2005 Novel & Short Story Writer's Market (Novel and Short Story Writer's Market)
by Anne Bowling Michael Schweer
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Paperback (01 August, 2004)
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Reviews (4)

A Solid Guide to Fiction Markets
Every year Writer's Digest Books comes out with a new set of guides for writers, each containing updated entries and new articles. This particular guide is directed at fiction writers only; unlike in the more general Writer's Market, here literary journals publishing only poetry and magazines publishing only nonfiction are excluded, making it easier for fiction writers to navigate.

Although the author interviews and craft articles are interesting, the market entries are the most valuable.Changes in editorial staff, focus, and the demise/birth of new markets every year necessitate buying each year's edition.Beginning writers will need to carefully read "The Business of Fiction Writing" while experienced writers will bypass most of the front matter to get right to the listings.Not all magazines and book publishers are listed here since the guide requires the cooperation of the publishers, but the compilation is extensive enough for most writers.

The 2005 edition contains interviews with novelist Margaret Atwood,anthology editor Shannon Ravenel, literary editor Jill Adams, and graphic novelist David Mack.Of particular interest is a piece titled "Premiere Voices", where four authors, including The Kite Runner's Khaled Hosseini, describe their different paths to publication. Articles addressing individual genres (romance , mystery, sci-fi, horror, etc.), self-promotion, and craft and technique round out the front matter.

As a published novelist and short story writer, I find the yearly listings mostly helpful for the placement of short fiction.Novelists would do better to get an agent first (see 2005 Guide to Literary Agents) unless they believe their fiction is better suited to a smaller press, in which case the listings here would be extremely helpful.Writers are advised to read each entry carefully to determine compatibility with their own writing.

Highly recommended for writers trying to publish their fiction.

YOUR GUIDE TO GETTING PUBLISHED
I've read and used the regular Writer's Market, and found this one to be of equal valuable. It gives you publisher's names, and addresses. Some note phone numbers, and many list email addresses and/or websites. This book can be an valuable tool in getting published. The first time I had an article published (and paid for it), was due to the fact that I obtained the address from the Writer's Market, and it's the same fine folks who publish this wonderful guide. But besides listing various publishers, it also contains information to help you get the best results in submitting your material. Information I might add, that has helped me tremendously.
Now here is somethings everyone who writes (or would like to write) need to know; I took a course in college concerning creative writing. My teacher was an published author of several books, and ghost writes for a popular publication. She told everyone in the class that writers average 70 rejections before getting published. And that applies to both new writers, as well as seasoned pros. And let me state this about all you "doubting Thomas'" out there who say to yourselves, "no one would ever publish anything I wrote". You won't know until you try!!! And why be like a lot of people who, later in life, live with regrets because they didn't try.I cannont count the number of people who have beat astronomical odds and succeeded at getting their work published. So if you want a book that will help you to at least get your work looked at, you'll need this informative publication. The one question that has been brought up to me is "How do I know they won't rip me off?". Well, anything is possible, but I have never known anyone to be taken advantage of by publishers of this book. But if you find yourself hesitant to send in a manuscript, simply contact the US copyright office, fill out the proper forms, pay the fee, and have your work copyrighted. That way, you at least have some sort of documentation of your work. but let me stress again, I have never known of anyone using any of the Writer's Market publications to have been taken advantage of. So why not get this guide, and GO FOR IT!!!

A Must for Fiction Writers
You could spend countless hours looking for one publisher for your work on the Internet or you could spend a few minutes looking inside the 2005 Novel and Short Story Writer's Market and have a complete list of prospects. This year's guide has undergone a complete makeover to give the 25th edition an all-new look.

You'll find complete contact information for book publishers, literary magazines, small circulation publications, online markets, consumer magazines, contests and awards, writers' conferences and other resources to help you get published. There's also a section on literary agents and if you're ready to seriously dig in and find an agent, the 2005 Guide to Literary Agents is also a must.

Not only does each Novel and Short Story Writer's Market listing contain contact information, it also shows you exactly what type of work they're looking for, the format for your submission and terms of payment. Many listings also give you advice from that particular publisher on how to break into their market.

There are a number of excellent resources in addition to the market opportunities. Articles covering everything from specific genres to self-promotion, plot structure to interviews with industry professionals, help the fiction writer not just find a market but to enhance their writing abilities as well.

No matter what your writing experience level, if you're looking for a home for your fiction, the 2005 Novel and Short Story Writer's Market is your first step in seeking publication. This guide can help you find a long list of potential publishers specifically looking for your type of work, helping you submit your work to an appropriate publisher while also saving you time and money. ... Read more

Isbn: 1582972745
Sales Rank: 2521
Subjects:  1. Authorship    2. Composition & Creative Writing - General    3. Directories    4. Fiction    5. Language    6. Language Arts & Disciplines    7. Language Arts / Linguistics / Literacy    8. Marketing    9. Publishers and publishing    10. Publishing    11. United States   

The Chicago Manual of Style: The Essential Guide for Writers, Editors, and Publishers (14th Edition)
by Chicago Editorial Staff
Average Customer Review:
Hardcover (01 September, 1993)
list price: $45.00
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Editorial Review

What can we say? This weighty tome is the essential reference for all who work with words--writers, editors, proofreaders, indexers, copywriters, designers, publishers, and students. Discover who Ibid is, how to deftly avoid the split infinitive, and how to format your manuscripts to impress any professor or editor (no, putting it in a blue plastic folder is just not enough). ... Read more

Reviews (35)

Prescriptionist McKinnon is off base

Arlo McKinnon writes, "Many of the 'rules' expounded in the Chicago Manual of Style are in direct contradiction to accepted convention; to name just two examples, the placement of a serial comma before the 'and' and the addition of an 's' following the apostrophe in a possessive already ending in "s.'"
McKinnon's ignorance regarding the serial comma rule certainly calls into question his authority as an editor. The only place I've seen this so-called convention of omitting the comma is in the AP Manual--not an authority to be relying for serious editorial work, I think. Besides, how well would McKinnon's blind obedience to this so-called convention apply in the possibly apocryphal book dedication, "I'd like to thank my parents, Ayn Rand and God"? Aren't editors supposed to improve the flow and logic of writing, not force it into some straitjacket of rigid rules that only exist inside the editor's head?
People seeking editorial advice would be better off with the Chicago Manual than they would be with a hyperbolic prescriptionist like McKinnon. My office has both the 14th AND 15th editions on the shelf, and they get used--usefully--every single week.

