Can anybody Write a BookIs it possible for everyone to write a book?
Rowling and her Harry Potter books how to write health and wellness books that touch, heal and inspire the reader. I wish there was some way to hide the fat, italic, etc. bar. So, now anyone can be the author of a book?
authorhip - Can anyone write an "unauthorized" guide?
The Harry Potter Dictionary is a good example of this. One fansite wanted to release a guidebook to the Harry Potteriverse. He contradicted and claimed that she owes all the Harry Potter copyrights and that nothing could be released without her consent. Justice Patterson said that references were generally useful to the general population, but in this case Vander Ark went too far.
While the encyclopedia in its present state is not a level-headed use of Harry Potter works, encyclopaedias that agree with the encyclopaedia's general aim of helping literary readership should be promoted rather than suppressed. I' m sure if the book itself had been released, the writer would have been harassed because of the high lawyer's fees.
Anyone can write a novel
That is an overview of all my recent papers, and a look at what will come. I' ll try to refresh it at least once every two weeks. That' s all. Also, just because something is missing in the outline does not mean I do not intend to write it. These are a collection of sections that have already been published.
Which kind of author are you?
Suggestions for non-fiction that everyone can write
Write the contract....then write the book..... This is a complete yet easy-to-follow guidebook that tells you exactly what a suggestion is, what it needs to contain and how you can turn it into an information and compelling sales-packet.
Yet a favourite for thousands desperate authors, this book has been improved and upgraded by Elizabeth Lyon to identify nearly two tens of factual requests, plus:
for 5 novels, 10 days: my training as a writer in German language skills (DIY)
It is about 3 pm on Sunday afternoons when I finished my pocket edition of Stephen King's highly commended On Wiring work. I' m fine with listening to a book or twisting its pages - I've learnt to read a book and I' ve loved it from my father, who often beats a book before he reads it to make him think he'lived' - but I can't get myself to have one.
While I briefly entertained the notion, I was satisfied with the pleasure of taking away my bookmarks and signaling his new state of loneliness, as I announced: "I can't continue reading! "A little hard, maybe, but I'd been fighting my way through his book since Friday and I' ve made up my mind that I'm not a Stephen King aficionado.
In a little over a weeks time I resolved to get a fast and soiled schooling. Some of them often asked me to study them, others seemed particularly suitable for the kind of work I wanted to study - and I was reading them all in 10 working nights.
Having spent five fixed lessons each morning in the companionship of authors much better than myself, my mind is full of thoughts, issues and theory about my own writings and how I can make them better. Coming with me, I'll tell you what you should do during the 10-day study and which of these you should do.
I' ll start with Bird by Bird by Anne Lamott. It is the most highly commended book about the letter I came across. All the writers I know tell me to tell me to do it. He was even on the recommanded bookmark of my last drama school. I' ve always had Bird by Bird on my Amazon wish lists, but never got around to it.
I expect a great deal of hands-on experience to help me write better - that's the point of this one. I hope Bird by Bird takes me to a high level. I' m pretty dissapointed for the first half of the book I was reading the first one. It' s not too hard, but I don' t think I have much use for my everyday paperwork.
It seemed to be the key lesson that typing is difficult for anyone, just getting going is always the response, if you are pinned down to being released, will not repair your own lives (and typing should be a treat in itself), and to just "relax and let it happen". I never liked the way some belletrists say that their protagonists write themselves, as if the author were just a channel for a narrative that already somehow, somewhere, was.
I' m sure that's how they think about their letter; I just don't like it. I keep feeling that my personalities know who they are, what's happening to them, where they've been and where they're going and what they can do, but they need me to write it down for them because their manuscript is so inferior.
She says your instinct will tell you what to write. There is no writer's death and there is no need to be concerned. but I just hopefully we've had enough quality talk that she won't be a nag: she won't be a nag: she won't mind that:): She also has this concept about Polaroid, where you can see how the image (or story) develops a little at a while.
And all this queuing and monitoring makes the author seem very inactive. "Maybe it's because I'm a non-fiction author (and not a big supporter of fiction), but Anne didn't convince me. I' m trying not to condemn her point of view, but I'm beginning to wonder if folks like her book because of this "airy fairy" point of view to convey intelligence, and not because of useful tips that you can only take when you're in your seat and write something.
for a little longer as if Anne Lamott had made you a better author.... somehow. She also speaks in detail about other equipment that makes more sense for a literature dialog, character and story. This is a slogan I find to get through because I am not related - I never intend to write literature and I don't even like to read it - but when I look back through the book this afternoons I am amazed that I have made a few heroes in all these sections.
