Offers writers advice on style, pace, unity, sound, imagery, identification, credibility, subtlety, tension, form, and viewpoint

To write well, you must reach beyond the classroom basics of composition, get a grip on the more complex concepts, and learn how to create books, articles, and stories that move—not only from the editor’s desk to the bookstore, but also in the minds of your readers. In this book, accomplished writer Gary Provost helps you tackle that tough task. Here you’ll touch the soul of fine fiction and nonfiction. You’ll explore the intangibles: the relationships between form and content, proportion and pacing, slant and theme. And you’ll gain a new perspective on how words work together. In that newfound knowledge you’ll find power—power Provost helps you transfer to the page. In candid, conversational style, he shows you: • how to balance event and dialogue to keep the pace lively • why unity is essential to a story—and how to maintain it • how to make the written word pleasing to the ear • the value of fresh, strong imagery • how startling originality will keep your readers interested • how to make your story credible—even when it’s fiction • how subtlety allows your reader to participate in the action • how to tighten up the tension at every level of your story Provost makes no promise that the work will be easy. He promises only that your books, articles, and stories will get better. There are, after all, no magic words—except those you put on the page.

From the author of Beyond Style: Mastering the Finer Points of Writing, Gary Provost's Make Every Word Count is a guide to assist writers of both fiction and nonfiction. Topics include: style, use of jargon, avoiding cliches, tone, intention, characterization, credibility, description, dialogue, viewpoints, and many more.

Drawing on Provost's proven philosophies, Rubie examines every facet of storytelling, from narrative hooks to fulfilling climaxes. Through advice, exercises, and an outstanding array of examples, you'll learn to create gripping narratives powered by strong characters. You'll discover the secrets of sequencing, of weaving subplots into rich stories, of manipulating story pace to increase conflict, tension, and surprise. “Rarely does a writing guide arrive with the authority of HOW TO TELL A STORY.” Publishers Weekly. "HOW TO TELL A STORY is a must for anybody who writes nonfiction or fiction -- television and screenwriters included." - Hugh Wilson, creator of WKRP in Cincinnati, director of The First Wive's Club. "A most useful book that will aid anyone tying to become a writer of fiction. I recommend it highly." - Roderick Thorp, bestselling author of River, Die Hard, and Detective. "Gary Provost was one of the best friends a writer ever had. He knew that all writers face a hard challenge: to take their ideas, aspirations, and vapors of creativity, and make them concrete for the reader. How to do it? Treat writing as a craft, with techniques that can be learned, with tricks that can be taught. In this book, Peter Rubie shows Gary Provost at his best." William Martin, author of Cape Cod and Annapolis. "HOW TO TELL A STORY offers a harvest of time-tested problem-solving techniques that will enrich every writer's art and craft. It's a feast of innovative, clearly stated advice that will nourish a writer's confidence and career. Read it and you will reap its many rewards." - Gerald Gross, author of Editors on Editing: What Writers Need to Know About What Editors Do. "Peter Rubie and Gary Provost have got it right. HOW TO TELL A STORY covers everything a novice writer needs to learn and a professional writer needs to remember. It's earned a permanent place on my desk." - Barbara Shapiro, author of Blind Spot and See No Evil. "In this unique book, the time honored ability of story telling has been dissected, examined carefully and defined in detail for the writer. With a fresh new look at what makes a story exciting and compelling, HOW TO TELL A STORY outlines for the writer all the secrets of dramatic story telling. Every writer should read this book before writing another paragraph." - Keith Wilson, M.D., novelist, and author of Cause of Death: A Writer's Guide to Death, Murder, & Forensic Medicine.

Gary Provost practices what he preaches in Make Your Words Work. He helps you learn to write well by, among other things, writing well himself. His warm, witty, entertaining instruction teams with solid examples as well as exercises. Get the good word now. This is the writing course to help you make your work more powerful, more readable, more salable.

This is the one guide that anyone who writes--whether student, business person, or professional writer--should put on the desk beside pencil, pen, typewriter, or word processor. Filled with professional tips and a wealth of instructive examples, this valuable, easy-to-use handbook can help you solve any and all writing problems.

AN EYE FOR AN EYE They are battered women, grieving parents, and burglarized homeowners who responded to criminal violence by taking the law into their own hands. Their cases have struck a deep chord in American society. Are they victims of a failing judicial system or criminals themselves? True crime writer Gary Provost examines the stories of ordinary citizens who have taken on the roles of judge, jury and — sometimes — executioner. Are their acts a higher form of justice...or merely revenge? You decide: * Bernhard Goetz, who shot four teenagers when they approached him on a subway train and demanded money * The young man who gunned down his own friend for killing his teenaged sister in a drunk-driving accident * The mother who risked her life to track down and apprehend her daughter's rapist * "Grambo," the Dallas grandmother who held a burglar at gunpoint for forty-five minutes while waiting for the police * The battered wife who hired a hit man to murder her husband after seventeen years of abuse Fascinating, penetrating, and chilling, Into Their Own Hands is a controversial and thought-provoking look at what's wrong with crime and punishment in America today and what happens when victims don't just get mad — they get even.