs and deal with success? What keeps them writing? Why I Write Poetry, edited by Ian Humphreys, combines lively and thought-provoking essays, along with individual writing prompts to help you create your own new poetry.In this book, twenty-five contemporary poets reflect with insight, wit and wisdom on the writing life. Each offers their distinctive take on what inspires and spurs them on to write poetry. The essays shine a light on everything from performance, dialect, the body and paying attention, to bearing witness, finding your wings and joining the journey of poetry, and encompass the practical, personal, and political. Within these pages, youll discover how a poets background and values can fundamentally shape and inform their work. New voices sit alongside poets with many collections under their belts and youll find encouragement, creative provocations, advice and, above all, reasons to write. Read on, learn and enjoy.With essays by: Romalyn Ante, Khairani Barokka, Hafsah Aneela Bashir, Leo Boix, Vahni Capildeo, Mary Jean Chan, Jo Clement, Sarah Corbett, Jane Commane, Rishi Dastidar, Jonathan Edwards, Rosie Garland, W. N. Herbert, Ian Humphreys, Keith Jarrett, Zaffar Kunial, Rachel Mann, Andrew McMillan, Kim Moore, Pascale Petit, Jacqueline Saphra, Clare Shaw, Daniel Sluman, Jean Sprackland, and Jennifer Wong.

El texto Volver a escribir. Nueve pasos para mejorar la redacción les recuerda a los lectores que en el comienzo de todo gran relato está el conocimiento de las normas básicas de la escritura. Con definiciones claras y ejercicios sencillos, el profesor Romero muestra que escribir es una tarea que puede hacer todo aquel que le dedique un poco de esfuerzo cada dia al estudio del idioma. El libro señala que la buena escritura y la buena pronunciacion hacen parte esencial de lo que la etiqueta moderna llama la buena presentacion, no solo en el aspecto profesional de la vida, sino tambien en el puramente humano: quien escribe y se expresa bien, ademas de pensar con claridad, va mejorando sus relaciones consigo mismo y con los demas, pues siempre escuchar y leer bien llevan a hablar y a escribir bien, que es el proposito de este manual.

Cien curiosidades sobre un idioma hermosamente complejo«Un vademécum de uso que aclara dudas y descubre misterios sobre lo que es el principio de toda nuestra Historia: la palabra».Juan Luis Cebrián,

Flash recupera la entrevista de Philip Roth en The Paris Review, una ventana magistral a los inicios de la carrera del maestro de la narrativa estadounidense.En 1984 The Paris Review publicaba esta entrevista, en la que Philip Roth hacia un repaso por varias de las obras mas destacadas de su bibliografia que lo convertirian en un mito. En ella hablaba de la difusa linea entre la realidad y la ficcion, de la influencia del psicoanalisis y de las mujeres en su escritura, de su proceso creativo, que se asienta en un profundo compromiso diario con la palabra, y de la relacion entre el genio y la persona en la figura de los narradores.El resultado era un compendio de respuestas unicas y cautivadoras, como sus propios textos, que mostraban una personalidad caleidoscopica. Roth lector, Roth amigo, Roth amante, Roth creador; todas sus facetas convergian en una entrevista sincera e interesante que descubrio a sus seguidores como se gesto el maestro de la narrativa estadounidense.Para mi escribir no es algo natural que sigo haciendo, a la manera en que los peces nadan y los pajaros vuelan. Es algo que hago bajo cierta clase de provocacion, un apremio particular. Es la transformacion, mediante una complicada actuacion, de una emergencia personal en un acto publico (en los dos sentidos de la palabra).De ¿Por que escribir? se dijo: En un momento en el que parece que cuestionamos cada afirmacion, es una lectura esencial. Jonathan LethemUn clasico que engancha, un deleite de principio a fin, una fiesta en tu cabeza. Mary KarrConsistentemente inteligente y entretenido.The Wall Street JournalEn la actual literatura norteamericana esta Philip Roth y, despues, todos los demas. Chicago TribuneEs un festin para la inteligencia. Divertido, irreverente, lucido, imprevisible. Rafael Narbona, El Cultural de El Mundo

A vida de Carlos, marcada desde a infância por perdas profundas, visões enigmáticas e a presença constante do bem e do mal, segue um caminho inesperado quando ele conhece Amanda e Sophia — duas mulhe

O arcabouço de madeira é feito nas oficinas de Carlos Remedi, as peças do motor na oficina Graig & Martins. Para montagem das peças do motor e adaptação do esqueleto é contratado o auxiliar de me