These were actually the sections full of stories and samples in which I had hardly emphasized anything, although I had the most enjoyment reading them. Anne is freshly truthful about how envious she is of her girlfriend, who keeps ringing to tell how happy her latest book is. This whole section is a tale about one of the most terrible feelings of man, and yet one that we all sense from times to times (at least as much as anyone else).
Although she is full of envy, her girlfriend rings like a nightmare: My boyfriend, the author I was so envious of, would call and say, like a beauty of the South: "I just don't know why God is giving me so much cash this year. Anne's anecdotal skills demand my full attention and help me comprehend what kind of letter I like best.
The one aspect I like most about her is how open she is to the less desired parts of her behavior or person. It' s a great shock when Anne says she's envious of other authors, or when she asks for your opinion, she hopes that her buddies only give a little variety and otherwise give credit for her work.
Very reminiscent mich sehr an Ann Patchett, deren Buch This is the Story of a Happy Marriage I've just finished, je viens de finir de lire. They have self-destructive, fun, lovable lifestyles that make them interesting personalities I like to spend with. Like most of the folks in a good novel, I enjoy my Bird by Bird experience (more so now that I'm studying the second half) and feel like meeting Anne on the road.
I hoped to make a better author out of this book, but that doesn't seem to be Anne's goal. It focuses more on what it's like to be a novelist and to adapt his aspirations to the processes, the crafts and the work. "Whilst I concur to have been a writer of gradings for the last few years and not to be someone who dies to get an agent and a tradtional editor, many don't beat these lessons home for me.
Wondering if I would have taken more out of the book if I'd been reading it sooner - maybe when I was still at college, or if I'd prepared to begin my first work. Prior to the book, I would like to begin by reading the cover text and all quotations on the front and back cover. I' ve been reading this:
"Wonderfully spelled, wisely and extremely helpfully, this is the book for serious authors and future writers" and thought, "sounds like the book for me! "On the second outing I think it's more for budding authors than for serious ones. I' m aiming for half a book a book a full workingday. That should take me through five ledgers in ten orgasms.
I' m starting A Field Guide for Alwayssion by Robin Hemley today. Robin's work focuses on three kinds of immersive writing: immersive memoirs, immersive journalism and immersive travelling writings. While I hadn't realized that "Immersion Writing" was one thing before I took this book in my hands, when I started looking at the cover, I realized that it was just the right thing for the kind of writing I wanted to do.
"The term "immersion" is used to refer to the concept of diving into a given circumstance before you write about it - be it an experimental experience, a trip around the globe or just with a group of human beings before you report about them and theirs. In front of the showers, covered in a hand towel, I think about the "writing" that I have just done in my skull.
Scripture was so abundant and full of rhythms that when the words came to me, I did not recognize it as my own scripture. Every so often when he dares to go down to have a cup to eat or to go into the patio, he finds me in a different position: standing up straight in a diner with a text marker over the pages of the book; lying on the sofa with a cup on the coffeetable next to me; covered in a ceiling in a deckchair to spoil me with the story I have experienced in this part.
Every goddamn thing Josh does, he asks me how I'm doing. "It' s always the same answer: not really. I' ve added a lot of textbooks to my bookmarks. I' ve seen some good samples of good typing. "He asks and looks doubtfully at the book in doubt.
I don't seem to get any handy typing hints out of these book. You may not be able to give hands-on advices about the write itself. Perhaps I'm looking for something that isn't in a book. Then I stand in the bath, covered in a hand Towel, explore the script I've just made in my mind under the showers, and I realize my error.
I don't know whether you can give pragmatic advices about the trivialities of the letter in a book. I am even less sure whether they would apply to me as someone who is not new to the letter making experience, but who wants to expand himself and do more.
However, whether you can enhance your typing by delving into the best available teachers' textbooks is absolute. My training is to expose myself to beautiful letters, great craftsmanship, sincere reports about the creative processes that talk to me with refinement and sensitivity, so that the words are sunk.