A Cancer upon American Letters
Knowing that I go against the current strain of popular thought, I am writing to urge people not to buy this error-laden work of fools.The Chicago Manual of Style has done more to devalue American writing than anything other than the educational cutbacks initiated in the early 80's by the Reagan administration.Many of the "rules" expounded in the Chicago Manual of Style are in direct contradiction to accepted convention; to name just two examples, the placement of a serial comma before the "and" and the addition of an "s" following the apostrophe in a possessive already ending in "s."

I have served as an editor to writers in such diverse venues as concert program notes, grant proposals, fiction and books on history.Invariably, those who rely upon the Chicago Manual of Style (CMS) are the ones whose work requires the most revision.There is a lugubrious clumsiness to writing infected with CMSisms.It should be a cause for concern to anyone who cares about American prose of any kind that such a muddle-headed embarrassment is becoming the law of our letters.

There are numerous excellent guides available for reference.Traditionally, I have recommended Turabian.However, I am dismayed to note that the editor of the most recent edition of that book has chosen to "conform" it to the Chicago Manual of Style, the exact opposite of what should be done.So get an earlier edition of Turabian, or use Strunk.Best of all, read a lot of great prose and model your own prose on what you encounter therein.

I feel obliged to state that I am not opposed to evolution in language.English is among the most vital and vibrant of languages, and thus most subject to change.What I oppose is change that diminishes rather than enhances.The Chicago Manual of Style diminishes English.It deprives English of its elegance, concision and effectiveness.Please do not waste your money on this travesty.

Putting the Exceptions Where they Belong
As a freelance editor and typesetter, I find myself using CHICAGO nearly every day. At first, I thought it was unnecessarily thick and dense, but as I compared it to other style manuals, I found CHICAGO to be more comprehensive, thorough, and well-organized than others.

As with any reference of this type, it will take the reader a little time to become accustomed to the order. A first-time user will swear at it, but after repeated use, the user becomes more familiar with the how and why of this work.

Things that at first I found frustrating I now realize could NOT have been handled in a better or more efficient way. There is often no obvious place to put exceptions or obscure rules, and the editors pick a likely location. For example, suppose that while editing, I encounter a situation which doesn't quite fit a standard rule. At first, I think that this exception obviously belongs in Location A in CHICAGO, and wonder why the editors did not put it there. However, a month later, I may encounter a similar exception, but believe now that it obviously belongs in Location B in CHICAGO, and wonder why the editors did not put it there. Later, I realize that I have now thought that the same exception belonged in two different locations -- obviously, the editors can't just keep putting the same exceptions in every possible tangential location. As I gained familiarity with the book, I came to understand why certain exceptions or certain obscure rules were placed where they were -- and I came to agree that they were generally placed in the best location.

That said, there are still a few things I haven't found, but those generally involve simultaneous applications of multiple rules. Each rule is covered, but sometimes, it is unclear how multiple rules intersect.

I am entirely unwilling to trade it my CHICAGO for AP, MLA, Turabian, Strunk & White, or any other style manual. ... Read more

Isbn: 0226103897
Subjects:  1. Authorship    2. Composition & Creative Writing - Academic    3. Composition & Creative Writing - General    4. Editing    5. Handbooks, manuals, etc    6. Language    7. Language Arts & Disciplines    8. Printing    9. Publishers and publishing    10. Publishing Guides    11. Reference    12. Style manuals    13. Writing Skills    14. Reference / Writing Skills   

On Teaching and Writing Fiction
by Wallace Stegner Lynn Stegner
Average Customer Review:
Paperback (01 December, 2002)
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Reviews (2)

Lessons from a True Teacher
Wallace Stegner was known during his lifetime as one of the greatest teachers of creative writing.As the founder of the creative writing graduate program at Stanford, he taught some of today's best known writers.This slim volume compiles some of his essays and interviews that illuminate his views about what it takes to be a fiction writer - and what it takes to instruct one.The book, however, is probably more useful to aspiring fiction writers than to teachers.

"Fiction: A Lens on Life" offers Stegner's philosophy about what serious fiction should aim to be."Creative Writing" discusses the use of language, insight, sensory description, layered significance, and point of view - all supported with examples from literature. In"On the Teaching of Creative Writing",the reader is treated to a lively interview conducted at Dartmouth College when Stegner was in residence as a Montgomery Fellow."To a Young Writer" is perhaps the least interesting of the group - a somewhat condescending "letter" about what fiction writers must face in a hostile world.The most practical chapter is "A Note on Technique", four pages of basic rules that a fiction writer would do well to master.

While this book cannot be called a true how-to book, the lessons it offers are well worth considering for those who are, or who hope to be, in the writing profession.

Remarkable
Simple. Elegant. Potent. This thin paperback is a Master-Class on the Creative Writer. The Pulitzer Prize-winning author harnesses both his Socratic teaching philosophy and his obvious understanding of the literary modus operandi to pass on his knowledge of what the creative writer is and, more importantly, what he or she does on the page. From caveats of the craft to criticism of critics and on to methods of cultivating one's own potential as an Artist, this collection of essays and letters is, at the same time, a love letter to creative writing, an invaluable guide to those new to the art form, an informative advisory to those looking to teach it, and a humbling reminder of the essential tools needed for those craftsmen and craftswomen already sawing, nailing, and sanding their own literary projects.

Many thanks to Lynn Stegner for taking the time needed to compile and publish the collection and, of course, many thanks to Mr. Stegner himself for having taken the time to compose it in the first place.

And to any and everyone who picks up a copy...enjoy! ... Read more

Isbn: 0142001473
Sales Rank: 391134
Subjects:  1. Authorship    2. Composition & Creative Writing - Fiction    3. Fiction    4. Language Arts / Linguistics / Literacy    5. Literary Criticism    6. Regional, Ethnic, Genre, Specific Subject    7. Study and teaching   

2005 Guide to Literary Agents (Guide to Literary Agents)
by Kathryn S. Brogan
Average Customer Review:
Paperback (28 June, 2004)
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Reviews (5)

Excellent Resource!
All of Writer's Digest resource books are excellent.If you think about it, where else would this vital industry contact information be available?I'm getting irritated with "Quack's" comments on every Writer's Digest review page.He obviously never sent a query or manuscript to an agent (as he probably can't write one to begin with) because I've had a lot of luck sending queries, proposals, and manuscripts to agents and publishers who "say" they aren't accepting new authors, etc.I have one book deal in the works because I sent my proposal to a publisher who clearly stated, "No new authors."So Quack needs to get a life, learn how to write, and stop being such a kill joy.He'll never be a successful writer...or a successful anything.He's just too pessimistic.If you're serious about writing, you need all of the contacts and resources you can get.This book will get you started on the right path.

