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  <title><![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]></title>
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  <description><![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]></description>
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    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
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    <body><![CDATA[The book that will make you wish you could take a writing workshop with Ursula K. LeGuin.]]></body>
    
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    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
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  <date_updated>Fri Nov 14 12:13:48 -0800 2008</date_updated>
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    <body><![CDATA[The structure of this book is quite simple but surprisingly useful. Each chapter covers a certain aspect of writing (point of view, description, dialogue, etc.), beginning with a brief overview, giving sample passages from other works, and ending with an exercise. The exercise comes with critiquing ...<a href="http://www.goodreads.com/review/show/25325521">more...</a>]]></body>
    
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      <review>
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    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
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    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
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  <read_at>Sat Jan 05 00:00:00 -0800 2008</read_at>
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  <date_updated>Wed Jun 04 11:47:56 -0700 2008</date_updated>
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    <body><![CDATA[This book focuses more on style and playing with language than actually talking about plot. Each section contains some explanation about whatever point she's trying to make, some examples which she thinks exemplify that (and why), and then an exercise to try -- along with the suggestion to come back...<a href="http://www.goodreads.com/review/show/23695631">more...</a>]]></body>
    
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      <review>
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    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
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    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
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  <read_at>Mon Oct 01 00:00:00 -0700 2007</read_at>
  <date_added>Sun Mar 23 15:08:31 -0700 2008</date_added>
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    <body><![CDATA[This book is full of practical exercises that Ursula Le Guin used in her writing workshops.<br/>She said, “Skill in writing frees you to write what you want to write. It may also show you what you want to write. Craft enables art.”<br/><br/>My favorite exercises:<br/><br/>Writing a long par...<a href="http://www.goodreads.com/review/show/18455866">more...</a>]]></body>
    
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    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
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    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
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  <date_added>Wed Jun 03 17:40:00 -0700 2009</date_added>
  <date_updated>Wed Jun 03 17:42:31 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[If you are a teacher of language arts at ANY level, you really need to read this book.  While it is directed at writing groups, Le Guin's explanations of the structures and mechanisms of story-telling are clear and well-organized.  Also, her appendix about, of all things, VERB FORMS is amazingly use...<a href="http://www.goodreads.com/review/show/58354121">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/58354121]]></url>
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</review>
      <review>
  <id>71423758</id>
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    <name><![CDATA[Tara]]></name>
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    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
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  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

    <rating>4</rating>
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  <read_at>Thu Nov 01 00:00:00 -0700 2007</read_at>
  <date_added>Wed Sep 16 09:48:27 -0700 2009</date_added>
  <date_updated>Wed Sep 16 09:53:13 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[Admittedly, it's been a couple years since I've read this book. After thinking back on my experience learning from the book, and now reflecting on others' experiences, I think it might just be time to sit down with Le Guin once more! Thanks to those who reminded me. ]]></body>
    
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</review>
      <review>
  <id>49495636</id>
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    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
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  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
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    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
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  <read_at>Tue May 17 00:00:00 -0700 2005</read_at>
  <date_added>Mon Mar 16 16:38:52 -0700 2009</date_added>
  <date_updated>Mon Mar 16 17:54:44 -0700 2009</date_updated>
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    <body><![CDATA[Good, even if I hate Le Guin's snotty voice.  It's an essential for anyone hoping to master the craft of fiction.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/49495636]]></url>
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      <review>
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    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
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  <ratings_count>2</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of charm, wit, and opinion. Le Guin likens writing to &quot;steering a craft,&quot; and as one reads through this volume, one has the sense of floating down a river, with the waves of Le Guin's words lapping at one's craft. Le Guin veers sharply from the mainstream of contemporary writing manuals by challenging their very definition of story. While it is common to &quot;conflate story with conflict,&quot; Le Guin writes, she finds that limiting. &quot;Story is change,&quot; she says. While that change may be the result of conflict, it is just as likely to evolve from &quot;relating, finding, losing, bearing, discovering, [or] parting.&quot; Le Guin demonstrates this complexity with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R. Tolkien, Charlotte Brontë, and especially Virginia Woolf. The many aspects of fine fiction writing Le Guin addresses here include the role of the narrative sentence (its &quot;chief duty [is] to lead to the next sentence--to keep the story going&quot;); avoiding exposition doldrums (&quot;break up the information, grind it fine, and make it into bricks to build the story with&quot;); and the concept of &quot;crowding and leaping.&quot; While prose should be &quot;crowded with sensations, meanings, and implications,&quot; don't forget that &quot;what you leave out is infinitely more than what you leave in.&quot;<p> Accompanying Le Guin's text is a handful of clever writing exercises, each as enticing as its name. Among them are &quot;I am García Márquez,&quot; which requires writing with no punctuation; &quot;Chastity,&quot; which challenges one to write without adjectives or adverbs; and &quot;A Terrible Thing to Do,&quot; which proposes taking an earlier exercise and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
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  <recommended_by><![CDATA[Suzanna]]></recommended_by>
  <read_at>Tue Sep 22 00:00:00 -0700 2009</read_at>
  <date_added>Tue Sep 22 16:39:09 -0700 2009</date_added>
  <date_updated>Tue Sep 22 16:40:35 -0700 2009</date_updated>
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    <body><![CDATA[Seems to be a practical, down to earth, and accessible guide for how to use language to create beauty and story.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/72164305]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/72164305]]></link>
</review>
      <review>
  <id>20842823</id>
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    <name><![CDATA[Kath]]></name>
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    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
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  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