I' m a better man for my typing with Osmose. Though it seems strange to read for an hour every single working days so that I can go through 4 volumes in just over a whole working weeks, it is perhaps exactly what makes this work. Like any young, verdant author, I am susceptible to adopt the styles of a novelist I adore.
If I read a book - or several books - my mind can penetrate with the styles of another novelist to such an extent that it comes out in my work, but it doesn't take long. That'?s not my way. Indeed, my vote is bury under the shallow ornaments of this writer's writing that are ultimately all I could take from them and use in my work.
Getting inspiration from someone else can become a face or a shining arch to create my own work instead of something more profound that really changes my own music. However, perhaps when I read so many writers in rapid sequence, I am fortunate enough to start their classes without a single writing technique that overtakes my own.
At the moment I sense that the styling of what I write is not quite mine. It' not Robin Hemley's kind of thing I spend many years with today. It' not Anne Lamott's kind of thing I've been spending the last two outings with. Robin makes me even more agitated today when I turn to immersive typing.
It helps me to understand more specific notions of the different kinds of immersive typing I've flirted with and to find out which ones are best for me. It later became a section in a book Robin had written about various experiences of "do overs" from his early years. A. J. Jacobs, one of them, often comes up when we are discussing the experimental concept of immersive typing.
A. J. is known for his one-year book reviews of Bible life and the Encyclopedia Britannica from A-Z. Of course, an experimentation for a book must be much larger than an experimentation for a newspaper item, but both must have one thing in common, says Robin: Something must be at risk.
This kind of book looks like a Gimmic and is sometimes referred to as "schtick lit" because they all run the danger of being silly. "It' s easy to turn an experience into a gimmic book if nothing is at stake," he says, "if you just enter the game because nobody has done it before.
" Authors also have to pick something hard, says Robin. Nobody really wants to know about a simple task. "Quests are a little different than experiments, but they are such similar ways of typing that I take just about all of Robin's advices and put everything in the "immersion writing" bin in my skull.
It pushes the points over difficulties and puts something on the line, but friendly, and they stay with me when I think about what I could write in the near to. She also assists me with an interesting (read: bold and maybe crazy) book that I would like to write.
That year I was living on a goats ranch, thrown off the goats ranch, moving in with two loved ones, joining a Baptist congregation, thinking about committing suicide, going to prom and taking my first pay -as-you-write work. When the year was over, I wanted to remain in despair.
You know, Robin is telling me what it means to put together a book number. It' s useful in practice, but it also shows me how big the company is to write just one suggestion. Fortunately, he reassures me that I don't have to have a publishers before I begin to write. Selling a book about his sibling without a publishing company on board, he says that in this case it would make more sense after the book was finished, as he could write it at his own time and comfort.
"Several of the best works made no business being proposed." While I like the sounds of the no suggestion concept, I also know that I have a big company ahead of me and that book progress could help me make it work. Then Robin reiterates a note I received from Anne in Bird by Bird: "Don't think you'll make a fortune with it.
Rob goes into detail as Anne (although I did enjoy Anne's sincere stories about her book's progress as she tried to save a script that her publisher would not accept). It can take a magazine month to afford, and often not enough to make even a fraction when you are counting the issues and the years.
It also says not to wait for a big book deposit, because even if you are fortunate enough to get one (unlikely), you will be under stress to make even more of your book when it is released, or you may not get another bookcheckount. It' good to recall that if I want to do more handed-down oeuvre, I'm probably going to give up a good part of the pay I get for doing contented networking.
Do-Over, his book about repeating awkward memories from his early years, is funny and provides useful illustrations of how to make a book suggestion and how to create an article or book from an experimental work. However, Invented Eden, a book about the controversial story of the far-flung Tasady people, is clearly Robin's source of awe.
He has mentioned this book so often that I have the feeling that I don't even have to study it to know what it's about. He has also made at least three credentials so far to this one case he was kept by force of arms as he researched the book. Until now, the combined use of Robins Field Guide and Bird by Bird has revived my passion for the study and especially the study of physics literature.
I have also begun to sense a link with novelists in general, through the guidance of these two creators in particular. I dozed off when they described why they write, how they write and how best to do it. It has affirmed my prejudices that typing is fun and classy and worthwhile.