The Path to Getting Published
In today's publishing world, acquiring an agent is perhaps the most difficult task a writer faces - even more difficult than getting an manuscript published.The 2005 Guide to Literary Agents provides essential guidance to those who have a finished and polished book manuscript or script, and who wish to find representation.While this book won't make the process easy, its helpful listings and articles will direct writers toward the best agents for their work.

Unlike many of the Writer Digest Books guides, this one contains valuable information in its articles:"FAQs About Agents"; "Author-Agent Etiquette"; "Agents Share Their Secrets"; "How to Find the Right Agent"; "How Do I Contact Agents"; "The Art of the Synopsis"; and more.Of course, the listings themselves, of over 600 literary agents, constitute the bulk of the book.Each entry contains contact info, what kind of material the agents represents, terms, and, often, recent sales.Near the end, the editors provide a section on writers' conferences, where many authors meet their eventual agents. (Note that many agents do not wish to be listed in this book because of the volume of submissions it generates.)

If you want to get your book published by a major publisher, you must have an agent.Publishers now rely on agents to screen manuscripts for them, to weed out the unprofessional and the boring, so that when you acquire an agent, you've conquered a large part of the battle.Beyond that, however, you'll need an agent who has extensive connections within publishing, who knows exactly which editors like your kind of material, and how to present your work in the best possible light.Finding that agent among the listings here won't be easy, but at least Writers Digest Books will give you a gentle push in the right direction.

Highly recommended for those who already have a polished book manuscript or script.For those who aren't yet ready to find representation, save your money for next year's guide.

don't listen to duck quack
I am purchasing this because a friend of mind had last years edition in her library. If you do anything Duck Quack tells you to do, you will be thrown out of any publishing house in America. All of it is rude, crass and will not get you any closer to acheiving your goal. Read this book and many others, take it's advice, and stay within the realm of professional, responsible behavior--then the rest of us will not have to read complaints from editors and publishers about pushy, difficult writers who think they deserve special treatment and don't follow protocol. ... Read more

Isbn: 1582973288
Sales Rank: 1652
Subjects:  1. Booksellers and bookselling    2. Canada    3. Composition & Creative Writing - General    4. Directories    5. Language    6. Language Arts & Disciplines    7. Language Arts / Linguistics / Literacy    8. Literary agents    9. Publishing    10. United States   

Bird by Bird : Some Instructions on Writing and Life
by ANNE LAMOTT
Average Customer Review:
Paperback (01 September, 1995)
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Editorial Review

Think you've got a book inside of you? Anne Lamott isn't afraid to help you let it out. She'll help you find your passion and your voice, beginning from the first really crummy draft to the peculiar letdown of publication. Readers will be reminded of the energizing books of writer Natalie Goldberg and will be seduced by Lamott's witty take on the reality of a writer's life, which has little to do with literary parties and a lot to do with jealousy, writer's block and going for broke with each paragraph.Marvelously wise and best of all, great reading. ... Read more

Reviews (227)

A must read!
Anne LaMott has been an author and creative writing teacher in California. And in her book Bird by Bird: Some Instructions on Writing and Life, she tells us how she helps her students start writing, often using their own lives as fodder. Her simple advice is: Write, write, write. She suggests we try hard to recall our first memory, first day of school, first love, first of everything. So many of us have stories to tell, but we don't get started with pen to paper, hands to keyboard. She reminds us not to worry about the first draft, and to worry about libel later!

I laughed as she described an editor by comparing them to a friend who will "put your pet down" when you pet has outlived its usefulness, and you can't do it yourself. This brand of humor is what you can expect from this and many of her books.

Check her out. It took me forever to read Bird by Bird because I highlighted endlessly and took copious notes - and I thought of my first memories. You will, too.

Other Lamott books: Blue Shoe; Crooked Little Heart, Rosie; All New People, Hard Laughter, Plan B: Future Thoughts on Faith plus she has short stories in many other books.

Not just for writers
As an aspiring opera singer, I think "Bird By Bird" speaks to any artist who is struggling with the desire to share their gift with a world that is full of rejection.Anne's insights are fantastically sarcastic and full of truth.Thank you for speaking my mind, Anne.I have quoted you through tears of laughter to more than one friend.

She held my hand, this is a masterpiece
Thank you Anne,
you held my hand,
when I was at that fragile time after publishing and before getting any feedback.Any writer will benefit from her wit and inspiration, whether they are just starting, trying to publish, or whatever. ... Read more

Isbn: 0385480016
Subjects:  1. Authorship    2. Composition & Creative Writing - General    3. Handbooks, manuals, etc    4. Journalism    5. Language    6. Language Arts & Disciplines    7. Reference    8. Writing Skills    9. Reference / Writing Skills   

The Writer's Legal Companion: The Complete Handbook for the Working Writer
by Brad Bunnin Peter Beren
Average Customer Review:
Paperback (01 October, 1998)
list price: $21.00 -- our price: $14.28
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Editorial Review

This is a fantastic reference for writers interested--and all should be--in legal issues concerning contracts, collaboration, agents, defamation, copyright, taxes, and high-tech publishing. Authors Brad Bunnin and Peter Beren have written this guide with such style and clarity that you might find yourself reading it, rather than just consulting it. But that's okay: you can't help but feel empowered by having read such a thorough and, when appropriate, opinionated text. Consider, for instance, the book's first chapter, "The Publishing Contract." Contrary to what publishers tell you, Bunnin writes (Beren contributed the chapter on "The Author and the Business of Publishing"), there is no such thing as a standard book contract. In fact, he says, "virtually without exception, publishers willingly change contracts at the author's request." Bunnin proceeds to lead his readers, line by line over 63 pages, through every single element of a publishing contract, including the grants-of-rights clause; warranties and indemnities; royalties, revisions, and remainders; and "all that incomprehensible, apparently unimportant stuff at the back of the contract." Whether or not you've retained a literary lawyer to work on your behalf, you'll want a book such as this on your shelves, to refer to when you need advice on avoiding defamatory statements, protecting yourself against copyright infringement, or even knowing which home-office expenditures you may deduct come tax time. --Jane Steinberg ... Read more

Reviews (6)

This novelist wouldn't do without it!
Without this book, I would never have been able to negotiate my first book contract.Bunnin and Beren gave me the necessary tools:book contract language and what it means, fair and unfair clauses, negotiating tactics, and how to get most of what I wanted.The sections on contracts alone are worth the price.They are by far the most valuable aspect of this book

But there is more here than information about book contracts.This book will teach you the necessary skills to be a business person, to think like the small business owner you are.Writers have a tendency to want to deal with art only, shying away from finance and law, but the authors point out time after time how dangerous this stance can be. With the knowledge provided here, you will protect yourself and your career.