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  <recommended_by><![CDATA[a writing instructor]]></recommended_by>
  <read_at>Sun Oct 01 00:00:00 -0700 2006</read_at>
  <date_added>Wed Apr 23 19:59:57 -0700 2008</date_added>
  <date_updated>Thu Apr 24 06:08:24 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[Beyond pure enjoyment of LeGuin's voice and style, this book offers writing exercises to help discover/refine your own voice and style.  Many of the exercises strengthen poetical writing, some prose, some help with voice and tense.  All of them challenge you to stretch your skills, and all come with...<a href="http://www.goodreads.com/review/show/20842823">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/20842823]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/20842823]]></link>
</review>
      <review>
  <id>63437791</id>
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    <id>87147</id>
    <name><![CDATA[Lindi]]></name>
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    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
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  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
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  <read_at>Sun Jan 01 00:00:00 -0800 2006</read_at>
  <date_added>Tue Jul 14 09:14:58 -0700 2009</date_added>
  <date_updated>Tue Jul 14 09:17:42 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[OMG! The chapter on point of view alone knocked my socks off! Le Guin is an effing genius.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/63437791]]></url>
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      <review>
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    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
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  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

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  <recommended_for><![CDATA[]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Wed Nov 25 00:00:00 -0800 2009</read_at>
  <date_added>Sat Oct 24 17:53:51 -0700 2009</date_added>
  <date_updated>Wed Nov 25 20:40:37 -0800 2009</date_updated>
  <read_count>.5</read_count>
    <body><![CDATA[I have really tired of reading this book. The lessons for chapter 7 were fun to do (as part of a writing group), but this was not a book I would have picked out myself. I don't really like her writing style very much in this book, but I think she wrote it more for the lessons themselves. I was reall...<a href="http://www.goodreads.com/review/show/75623914">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/75623914]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/75623914]]></link>
</review>
      <review>
  <id>69094467</id>
    <user>
    <id>2226101</id>
    <name><![CDATA[Annabel]]></name>
    <location><![CDATA[Seattle, WA]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/2226101-annabel]]></link>
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  <id type="integer">68024</id>
  <isbn>0933377460</isbn>
  <isbn13>9780933377462</isbn13>
  <text_reviews_count type="integer">22</text_reviews_count>
  <title>
    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170684453m/68024.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170684453s/68024.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/68024.Steering_the_Craft_Exercises_and_Discussions_on_Story_Writing_for_the_Lone_Navigator_or_the_Mutinous_Crew</link>
  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