Coming up, Stephen King's favorite, Onriting! I' m not looking forward to spend quality leisure with another belletrist, but this book is so often suggested to authors that I have high expectations that it will be valuable my while. I' ve also been hearing of a contented marketer of mine recently who said he got plenty of on the typing despite the invention-focus.
As soon as I get through the many advances (which book needs three advances?), I am already frustrated by page two. I had somehow failed to notice that the Guardian's title page was" Part Life, Part Collections of Hints for the Prospective Writer" (Mine). Steve speaks more about his evolution as a novelist and his carreer over the years - and that's actually interesting.
However, when I finish this section, I long for a tip. Since the biographical section caught me by surprise because it was more fun than I had anticipated, the remainder of the book is a major setback. As I begin the bulk of the book with the title "On Writing", I get for the first case what I wanted from this project: hands-on tips on how to put words on the page.
Thought I wanted someone to tell me how to write. Thought that some hands-on advices would help me make a better one. Perhaps I am, and my thoughts are all false, or I am disappointed by my three days Epiphanie that I have become a better author by giving me great writings and feel as if I have great minds on my side.
I am disappointed in him because he goes into the particular, particularities of the letter. He is a big aficionado of William Strunk, renowned for his work on The Elements of Style, and often cites it. When I read You Are What You Speak by Robert Lane Greene a few month ago, I was shut down by Strunk and other prescription grammar (of which Steve seems to be one).
Admittedly, this is a useful guideline for any author. For example, Strunk and White's slogan can be used to take a plot of ground, but not to tell the true story - i.e. I can't say that The Elements of Style is a bunch of rubbish on stilt.
As many prescribers, Strunk and White believe that typing is only right if it follows their own grammar/phrases. Strunk's widespread appeal among authors and educators for imposing proper concepts on their pupils has only kept me from him. Every citation from Steve Strunk makes me shiver a little.
Steve says that Strunk's The Elements of Style is" a refreshingly strict offer," he summarizes exactly what turns me off when writing. "You always append it, even if the term you modify ends in seconds - you always write Thomas' bicycle and never Thomas' bicycle.
I don't think there is a correct solution to this riddle, and it just depends on a question of stile. However, beyond my own mistakes with his selection of samples and guidelines that he MUST for EVERY PENDER, I am tempted to fall back on Robin's council in Field Guide on performance, which is more than just a matter of idea.
It tends to me to think that performance means that typing is legible, clear and pleasant to use. Good spelling does not necessarily mean correct spelling. In-between I hardly get lying around, sleeping and hesitant by another 10% of the book. Looking back, I should have given up Stephen King's On Worriting two nights ago.
I spent three and a half day fighting my way through the first half because I had been planning to end every book I had begun for this venture, no matter how much I loved it. Beyond the scope of the book I' m more unscrupulous than most when it comes to not completing a book that I don't like. I prefer to devote my study hours to having a good read than to what seems like a tiresome duty.
I' m struggling through a few more pages, but every book I record, I just get so exhausted that I have to take another snooze...... or see more netflix.... or lie around and think about how irritating Steve's book is and how I don't need him to tell me how to be a good author, because I don't even like straightforward horn novels and isn't that all he knows?
As Josh sees me gazing at Steve's book, in the hope that the words somehow get into my mind without me really exerting myself, he asks how it's going. Just Josh says, "Stop it." Sure, says Josh, launch the next book. Like it' s no biggie, he runs away as I rush up to find the next book that' s ready to be picked up.
Jack is a former editor-in-chief of the Oregonian, who has worked as a writer trainer for several Pulitzer Prize laureates. I am interested in getting his advise on the editorial side of the letter of a story. He claims that story telling is such a basic part of mankind that we can't allow ourselves to disregard it, even when we write articles.
We' re story fools, and Jack is insisting that non-fiction authors take that to their hearts. It is a useful example that exemplifies his points, but its further use encourages my increasing worry that Jack's priniciples do not fit my way of typing. It' starting to start to empathize differently from the way Jack's trying to make me do well.
I' m always wondering how I'm going to write this article about my literary projects, and I can't get rid of the sense that Jack's writing just doesn't work. I' m stopping halfway through it. Most of my mornings I hesitate between one- or two-sided readings. I am tired and disappointed at the absence of kinship in his book, but after giving up on Stephen two nights ago, I am not ready to complete a second book in the pile.