Whether you are a new writer or an experienced professional, this book is a must-have.

Knowledge really is power
Aside from writing every day and knowing his craft like a master, the best thing any writer can do for himself is to understand writing as a business. "The Writer's Legal Companion" is an excellent tool to get you started down that road.

You don't have to wonder at what will happen when you get an offer. You don't have to guess at what this clause and that one means, or what your rights are. You don't have to blindly put all your faith in an agent's say so on what is good and what is bad. The information you need to make confident and informed decisions on your own career is right here.

Do yourself a favor. Become an informed writer. Keep a copy of "The Writer's Legal Companion" on your reference shelf.

Never Sign the First Contract
To understand why, I will begin with a page on author-publisher contracts from my own book: Successful Nonfiction: Turning Thoughts into Books.

"The contract you receive from your publisher may be in two colors and printed on fancy paper but it is not chiseled in stone. Only new authors sign and return a publisher's first offer. You may make changes to the contract and return it-that is a "counter offer". The contract may go back and forth until someone "accepts it."

"I took a distressing telephone call from an author who had just received a contract from a large New York publisher. There were a total of 21 items in the contract she didn't like or didn't understand. After discussing some of them, I suggested she call her editor and have a discussion. Better communication was certainly required here.

"She called back two days later, both astonished and delighted. When she asked about the first paragraph in question, the editor said, "that's okay; you can have it." She got what she wanted on the next paragraph in question too. On one other paragraph that concerned her, the editor said something like, "Well, that sounds like this but in the book trade it really means that; so it isn't a big issue."

"The result: she got 19 out of the 21 things she asked for. So contract discussions do not mean pulling the wool over the eyes of your publisher. This was a win-win negotiation.

"Take the contract to a book attorney (not just any attorney, not a contract attorney and not a media attorney). When it comes to literary properties and money, you need professional help. And make a counter offer.

"As Joe "Mr. Fire" Vitale says: "Remember, all of this is negotiable. The contract looks like it is set in stone when you review it, but anything can be scratched out or inked in. If you want more books, a better discount, or more help with marketing, negotiate for it. You may not get it, but you never know if you don't ask."

"And remember: The big print giveth and the small print taketh away."

The Writer's Legal Companion covers contracts (intimidation, negotiating, terms), publishing in magazines (contracts, serializations), collaborations (problem areas, alternatives), agent relationships (finding contracting), defamation (intrusive fact gathering, invasion of privacy, libel), copyright (the old law and the new, establishing, categories, length, derivative & collective works, notice, registration), protecting copyright (proving infringement, what to do), taxes & the freelance writer, resources (where to find a lawyer, how to choose, fees & bills), business (editor's role, the marketing process, non-traditional sales, premiums, special sales, the book trade, selling to libraries, subsidiary rights), new technology (eBooks, downloads, electronic media, negotiating), and much more. The appendix is filled with resources: There is a glossary of terms, sample contracts, comparisons of the copyright acts, permission guidelines, author's questionnaire and an index.

Brad Bunnin is a skilled book attorney.

Peter Beren is a well-known author, agent and publisher.

As the author of 113 books (including revisions and foreign-language editions) and over 500 magazine articles, I have kept (previous editions of) this book within easy reach for almost twenty years and have referred to it often. DanPoynter@ParaPublishing.com. ... Read more

Isbn: 073820031X
Subjects:  1. Authors and publishers    2. Authorship    3. Composition & Creative Writing - General    4. Copyright    5. Handbooks & Manuals    6. Law    7. Popular works    8. Practical Guides    9. Reference    10. United States   

The Best American Short Stories 2004 (Best American Short Stories)
by Lorrie Moore Katrina Kenison
Average Customer Review:
Paperback (14 October, 2004)
list price: $14.00 -- our price: $11.20
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Reviews (12)

Another fine anthology from BASS
The 2004 Best American Short Stories collection, edited by Lorrie Moore, is the fattest BASS anthology yet.With stories by Sherman Alexie, T.C. Boyle, Deborah Eisenberg, Paula Fox, Jill McCorkle, Alice Munro, Annie Proulx, John Edgar Wideman, and John Updike, among others, the collection features a wide range of writers, most well known.Many stories come from The New Yorker (eight), a couple from Harper's, but the rest were originally published in some of the country's best, relatively small literary journals:Tin House, Granta, The Missouri Review, The Virginia Quarterly Review, and Zyzzyva.

Sherman Alexie's "What You Pawn I Will Redeem" follows a homeless Native American man living spreading good will and fortune among his destitute friends, none of whom have much hope except in the moment of a brief celebration.Deborah Eisenberg's "Some Other, Better Otto" traces the psychological crisis of a gay man whose relationship with his partner is the only functional one in an otherwise dysfunctional family.In "Runaway", Alice Munro portrays two lonely women as they try to find strength in lies and fantasy, even as a harsher reality awaits each.Mary Yukari Waters's "Mirror Studies" turns primate and nature studies inward, toward a man who faces his mortality.

In the past ten years or so, the BASS anthology has gotten more and more predictable, with a heavy emphasis toward the traditional, and while the trend is not broken by this volume, I was pleased to discover some messier stories - narratives such as Edward P. Jones's "A Rich Man" that are not tightly controlled and instead are allowed to breathe. Still, as long as Houghton Mifflin continues to choose New Yorker writers as editors, this is what readers will see in the series.

While different readers will appreciate different stories, most will find several that will stick with them.If you like cutting edge stories, I suggest getting the latest Pushcart Prize collection instead, a series that ignores the commercial publications in favor of the small literary press.

One Bright Spot
The good news is that this collection starts with Sherman Alexie's "What You Pawn I Will Redeem." The bad news is that, after that, there are 19 more stories to slog through. Over the years I have found fewer and fewer stories in these collections that I think really deserve the distinction, but this year's selections, to my mind, were by far the worst.

