Books that you can Write in

You can write in the following books

It is not those who "perhaps" have a book idea in them who think about it that finish books. I' m trying to offer a compact, rational answer that's enough. I would have said something like "That's cool" in the past. You can write a three-page story, you can write a novel. So what do you know or what can you learn about this person?

Must you have been reading a textbook to have one?

I' m very much in agreement with Christopher Bright. Cooks can' make food they don't want to like. I' ve authored a number of ledgers. DISCLAIMER - let me repeat - you can NOT author an astonishing volume without having to spend much time with it. You have to learn to type. It gives you a lot of typing expertise.

No. You don't have to be in a bookshop to make one. It' not practical to just sit here and sit around and sit around and write your own books. Well, I don't think it's going down very well. And if you've never seen a good author's work before, you won't know how to standardise your own.

Rather than just studying the size and just looking at a textbook, you need to look at how it works. If you don't start studying, you won't get far. I want you to see something. It is a prerogative that only so many can have. There are some blank and not too many available in the written form.

There are no such things as this one. When they are typed by the right writer, they become magic. I get depressed when I hears about colorblind men. You don't know that the browns and the weeds you see are light and verdant. If I understand you've never even been to a reading, it'll bring me down.

Writing in a textbook

An undisguised advantage of research into a non-fiction is the material you learnt that never makes it into the final work. If I read one of C.S. Lewis' notes, it was inspiring me to revise my notes, especially the way I label them. While I know that some folks see scripture as sacrilegious, in my job it is inevitable.

Most of the times, the ARCs, unaudited prints for editors and publishers and not "real" ones, if that's any comfort. The majority of reviewers are modestly interested in the ways in which they take down memos about their work. You at least need a way to mark important points and the parts you want to cite and to write down your own thoughts.

Hesitating to disfigure the script himself, he marked parts with a small spot in the margins. They would not note these points unless you are going to read the script, unlike browsing through it, but you can find them if you are looking for them. He wrote his own memos (and sometimes quoted passages) with page quotations on a steno-block which he kept with the work.

Shorthand blocks are approximately the same length as a hardback cover block, making them lighter to carry than a letter or regular block. I' ve used this technique for years and had a big pile of steno-pads. But not sure why I stored them, beyond my aversion to throwing the outcome so much work and the fact that they contained a great deal of information.

There was no way to find the memos for a particular notebook among all the blocks, and even then they were difficult to read after a months or two. After I had read Lewis' 1932 epistle describing how he "indexed" a novel, in this case a work of France's ancestors: "I adopted my new method:

In order to thoroughly appreciate such a work, I have to handle it as a kind of amateur and take it seriously. I then add a heading at the beginning of each page: after all, at the end I index all paragraphs that I have emphasized for some at all.

Considering how much fun it is to develop photographs or make scrapbooks, I often wonder why so few make a habit of it. I have so much appreciated many a boring novel that I had to study, with a nice stylus in my hand: you always do something and a novel that is thus studied gets the charme of a plaything without loosing that of a work.

It is so characteristic of Lewis not to realize that for most of us, photography and scrapbooking - souvenirs of their own living experiences - are so different from what they' ve known! To him, it was at least as alive as a vacation by the sea or a celebration of a birth day. Then I mark them at the edges with icons that indicate which categories they belong to: main points, likely quotes, useful facts (dates, age, places, etc.) and stories (any colored facts or details that can be inserted to make the reviews more vivid).

At the top of the page, as a kind of "running head", I will summarize in one or two sentences what this page has to say. For example, in a life story the current director "Tormented in Internat " would lead a page that describes what the unfortunate fellow has been through.

One, it keeps my memos and the notebook itself together. Secondly, it is much simpler to browse the volume as a refresh or when searching for certain facts or parts later as I write. This is even simpler if I use color-coded text markers, although I'm usually not as thorough). Third, the memos are an improvisational sketch of the work.

When I feel ambitions and/or want to receive some kind of index of the books for possible use in the near term, I can transfer it to a text document on my computer that can be added to a browsable set of files. Although the textbook is broken for other people afterwards, if I want to keep it, it's even more useful to me in a way.

Almost immediately I can find parts I remember years before. When I do that, I sometimes think I'm self-centred and wasteful because I throw away most of the textbooks I do. I try to remember that there is a long story of writers' margins and nobody liked literature more than C.S. Lewis.

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