Later in the day I moan to Josh how much Jack's book is carrying. Immediately he proposes that I go to a new book. And I think the fact that he hasn't chosen any of these works will help him be more impartial if I don't do them. It never urges me to end a book I don't like, but it is definitely more hesitant to suggest that I give up one if it proposes that I do.
I' m spending a lucky half an hours looking around the Kindle Shop (what better way to take my minds off the heavy work than shopping?) and downloading examples of three of them. All others have so far concentrated on literature and, to a smaller degree, journalism. Phillip is not only willing to spread the filth by scribbling down his own essay, he is also clearly in great affection for it.
He has a penchant for essay writing, and I can't help thinking we're on the same side, excited to share our love and at the same tendency to be second to none if they think they won't miss it. First Phillip defends the story he wants to tell me.
"He says, personally collected essays"....are often banished to a book in a letter collection, as if the book was just an evasion to write a work. Since his book is about one-on-one stories, I anticipate that Phil will be on board with my choice of course, but he makes it very clear that many others in the literature community would not be.
However, even if a female undergraduate is satisfied with the lower class of non-fiction books, she will no doubt meet the resourceful writers who tell her to "set the stage", for example, or use many pictures and sensory intricacies? While he advocates the use of storyline, tension, characterization and even personality evolution in non-fiction, he does not endorse the notion that a non-fiction author should "render everything in dialogues and spray sensory detail everywhere so that the text reads as'cinematic' as possible while refraining from reflective analyses because it may sound academical or'abstract'.
" In order to get out of the way, we are discussing the essays themselves: how to finish an essays, how to organize it, what it is composed of and how the readers should react when they read a large one. He says an essays is a way for the author to work out his thoughts on the page.
"In the non-fiction, the action or action is made up of the phrases of a self-developing thought-procedure. "He is also a big admirer of class. "And the other thing that keeps me happy to read articles," he says, "is an advanced, fun, elegant or at least very deliberate literature writing technique.
You should apply the force of your own personal styles to every part. "While I' m quite good at being possessed by things (I have a rather extrem persona - I like to do something all the time, every opportunity I get, or not at all), I like the thought of putting in my toolkit everything I can count on in the long run.
Philip says "bringing the inquisitiveness to the intersection with more and more past and present" is the answer to avoid the narcissistic potentials in autobiographic work. Though my period with Phillip began strongly, the second half of the book is less so. I am not able to find a passion for Montaigne through Phil's excitement, although I am open to discover a great essays author, but instead I am grinning sympathetically at Phil as if you were showing a kid who is proud to show the Lego home they have constructed because they think it requires a lot of fate and fantasy.
Once again, I didn't pay enough heed before immersing myself in a book without knowing that the whole of the second half is referred to as "practitioner studies," with one section per renowned essays author I've never known. I' m trying to open my head to the idea that a story of a writer's work will be more enlightening and useful than it may sound, but when I read about Lambe's work for half the story, as if I'm readin an unbelievably long, arid Wikipedia piece, I loose most of the little glimmer of light I've been holding onto.
From the beginning I had such high expectations in this book that I don't want it to be a complete wastage. I' m pushing through the remainder of the Lamb Chapters, which, apart from a mini-biography, deals mostly with Lambe's trends in his writings, rather than the techniques I could use on my own work.
There are four other authors I've never even met who have their own chapter at Lamb's, but I am skipping them to return to a personal conversation with Phillip. I feel critic are impolite, and memoir isn't all evil, but it's not a good way to end my day with Phil.
I would first do the second half of the book and end with the high mark of Phil's youthful passion for the style of the essays. I' m sure he admired Cormac McCarthy's letter somewhere in the book, which seems to conflict with his perseverance in driving his grammar calendar forward, but I can't find it.
When I have scrolled through half of the book I have already finished I try to flip through the next pages after I have finished if I have put the book mark in the incorrect place. It still doesn't appear to me, but when I am looking for excerpts from the pages I am looking for, I notice that the grammar lecture has been over.
Though not overwhelming, his more general tip is simple to write (I think it's his own diction, too) and not a big shutdown. I' ll give the book another shot - maybe we'll have a pause and more than 5,000 words of my design will give me the refreshing spirit I need to get something useful from Steve this year.