It is important to note that I love the short story form and normally tear through an anthology in no time. I also, up until recently, would have said that I favored the "literary genre" both in my reading and writing. But I am getting very tired of the old school writers who seem to think that pretty words are all it takes. The story itself also needs to play a major roll.

Every year there are hundreds of magazines listed in the back of BASS as submitters, and every year only the top tier make it in. I am beginning to wonder whether most of these even get a reading. The finalists are submitted to a different judge each year for a blind and, supposedly, objective reading. But by her own account Lorrie Moore had read most of these before. How could she not? What well-known writer wouldn't be reading most of the magazines and journals these appeared in?

The sad part is that, without the names attached, I wonder if many of these would have made it past the slush pile at a mid-level magazine, let alone the best. The majority of these stories are overly long and self-indulgent. While overflowing with well-crafted metaphors there is hardly a decent story among them.

With the exception of Alexie and one or two distant runners-up, these stories do not reflect the best of what is happening in the short genres. I have sampled many of those magazines that don't make it through the first cut and I can tell you that there are a lot better selections out there. Stories are getting leaner and meaner. The writing is more disciplined, and some people still try to achieve the single effect Poe noted as so important to the genre.

Someday maybe Katrina Kenison will sit up and take notice. In the meantime I am going to stop wasting my money and time.

Ughhh...another editor screws up this collection
Although there are big name authors included in this collection, for the most part the stories are hardly touching or universally appealing. Annie Proulx's, Sherman Alexie's, John Edgar Wideman's are, but many of these very long stories open in a muddled scene with too much going on. From there, the various second cousins, neighbors, and weirdoes who enter the stories make each one dull.

How come each story here has some ecentric character meant to illuminate staid, modern life? The inability of most of these authors to simple write a contemporary tale using modern archetypes gives me the shivers. Also, the lack of aclear plot, rather than character-driven fiction, makes for tedious reading.

Also, Elizabeth Berg's story from Ploughshares called "The Party"--awesomely man-hating and supremely touching--is left out, despite being only two pages long.

I hate that the experimental form or grand subject matter is so undervalued by Moore here...each story is 25-30 pages, workshop-y, and dealing with the same kind of white people we always read aobut, doing quirkly "short story" white people things.

Do not buy this book. ... Read more

Isbn: 0618197354
Sales Rank: 6432
Subjects:  1. 20th century    2. American fiction    3. Anthologies (multiple authors)    4. Fiction    5. Fiction - General    6. Short Stories (Anthologies)    7. Short stories, American    8. Short stories, Canadian    9. Fiction / Anthologies (multiple authors)   

Writing Fiction: A Guide to Narrative Craft (5th Edition)
by Janet Burroway
Average Customer Review:
Paperback (21 July, 1999)
list price: $54.00
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Reviews (26)

Review?
This is not a review - but I have a question.DOESN'T ANYBODY WHO REVIEWS AT AMAZON KNOW THE DIFFERENCE BETWEEN A REVIEW AND AN OPINION?????I get utterly frustrated at all of your opinions and I still don't know what's IN the book most of the time.Go read up on how to REVIEW a book before you enter stuff here and waste our time!

Are YOU ready to write mediocre *blah* fiction?
First let me say that I am not a mean person.I am sure Ms. Burroway is doing her best to teach people how to write here. And look, the book is popular, and it's sold a lot of copies so that's something, right?

Well, popularity is not enough for me.And I would hope it's not enough for other smart consumers too -- professors and students alike.

This book shares a virtue in common with many other fine American textbooks these days -- it takes up a lot of space to say disappointingly little.It's structured thusly:

The author covers all the elements of fiction, one after the other, in a very cursory manner, interspersing between her thoughts a few mildly inspiring, mildly relevant quotes from a few "Important Writers."

Now the author's commentary on the elements of fiction is why I bought the book.I wanted to know about the elements of fiction and how I can use and fuse them to help me build legendary, immaculate fiction.Some of the commentary here, though not so original, is helpful.The author has clearly read up on the topic, and she doesn't do a terrible job distilling the basics.But each chapter left me wanting.These mini-essays are sparse, folks, sparse, and they won't get you past Fiction Writing 101.

After each fiction element is discussed, the author then presents a selection of short stories which feature the techniques discussed.Theory in practice.Not such a bad idea -- in theory.But in practice, this idea doesn't work so well, because the author's taste for fiction is generally (excuse me) mundane, to put it kindly.Don't hate me for saying this, but I think she included a lot of the stories just because they were written by women."American History," "How Far She Went," "Girl," "20/20" -- it's a fem-fiction fiesta, especially in the beginning, and I thought I was going to have to excuse myself to vomit out the massive estrogen doses more than once.

Hold on, hold on.I'm no sexist.I respect women's lit., if it's _good_ lit.And some of the women's lit. here is good.There's stuff in here by Anne Lammott, Margaret Atwood, Elizabeth Talent, Joyce Carol Oates, to name a few, that's marvelous.

I hated some of the stories by males here too, but male writers just seem to be a lot less represented.(39 % to 61 %, by my quick calculations).

Regardless of gender, apart from a few quality selections like Hemingway's "Hills Like White Elephants," an excerpt from Tim O'Brien's "The Things They Carried," an outstanding piece, "Orientation," by Daniel Orozco, and the selections from the female writers aforementioned, this book's _sense for story_ stinks.And that's not a quality I want from a book that would teach me how to write.

I wasn't moved by most of these stories.I don't understand why people would choose to read them.I don't care what Rik-Shaw prize they've won here or there.They didn't inspire me to live, and they did not inspire me to write.

Therefore caution.I paid a lot of money for this book because it got good reviews as a comprehensive writing course, and I want to become the greatest writer in the world.

Well, I suffered through many hours of mediocre material because of the initial investment I made.Students, teachers (please, teachers), think twice.The decent advice on craft in this book is ultimately drowned out by the gagging mediocrity of the anthologized fiction.

If your goal is to get published in that vast gray ocean we call *blah* fiction, then get this book.If you aspire to greater heights, look elsewhere.

