Fanny in France

Fanny is a girl who knows a lot about food and cooking since she’s grown up in and around the famous restaurant Chez Panisse in Berkeley, California.

Land of Stories (Book 1 – 6)

Alex and Conner Bailey’s world is about to change.

When the twins’ grandmother gives them a treasured fairy-tale book, they have no idea they’re about to enter a land beyond all imagining: the Land of Stories, where fairy tales are real.

 

The Art of Creative Writing: The Classic Guide to Writing FictionGo beyond Stephen King's On Writing to master the fundamentals of great storytelling with this foundational guide that reveals the essential elements of what makes the best fiction. The Art of Creative Writing is a timeless testament to the power of dialogue and character development that is accessible for every level of writer from beginner to established author.

As in the bestselling The Art of Dramatic Writing, still considered one of the most essential books on playwriting more than 75 years after publication, the author outlines in detail his highly acclaimed Egri Method of Creative Writing and shows how to apply it to all fiction formats—novels, short stories, and screenplays.

Cognitive Grammar in Contemporary Fiction

This book proposes an extension of Cognitive Grammar (Langacker 1987, 1991, 2008) towards a cognitive discourse grammar, through the unique environment that literary stylistic application offers. Drawing upon contemporary research in cognitive stylistics (Text World Theory, deixis and mind-modelling, amongst others), the volume scales up central Cognitive Grammar concepts (such as construal, grounding, the reference point model and action chains) in order to explore the attenuation of experience - and how it is simulated - in literary reading. In particular, it considers a range of contemporary texts by Neil Gaiman, Jennifer Egan, Jonathan Safran Foer, Ian McEwan and Paul Auster.

Mark My Words: Profiles of Punctuation in Modern Literature

Why are Emily Dickinson and Henry James drawn habitually to dashes? What makes James Baldwin such a fan of commas, which William Carlos Williams tends to ignore? And why do that odd couple, the novelist Virginia Woolf and the short story specialist Andre Dubus II, both embrace semicolons, while E. E. Cummings and Nikki Giovanni forego punctuation entirely? More generally, what effect do such nonverbal marks (or their absence) have on an author's encompassing vision?