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Writing Tools: 50 Essential Strategies for Every Writer Hardcover – September 1, 2006
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Ten years ago, Roy Peter Clark, America's most influential writing teacher, whittled down almost thirty years of experience in journalism, writing, and teaching into a series of fifty short essays on different aspects of writing. In the past decade, Writing Tools has become a classic guidebook for novices and experts alike and remains one of the best loved books on writing available.
Organized into four sections, "Nuts and Bolts," "Special Effects," "Blueprints for Stories," and "Useful Habits," Writing Tools is infused with more than 200 examples from journalism and literature. This new edition includes five brand new, never-before-shared tools.
Accessible, entertaining, inspiring, and above all, useful for every type of writer, from high school student to novelist, Writing Tools is essential reading.
- Print length272 pages
- LanguageEnglish
- PublisherLittle, Brown and Company
- Publication dateSeptember 1, 2006
- Dimensions5.75 x 1 x 8.5 inches
- ISBN-100316014982
- ISBN-13978-0316014984
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About the Author
A writer who teaches and a teacher who writes, he has authored or edited nineteen books on writing and journalism, including The Art of X-Ray Reading, How to Write Short, Writing Tools, The Glamour of Grammar, and Help! for Writers. He lives in St. Petersburg, Florida, where he is considered a garage-band legend.
Product details
- Publisher : Little, Brown and Company; First Edition (September 1, 2006)
- Language : English
- Hardcover : 272 pages
- ISBN-10 : 0316014982
- ISBN-13 : 978-0316014984
- Item Weight : 13.6 ounces
- Dimensions : 5.75 x 1 x 8.5 inches
- Best Sellers Rank: #856,224 in Books (See Top 100 in Books)
- #769 in Words, Language & Grammar Reference
- #1,546 in Writing Skill Reference (Books)
- #2,524 in Fiction Writing Reference (Books)
- Customer Reviews:
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About the author

Roy Peter Clark has been called "America's writing coach" as his stated mission is to help create "a nation of writers." Since 1977 he has taught writing to small children and to Pulitzer winning authors from his mother ship, The Poynter Institute, a school for journalism and democracy in St. Petersburg, Florida. He is the author or editor of 17 books on writing, language, and journalism. The latest, all published by Little, Brown, are "Writing Tools," "The Glamour of Grammar," and "Help! for Writers," which is now also a mobile app. His work has been featured on the Today Show, NPR, and the Oprah Winfrey Show. More than a million of his writing podcasts have been downloaded on iTunesU. On five occasions he has served as a Pulitzer juror and twice has chaired the jury on nonfiction books. His honors include induction in the Features Hall of Fame, an honorary degree from Goucher College, and a stint at Vassar College as Starr Writer-in-Residence. His next book, due out in 2013, is "How to Write Short: Word Craft for Fast Times."
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Many refer to journalists who were well known from the 1940s through the 1980s. I'm 47 and don't know who these people are. The book also relies on many examples of their work to exemplify each "writing tool." But I often found them written with such dated vocabulary and syntax that I didn't understand the passages even after re-reading them several times.
That's the opposite of good journalistic writing. It violates what I consider the most crucial writing tip: A curious 14-year-old should be able to understand what you write. I revisited this Amazon listing because I'd like to give the book as a high-school graduation gift. But I'm having reservations. Will she understand it or find it useful?
Here are examples from a few consecutive paragraphs in chapter one:
"As often happens, the editor knew that the lead paragraph could be improved, but not how. As he walked down the hallway, story in hand, he looked up to see the Brobdingnagian figure of Jimmy Breslin, who agreed to take a peek at the problem."
I had never come across the word Brobdingnagian before and Clark's use of it to refer to someone I had never heard of (Breslin's prime was from the 1940s through the 1970s), made it hard to infer that the word means "giant."
On the same page, Clark starts a sentence, "With apologies to Dusty Springfield ..." I assumed this was another journalist. It turns out she was a famous singer in the 1960s.
One paragraph later, Clark writes an unclear sentence with multiple dated references: "Add -ing to a verb, and it takes on progressive sense – a happening as in this 1935 description by Richard Wright of the wild celebration after a Joe Louis boxing victory ..."
Thanks for that, Mr. Clark. Of course, I'm not going to Google multiple dated references and weird vocabulary multiple times per page. I can't imagine my niece will, either.
In "Nuts and Bolts," Clark covers writing basics. There are no tedious specifications for comma placement or hyphenation. Instead there are effective techniques for using language "at the word, sentence and paragraph levels." These ten tools include "Establish a pattern, then give it a twist," which shows how repetition can set the reader's expectations. And how occasionally breaking the pattern highlights information and maintains interest. Another chapter, "Cut big, then small" discusses the painful task of revising by removing. Snip and cry, but snip.
"Part Two: Special Effects" demonstrates techniques of "economy, clarity, originality, and persuasion." The thirteen tips in this section include "Set the pace with sentence length" which shows how to influence the psychological "speed" at which a reader moves through text. "Get the name of the dog" emphasizes collecting concrete details as we do research. They allow us to move down the ladder of abstraction and bring life to descriptive writing.
In Part Three: Blueprints," Clark advocates organizing our writing process as well as our documents. Two of the best tools among these sixteen show how to encourage--and manage --readers' progress. "To generate suspense, use internal cliffhangers" and whet the reading appetite with not-yet-complete information. "Place gold coins along the path" reminds to provide points of enjoyment and closure to satisfy readers. And reduce the tension created by all of those cliffhangers.
"Part Four: Useful Habits" closes the book with eleven long-term strategies for working writers. "Limit self-criticism in early drafts--then turn it loose during revision" balances creativity and critique. It is consistent with the two-part writing process described at length in Peter Elbow's Writing With Power . "Recruit your own support group" goes beyond standard advice about seeking feedback. Clark encourages writers to understand their own writing blind spots and needs for others' expertise. Then target helpers with matching knowledge and skills.
It does not surprise when a book from an experienced writer is well-written and entertaining--as this one is. It should not surprise that the advice is useful and can improve our writing if we follow it. This is a very good book and is highly recommended. It deserves a place on your bookshelf next to Strunk and White's The Elements of Style , William Zinsser's On Writing Well , Susan Bell's The Artful Edit , and Mark Kramer and Wendy Call's Telling True Stories .
Feed your shelf.