After reading another 70 pages this afternoons, I strolled with Steve through his idea of how to describe, storyline, a write cycle and dialog. Like in Bird by Bird, I'm tired of everything fiction-specific, which is a great deal of his advices. I find it interesting how often he matches the other authors I've spent with.
He starts to ring more like the sensible, down-to-earth man I met at the beginning of the book in the book about him. That'?s how he reminded me of Anne in Bird by Bird. Both seem to think that there are already tales and figures, and it is the author's task to just put something on the page that unfurls without much effort.
It' s all very blurry, so it's difficult for me to distinguish between how much of the author has and how much of the plot really "unfolds". He insists that the author must be truthful about the character and their behaviour in certain circumstances.
Or, does he mean that an author can quite literally see the narrative in his head and just have to write down what he saw without inventing it? It' s too far-fetched to believe, but then I'm not a novelist (and maybe that's the reason). It thinks Steve has the brainchild to create a set of personalities and then write only behaviors that correspond to the ideas of every single one of the personalities you have made.
During the whole process, I have found that the mentor-mentee relation that some of the authors have created is by far my favorite. It was the authors who gave me the feeling that they gave me one-on-one classes, personal advice on how to read and get to know them in person, the classes of which were most lost. I realized that early on in Bird by Bird.
Anne, who spoke openly about her past in the introductory remarks, but did not devote a substantial part of the book to speaking about her own lives, showed me that I could rely on her early on. It was soft but to the point about the harsh truth of the letter for a livelihood and relieved me into this mad venture with a mix of amusing stories about her writer's livelihood and fictional lesson I learnt to ford.
When I was done with Bird by Bird, I felt like we had become mates. We were laughing at her literary hyijinks and had D&Ms about the days when she had a hard life but made it. She had given me much affection when it came to deciding whether I really wanted to do this letter and whether I was ready to get to work to do it well.
It felt like I had an insight into the advantages of being a supervisor, and it felt good. He made me starve for more, and as Anne kept insisting that we say good-bye and some other authors queue up, I gave Robin a break. He has a great sense of humor, and he is not scared of soft self-abasement - something I increasingly appreciate among autobiographical authors.
In fact, his book reads like a country leader, with Robin as my kind neighbour. Robin's only mistake is that he relies too much on his book about the Tasaday mob. Leaving Robin behind, I am disappointed and wonder if the Tasaday affair was indeed a scam or not (he seems to indicate that it was a little of both, which is almost less satisfactory than not knowing).
What is even more serious is that I have so much to say about the book that I don't want to study it to find out the answers. We were having a good time and he piled up my bookmarks with 30 or more I can' t expect to be. He has conveyed his love of the immersive genre and those who do great work in it and even inspire me to create an immersive memory-book.
Phillip Lopate himself became a good one. Although Phillip and I developed further apart as he sank into the tares of his affection for Montaigne and other great authors of the story, I will always recall the times we used to spend together. He has shown me very well why it is worth writing his own articles, and he has shown me, as Anne has done for literature, that no author has it easily.
Out of all the authors, I fought the most to get connected with Jack, who used the kind of letter he used to write about: staying out of the history for the most part and concentrating on the information. As a human being, or as the authors he cited are.
I will probably keep remembering the lady in the tide for a long while, because she has become so interesting to me. While Steve certainly wasn't my favorite author, he became a protagonist in my tale. I heard about his battles with drug abuse and how impoverished he was before his write.
By these tales Stephen was growing up on me, and I came grudgingly to see that he would be interesting to be spending quality with. It was shocking and disappointing when Steve and I stumbled across his haughty opinions on punctuation and "proper" script.
He was humiliated when he talked about people who told him the tale and kept my thoughts to myself to live through the remainder of our times in serenity. At the end we were in agreement that we did not agree, and I took a little of his counsel, but much of our ups and downs along the way.
So I' m a better author than I was at the beginning? It was my expectation that I would take a handy tip sheet from each book and apply it immediately to my work. Pressing five ledgers together in ten working nights made me realize how much better my typing could be if I just spent my free moments with gifted authors that I respected.
There' s no question you're craving your own one-on-one with Steve now. So if you like him or any of the other writers, here is a reference to each of the textbooks I have read: I' ve found many textbooks that would suit this particular scheme, but I couldn't get to know them - either in the textbooks I've been reading or those proposed to me by other readers.
So if you want to try out more of my literature, here are the ones I still have on my "to read" list: