Your hands-on, friendly guide to writing young adult fiction With young adult book sales rising, and bestselling authors like J.K. Rowling and Stephenie Meyer exploding onto the scene, aspiring YA writers are more numerous than ever. Are you interested in writing a young adult novel, but aren't sure how to fit the style that appeals to young readers? Writing Young Adult Fiction For Dummies gives you tricks of the trade and proven tips on all the steps to write a YA book, from developing an idea to publication. Unique writing exercises to help you find your own authentic teen voice Tips to avoid when submitting manuscripts How to break into the flourishing young adult market With the help of this step-by-step guide, you'll have all the skills to write an inspiring and marketable young adult novel.

"Amy Newman is one of the most gifted and original poets writing in America today."—Martha Collins Each prose poem in this extraordinary volume is an impassioned letter to a nameless editor from a poet seeking publication for her collection about chess, sainthood, and the poet's lonely childhood. Taken individually, the poems display a dazzling originality; together, they form an exquisite exploration of memory and longing.

Collects more than six hundred letters to and from the editors of "Poetry" that were written about and by such figures as Ezra Pound, T.S. Eliot, Robert Frost, Edna St. Vincent Millay, and Wallace Stevens.

During an 18-month campaign to wrest control of opinion pages in Australia's newspapers and magazines, Oscar Brittle became one of the the most talked-about pundits in the country. Trouble was, Mr. Brittle didn't exist—he was a hoax perpetrated by three young Aussie comedians. This collection sheds light on the shenanigans by bringing together all the published letters ascribed to Brittle—from those dealing with global warming and corporal punishment to teenage sex and nut allergies—along with responses from his readers. New material includes email exchanges between Brittle and his confused editors and a bunch of hilarious letters from the public that never appeared in print. Attractive illustrations throughout add to the fun.

Collects more than six hundred letters to and from the editors of "Poetry" that were written about and by such figures as Ezra Pound, T.S. Eliot, Robert Frost, Edna St. Vincent Millay, and Wallace Stevens.

Progressive, opinionated published and unpublished letters to editors, free to be copied and/or modified and re-published. Gun control, politics, religion, LGBT, War on Women, torture, Islam, terrorism, 9/11, healthcare, Planned Parenthood, taxation, job creation, human rights, circumcision, supreme court, secularism, US secular Constitution, Social security, patriotism, Obamacare, presidential qualifications, Pat Tillman assassination, has GOP any future?

Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face." In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things." Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors. Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.