For academic-literary writers only
For would-be writers looking for a first book on fiction writing, this book is as good as any, provided and only provided that you are interested in writing what might be termed the academic-literary short story.For those interested in writing for readers (termed by academics the "popular" novel), this book could well be highly misleading.The fact that Burroway and others such as Macauley & Lanning think that the same basic principles apply but that "literary" fiction goes beyond--this fact shows that they understand neither popular fiction nor yet "literary" fiction.In fact, the two are based on diametrically opposed principles and have largely opposite criteria of quality.
Also, bear in mind that you are getting only the ABCs in this book.This is a first book, not a last book.
That said, the exposition is clear and there are numerous examples (all from academic-literary fiction).Whether it is worth the price--ah, that is another question.
... Read more

Isbn: 0321026896
Sales Rank: 272572
Subjects:  1. Authorship    2. Composition & Creative Writing - Fiction    3. Composition & Creative Writing - General    4. Creative Writing    5. Fiction    6. General    7. Language    8. Language Arts & Disciplines    9. Language Arts / Linguistics / Literacy    10. Narration (Rhetoric)    11. Rhetoric (General)    12. Technique   

2005 Writers Market (Writer's Market)
by Kathryn S. Brogan Robert Lee Brewer
Average Customer Review:
Paperback (10 August, 2004)
list price: $29.99 -- our price: $19.79
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Reviews (13)

This book helped me get a 3 book deal with Random House
People always ask me, how did you, a Flight Attendant, end up signing a three book deal with a division of Random House?And the truth is it all started with a copy of the Writers Market.Way back before the world was formed, and I hadn't sold anything, I got a copy of this book (split the price with another wannabe writer)and studied it and found a market to sell our my first writing.Then my first essay. Eventually sold my first book - and then the three book deal.Start your career today with this book - it's never to late.

Always a Great Resource
Way back in 1997, I sold my very first article to EEO Bimonthly magazine using Writer's Market. The description of the magazine in WM was so thorough that I didn't even need to read the magazine before pitching it! I've continued to buy this directory every year since then -- and I've now written for more than 120 magazines.

Though these days I normally find high-paying markets by browsing the newsstands and through word-of-mouth, I use Writer's Market to find these publications' Web sites, phone numbers, and addresses. I've also used the book to find markets for my reprints.

One caveat: Editors move around so quickly that by the time WM hits the stands, many of the editors may have moved on to different publications. I suggest using Writer's Market to find a potential market's phone number, then calling to find the name of the correct editor to pitch.

Linda Formichelli, co-author of The Renegade Writer: A Totally Unconventional Guide to Freelance Writing Success and owner of www.twowriters.net.

Playwrights BEWARE!!!
Just as my title states the 2005 Writers Market neglects playwriting.I bought this book because I had owned the 2003 version.The 2003 version helped me develop great relationships with theaters all over our country.This is due to the creators of the 2003 version actually paying as much attention to finding out submission details as they did for other types of writers(fiction, non-fiction, short story, etc...)Unfortunately, that effort has been abandoned in this 2005 version.(I do not know about the 2004 version.) There is a little information about playwriting contests, but no information about submission policies for theaters(as previously printed in the 2003 version).What happened?It is bad enough that playwrights don't get enough respect in the literary world and now we are being shunned farther into the literary corner.If you are a playwright, this book will not help you any better than doing the google-ing yourself. ... Read more

Isbn: 1582972710
Sales Rank: 684
Subjects:  1. Authorship    2. Canada    3. Composition & Creative Writing - General    4. Directories    5. Handbooks, manuals, etc    6. Language    7. Language Arts & Disciplines    8. Language Arts / Linguistics / Literacy    9. Publishers and publishing    10. Publishing    11. Reference    12. United States   

2005 Poets Market (Poet's Market)
by Nancy Breen Erika Kruse
Average Customer Review:
Paperback (07 July, 2004)
list price: $24.99 -- our price: $16.49
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Reviews (17)

A very useful reference
This book is a necessary reference for anyone writing poetry.
General reference books for writers tend to mix everything together, and it is tedious to sort through the listings to find places to submit poetry.This reference volume seems reasonably complete, with good details on the various publishers.The listing is alphabetic, and coded with useful symbols.I just received it today, and used it this evening to locate a magazine where I am submitting a short poem for consideration.

get it!
If you're aiming at being a published poet, you must follow this book to the last word.I don't care how good your poem is, if it's in a bad manuscript format, it doesn't get read.The only thing wrong with Poet's Market 2005 isn't even their fault - it's that you have to keep buying the new edition every year, to figure out which of the many small presses are still operating that year.A hardcover version would be nice, too.

Exellence in Reference
As a published writer, Poet's Market is a tremendous source of information -- from sample cover and query letters to interviews with editors, this book is essential for all poets and writers.I have found that it is important to purchase each new edition in order to remain current and that's what this book does.It lists every type of magazine that publishes poetry, chapbook and full-length book contests and publisher information, etc.It's the best writing reference book out there. ... Read more

Isbn: 1582972753
Sales Rank: 15469
Subjects:  1. Composition & Creative Writing - General    2. Directories    3. Language    4. Language Arts & Disciplines    5. Language Arts / Linguistics / Literacy    6. Marketing    7. Poetry    8. Publishers and publishing    9. Publishing   

Poets & Writers Magazine
Average Customer Review:
Magazine
-- our price: $19.95
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Reviews (3)

Practical, Educational, Nicely Presented
There are a few magazines about writing serious writers need to read. "Poets & Writers" is one of them. It has a literary bent, but avoids the nose-in-the-air attitude. It is practical and educational, and is pleasingly presented.

A favorite factor for me are the long feature articles on the culture of writing. In the issue out now, there are two major articles. One is about author Stuart Dybek and his fiction that pulls from his experience growing up on Chicago's colorful South Side. The other is about writing contests, dealing with how ethical they are run, the view of literary judges, and when a writer should considering entering one.

The secondary articles are as informative and as useful, whether you want to learn about promoting your book, doing online workshops or understand the trends driving the industry.

Contests, incidentally, are a big part of PW's value. The magazine tells you who won, and which contests/grants are currently accepting submissions. PW is careful to screen which contests are listed, ensuring only legitimate ones make it through the editors.

The writing itself is interesting. It is not always true that writing magazines are fun to read. It should be, and in the case of PW, everything is engaging.

PW's design is clean. It looks like what a small press literary magazine should look like. The typography and layout are not pretentious or overbearing, but get the job done. It is never work to read this magazine.

I fully recommend "Poets & Writers." You will be better informed about writing and writers, just like the titles implies.

Anthony Trendl

By far the best writer's resource magazine
This magazine is a must have for professional poets.

Every writer should subscribe
Poets & Writers is a non-profit organization dedicated to issues of interest to both amateur and professional writers; this is the organization's magazine.Every issue features an in-depth interview with a writer, articles on subjects such as copyright law, writer's conferences, and book promotion, a list of grant/award/contest deadlines and winners, and the ever popular classifieds where writers can find listings for anthologies and calls for manuscripts.Even the ads scattered throughout are informative.Your subscription cost gives you membership in the organization, allowing you access to their services.Published writers are eligible to be listed in their directory.

If you are a fiction writer or poet, you will appreciate this magazine.Poets & Writers is an invaluable tool for beginners and established writers alike. ... Read more

Asin: B00006KT0K
Sales Rank: 142
Subjects:  1. American Literature    2. Literary   

Publishers Weekly
Average Customer Review:
Magazine
-- our price: $199.00
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Reviews (2)

Great if you're in the business but
For those in publishing, this is a terrific resource for keeping track of who's doing what.The book reviews often lead me to books I wouldn't have found any other way and their articles are pretty interesting if you want to publish or be published.However, that said, the price is nuts for an individual and I would strongly suggest reading it at your library.If they don't carry it, you can request that they do.

Five stars for those in the book trade, one for most others
Publishers Weekly is a staple of the publishing business.Editors, publishers, agents, writers, reviewers, and booksellers pony up the exorbitant subscription fees so they can be the first to know about upcoming releases, changes in personnel, and hot deals.Each week the magazine features an author, sometimes famous, sometimes up-and-coming.They run features on audio books, religious releases, children's books, and many others throughout the course of the year.The weekly forecast section runs short reviews of books (in all genres) that will be released over the next three months, giving readers a glimpse of the future. The PW bestseller lists are reliable indicators of what is selling in bookstores all over the United States.

Publishers Weekly is probably the only magazine that sells its cover to advertisers, giving you an idea of the type of trade journal it is.I do not recommend it for anyone who is not associated with publishing.But for those who are, this is a professional expense you won't regret spending. ... Read more

Asin: B00006LDI7
Sales Rank: 452
Subjects:  1. Business & Investing    2. Industrial    3. Books. Library Science. Bibliography    4. Business   

Successful Scriptwriting
by Kerry Cox Jurgen Wolff
Average Customer Review:
Hardcover (01 July, 1988)
list price: $18.95
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Reviews (4)

Informative
This how-to book will not make you into a screen writer, but it will help you understand how to get there.The authors cover basic writing topics such as plot structuring and characterization, and then move onto more advanced topics such as treatments, pitching, and the legal/business issues screen writers face.You'll find a chapters on specific cinematic genres - feature films, animation, daytime serials, made-for-TV movies, sit-coms, and hour-long television shows.The authors also include informative interviews with professionals about their craft.What you won't find is mechanical advice - how to format a script and the devices, such as the capitalization of character names, specific to screen writing.You'll need to study professional scripts and other books on screen writing to get those details.

Like most how-to books on writing, this volume makes the path to becoming a professional seem much easier than it is.Still, it is a good book for the aspiring screen writer.

I am already writing
I originally purchased Syd Field's book years ago and found that book boring and unhelpful.I am a begining script writer and I went to college for finance not writing so I wanted something that would help to get me going.I don't know if I would recommend this book for begining writers because it seems to treat the reader as if they already know something.But this book did have some good ideas that I incorporated.

Bottom line is it wouldn't hurt to have this in your collection, if you can only get one book on script writing, I would compare this book with Keane's book at your local bookstore, that one seemed to get a lot of positive reviews. I haven't read it, but the reviews are prompting me to buy that to supplement my education.

On a final note, I purchased Movie Magic 2000 software and that was a big help on formating.

The perfect guide for creative scriptwriting!
"Successful Scriptwriting" is an excellent source ofinformation and practical help for beginners as well as experienced scriptwriters, and it is also entertaining and well-organized.Mr. Wolff and Mr. Cox have been there, and they kindly give us the benefit of thier experience.This book is a must-have for aspiring scriptwriters! ... Read more

Isbn: 0898793254
Sales Rank: 1294899
Subjects:  1. Film - Screenwriting    2. General    3. Motion picture authorship    4. Motion picture plays    5. Playwriting    6. Reference    7. Screenwriting    8. Technique    9. Television plays    10. Writing For The Media   

Screenplay : The Foundations of Screenwriting; A step-by-step guide from concept to finishedscript
by Syd Field
Average Customer Review:
Paperback (10 June, 1984)
list price: $15.95 -- our price: $10.85
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Reviews (61)

Used in Screenwriting Classes
As a film student, part of my curriculum includes screenwriting classes.I've taken a few and even seminars in Los Angeles.Repeatedly, Syd Field's books are the ones we use as textbooks.My instructors are all writers who have sold screenplays, even screenplays that have become blockbuster movies starring stars like Sandra Bullock.I've written a few screenplays, and have followed along with this book.They're not movies, yet, but because I've at least gotten the structure down, I've gotten A's on the screenplays, and are on my way to being a good writer/filmmaker.

A proven formula that, plain and simply, works!
People have called Syd Field's "Screenplay" outdated. They've bashed his command of the English laguage. They've even gone so far as to throw the old cliche of "Those who can do, do, and those who can't, teach" into the pot. All I can say is this: I followed the excercises in the book and found them to work, and rather well at that. If you think his formula and screenplay paradigm structure doesn't reflect motion pictures of today, then you're not watching enough films. After reading his book, I watched "Good Will Hunting," "I Robot," and "The Punisher" to name a few, and found the plot points to fall right into place (Plot Point 1 in the first 25-30 minutes and Plot Point 2 at 85-90 minutes). I agree that emphasis should be on content and a good story, but the structure cannot be avoided. If you don't have structure and your story doesn't flow, it's not going to entertain the viewer, let alone someone who is trying to read your screenplay. With that, "Screenplay" is the next best thing to USC film school or AFI.

Best book to start
This book will open your eyes to look at movies in a new and different way.Syd Field demonstrates that movies can be broken down into 3 acts and contain story twists that occur at surprisingly similar times in all good films.Even Shakespeare's plays seem to be structured this way even though Shakespeare, who obviously could not have read Syd Field's book, happened upon its concepts intuitively.

I've noticed that some people reading this book for the first time claim that Syd Field is too formulaic and that this somehow strangles creativity.This is just not true unless you believe that Shakespeare and probably all your favorite films are unimaginative and lack creativity.This book shows you a "structure" that is incredibly helpful.It does not give you story ideas.Structure doesn't prevent originality or creativity.Think of the English language in which every sentence has structure and grammar that you learn when you're young; that doesn't mean you can't be creative with the English language within its own structure.

It's true that many of Syd Field's examples are old films like Chinatown because that's when he originally wrote this book, but that doesn't mean that the concepts in it are dated.Let me put it this way:Every vice president of production I've ever met at any studio has read this book and uses the terminology in it when talking to writers.If you're interested in writing screenplays to sell in Hollywood, you MUST read this book.

After you've read it, you can read Robert McKee's "Story," which is a little more complex and talks about conflict, story crisis, deeper aspects of character, story rhythm, subtext in dialogue, the inciting incident that triggers the story, etc.But read Syd Field's book first.

Lastly, some believe that since Syd Field has never, himself, sold a screenplay, that you shouldn't take his book too seriously.Do you know how many great novelists have had writing teachers who have never sold a book?The same is true of great musicians and great artists.Even Vincent Van Gogh took painting lessons to learn basic structure and balance in painting.This also means, however, that reading this book and mastering its concepts is not by itself going to make you a great screen writer.It simply provides you with knowledge and tools.How you use them is up to you.But knowing them is essential.

... Read more

Isbn: 0440576474
Sales Rank: 3086
Subjects:  1. Cinema/Film: Book    2. Film & Video - Screenwriting    3. General    4. Pop Arts / Pop Culture    5. Reference / General   

Writers Chronicle
Average Customer Review:
Magazine
list price: $20.00 -- our price: $34.02
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For the creative writing professor/graduate student
The Writer's Chronicle is the journal published by the Association of Writers and Writing Programs, better known as the AWP, a non-profit organization.This tabloid format publication contains articles about craft, pedagogy, and specific writers, many written by well-known authors. Like Poets & Writers, The Writer's Chronicle contains listings for grants, contests, conferences, colonies, and ads for M.F.A. programs throughout the country, but its emphasis is decidedly on the professor of creative writing.Unfortunately, to access job listings, you must join the AWP for an additional fee.

For those who teach in writing programs or who are students hoping to teach, this periodical is an important one.For aspiring and more commercially minded writers, I recommend subscribing instead to Poets & Writers, a much more substantial magazine geared to a more general readership. ... Read more

Asin: B00006LE70
Sales Rank: 1771
Subjects:  1. Literature    2. General    3. Literary History And Collections    4. Literary   

Merriam-Webster's Collegiate Dictionary (Merriam Webster's Collegiate Dictionary)
by Merriam-Webster
Average Customer Review:
Hardcover (1998)
list price: $25.95 -- our price: $22.06
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Editorial Review

The 1998 10th edition of Merriam-Webster's Collegiate Dictionary marks the 100th anniversary of this distinguished and popular reference standard, and this is more than just an interesting statistic--it means that Merriam-Webster brings years of experience and reams of citation files to the creation of this latest edition. Improving on their last dictionary, they've added more than 100 pictorial illustrations and supplemented the synonym paragraphs with examples. Along with the English dictionary, which forms the heart of the reference, the editors at Merriam-Webster have included a brief introduction to the English language and a history of the English dictionary, a guide to pronunciation, and a series of appendices that include chemical element abbreviations and symbols, foreign words and phrases, extensive sections with biographical and geographical names, signs and symbols, and a handbook of style.

But getting back to the book itself--it's impressively comprehensive for a collegiate dictionary, with more than 215,000 definitions. Each item includes a pithy wealth of information, with first usage date, etymology, and pronunciation, and clear, precise definitions. In addition, there are often usage notes, synonym cross-references, illustrative quotations, variant spellings and pronunciations, regional labels, and information on capitalization, function, and inflections. Then there are the extra touches. Under bible, for example, there's a chart detailing books of the Old Testament, Jewish Scripture, Protestant apocrypha, and books of the New Testament. Under months is a table listing the months of the principal calendars--Gregorian, Jewish, and Islamic. And wonderful line drawings illustrate terms such as mackerel, lyrebird, hedgehog, and the ancient Celtic stringed instrument known as a crowd. All this makes it a valuable reference--detailed enough for editors and writers, accessible enough for students and casual definition seekers, updated with the new vocabulary of technology, and rigorous enough for the linguistic perfectionists. --Stephanie Gold ... Read more

Reviews (78)

GREAT BOOK
This is a one stop dictionary. All you need under one cover. I purchase other dictionaries from Oxford, Collins and Cambridge to name a few and this one tops them all by a long shot. For what you are getting you should be paying a lot more. BUY THIS DICTIONARY NOW.

Ugly Font Makes Viewing Distasteful
The font used in the entry window is plain ugly; so ugly in fact that I doubt I will replace my American Heritage Dictionary with this one. The characters are too close together and some portions of some characters are lined too heavily.My system is Microsoft Windows 2000. As a test I installed the product on another W2K system with the same result.
Other notes: it tries to install Adobe Acrobat over a more recent version.

Very good for everyday use
An important issue with choosing a dictionary is finding a balance that meets your needs.

My first choice of dictionaries is the 20 volume OED for depth and breadth of coverage. Some disadvantages of the OED are the price and the size. My second choice of dictionaries is the Shorter OED, which is smaller (2 volumes) and cheaper, but has about 1/3 of the entries (roughly 500,000).

My third choice of dictionaries is the "New Oxford American Dictionary," which is easy to carry and use - it has roughly 250,000 words. The NOAD is handy because it has definitions arranged in order of most common usage - "core meanings" followed by related senses. It does not have the extensive literary citations that the OED and shorter OED have.

My fourth choice of dictionaries is probably the Webster's Third New International Dictionary, Unabridged, which has about 450,000 words. The disadvantages of this dictionary are that the main text has not been updated since 1961 (although an 89 page addenda is added at the beginning), the layout is hard to follow, and it's a bit unwieldy.

Which brings me to my fifth choice of dictionaries, which is the Merriam-Webster's Collegiate dictionary. This dictionary has roughly 200,000 words, so it loses some breadth and depth of coverage. However, it's very useful for everyday use, and a nice balance between portability and breadth and depth of coverage. ... Read more

Isbn: 0877797099
Subjects:  1. Dictionaries    2. Dictionaries & Terminology    3. Dictionaries - General    4. English Language Dictionaries    5. English language    6. Reference