    <rating>4</rating>
  <votes>0</votes>
  <spoiler_flag>false</spoiler_flag>
  <shelves>
            <shelf name="currently-reading" />
      </shelves>
  <recommended_for><![CDATA[]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Thu Aug 27 00:00:00 -0700 2009</read_at>
  <date_added>Thu Aug 27 09:52:10 -0700 2009</date_added>
  <date_updated>Thu Aug 27 09:54:55 -0700 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[Great perspectives and ideas for writing practice.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/69094467]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/69094467]]></link>
</review>
      <review>
  <id>9564005</id>
    <user>
    <id>641491</id>
    <name><![CDATA[Ollie]]></name>
    <location><![CDATA[London, LO, The United Kingdom]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/641491-ollie]]></link>
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  <isbn>0933377460</isbn>
  <isbn13>9780933377462</isbn13>
  <text_reviews_count type="integer">22</text_reviews_count>
  <title>
    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170684453m/68024.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170684453s/68024.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/68024.Steering_the_Craft_Exercises_and_Discussions_on_Story_Writing_for_the_Lone_Navigator_or_the_Mutinous_Crew</link>
  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
  <votes>0</votes>
  <spoiler_flag>false</spoiler_flag>
  <shelves>
        <shelf name="read" />
          </shelves>
  <recommended_for><![CDATA[]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Fri Jun 01 00:00:00 -0700 2007</read_at>
  <date_added>Mon Nov 26 12:24:35 -0800 2007</date_added>
  <date_updated>Mon Nov 26 12:45:54 -0800 2007</date_updated>
  <read_count></read_count>
    <body><![CDATA[This is a straight forward book on the creative writing process, with an emphasis on exercises, grammar and the understanding of structure.  It's actually quite refreshing to read someone's take on fiction writing which doesn't treat it like a mystical experience, but a skill that needs to be perfec...<a href="http://www.goodreads.com/review/show/9564005">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/9564005]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/9564005]]></link>
</review>
      <review>
  <id>71140153</id>
    <user>
    <id>2169723</id>
    <name><![CDATA[Jayme]]></name>
    <location><![CDATA[Richmond, BC, Canada]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/2169723-jayme]]></link>
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  <id type="integer">68024</id>
  <isbn>0933377460</isbn>
  <isbn13>9780933377462</isbn13>
  <text_reviews_count type="integer">22</text_reviews_count>
  <title>
    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170684453m/68024.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170684453s/68024.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/68024.Steering_the_Craft_Exercises_and_Discussions_on_Story_Writing_for_the_Lone_Navigator_or_the_Mutinous_Crew</link>
  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

    <rating>3</rating>
  <votes>0</votes>
  <spoiler_flag>false</spoiler_flag>
  <shelves>
        <shelf name="read" />
            <shelf name="writing" />
      </shelves>
  <recommended_for><![CDATA[]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at>Wed Nov 18 00:00:00 -0800 2009</read_at>
  <date_added>Sun Sep 13 23:05:38 -0700 2009</date_added>
  <date_updated>Sat Nov 21 18:17:25 -0800 2009</date_updated>
  <read_count>1</read_count>
    <body><![CDATA[This was definitely not what I expected. LeGuin has written a book that reads like a course on writing. There are several exercises included that cover topics like POV, style, and tense. The exercises seem like they would be fun, if you are looking for a way to improve your writing skills on your ow...<a href="http://www.goodreads.com/review/show/71140153">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/71140153]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/71140153]]></link>
</review>
      <review>
  <id>38695615</id>
    <user>
    <id>42679</id>
    <name><![CDATA[jacky]]></name>
    <location><![CDATA[Lewiston, ME]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/42679-jacky]]></link>
    <image_url><![CDATA[http://photo.goodreads.com/users/1255906052p3/42679.jpg]]></image_url>
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    <book>
  <id type="integer">68024</id>
  <isbn>0933377460</isbn>
  <isbn13>9780933377462</isbn13>
  <text_reviews_count type="integer">22</text_reviews_count>
  <title>
    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170684453m/68024.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170684453s/68024.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/68024.Steering_the_Craft_Exercises_and_Discussions_on_Story_Writing_for_the_Lone_Navigator_or_the_Mutinous_Crew</link>
  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

    <rating>0</rating>
  <votes>0</votes>
  <spoiler_flag>false</spoiler_flag>
  <shelves>
            <shelf name="to-read" />
      </shelves>
  <recommended_for><![CDATA[]]></recommended_for>
  <recommended_by><![CDATA[]]></recommended_by>
  <read_at></read_at>
  <date_added>Wed Nov 26 09:56:21 -0800 2008</date_added>
  <date_updated>Mon Dec 21 12:51:13 -0800 2009</date_updated>
  <read_count></read_count>
    <body><![CDATA[I'm looking for books that have writing exercises.  I think that some of my students could really use a few books of these in the room to turn to when they are stuck.  If the books were available, I then wouldn't have to force the whole class through an exercise, but rather teach the kids to go to o...<a href="http://www.goodreads.com/review/show/38695615">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/38695615]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/38695615]]></link>
</review>
      <review>
  <id>29150775</id>
    <user>
    <id>869760</id>
    <name><![CDATA[Dragon]]></name>
    <location><![CDATA[Urbana, IL]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/869760-dragon]]></link>
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    <book>
  <id type="integer">774974</id>
  <isbn>0933377479</isbn>
  <isbn13>9780933377479</isbn13>
  <text_reviews_count type="integer">2</text_reviews_count>
  <title>
    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1178239544m/774974.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1178239544s/774974.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/774974.Steering_the_Craft_Exercises_and_Discussions_on_Story_Writing_for_the_Lone_Navigator_or_the_Mutinous_Crew</link>
  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of charm, wit, and opinion. Le Guin likens writing to &quot;steering a craft,&quot; and as one reads through this volume, one has the sense of floating down a river, with the waves of Le Guin's words lapping at one's craft. Le Guin veers sharply from the mainstream of contemporary writing manuals by challenging their very definition of story. While it is common to &quot;conflate story with conflict,&quot; Le Guin writes, she finds that limiting. &quot;Story is change,&quot; she says. While that change may be the result of conflict, it is just as likely to evolve from &quot;relating, finding, losing, bearing, discovering, [or] parting.&quot; Le Guin demonstrates this complexity with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R. Tolkien, Charlotte Brontë, and especially Virginia Woolf. The many aspects of fine fiction writing Le Guin addresses here include the role of the narrative sentence (its &quot;chief duty [is] to lead to the next sentence--to keep the story going&quot;); avoiding exposition doldrums (&quot;break up the information, grind it fine, and make it into bricks to build the story with&quot;); and the concept of &quot;crowding and leaping.&quot; While prose should be &quot;crowded with sensations, meanings, and implications,&quot; don't forget that &quot;what you leave out is infinitely more than what you leave in.&quot;<p> Accompanying Le Guin's text is a handful of clever writing exercises, each as enticing as its name. Among them are &quot;I am García Márquez,&quot; which requires writing with no punctuation; &quot;Chastity,&quot; which challenges one to write without adjectives or adverbs; and &quot;A Terrible Thing to Do,&quot; which proposes taking an earlier exercise and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

    <rating>2</rating>
  <votes>0</votes>
  <spoiler_flag>false</spoiler_flag>
  <shelves>
        <shelf name="read" />
            <shelf name="library-treasures" />
      </shelves>
  <recommended_for><![CDATA[Preteen/Teenage Writer]]></recommended_for>
  <recommended_by><![CDATA[Found in Library Catalog]]></recommended_by>
  <read_at>Mon Sep 15 00:00:00 -0700 2008</read_at>
  <date_added>Sun Aug 03 15:15:27 -0700 2008</date_added>
  <date_updated>Mon Sep 15 19:40:44 -0700 2008</date_updated>
  <read_count>1</read_count>
    <body><![CDATA[In my opinion the voice of the book is geared for the pre/teen beginning writer. I like the format of the book, small exercises and gradually increase in challenge. I loved the way LeGuin encouraged former excercise writing to be used, yet allowed for personal creativity. I wish I had this book when...<a href="http://www.goodreads.com/review/show/29150775">more...</a>]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/29150775]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/29150775]]></link>
</review>
      <review>
  <id>29822455</id>
    <user>
    <id>1215621</id>
    <name><![CDATA[Hoby]]></name>
    <location><![CDATA[Seattle, WA]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/1215621-hoby]]></link>
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  <isbn>0933377460</isbn>
  <isbn13>9780933377462</isbn13>
  <text_reviews_count type="integer">22</text_reviews_count>
  <title>
    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170684453m/68024.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170684453s/68024.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/68024.Steering_the_Craft_Exercises_and_Discussions_on_Story_Writing_for_the_Lone_Navigator_or_the_Mutinous_Crew</link>
  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

    <rating>4</rating>
  <votes>0</votes>
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  <read_at>Sat Jan 01 00:00:00 -0800 2000</read_at>
  <date_added>Sun Aug 10 23:15:43 -0700 2008</date_added>
  <date_updated>Sun Aug 10 23:18:10 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[Excellent book, lots of fun writing in ways that are completely impractical but flex your narrative muscles (so to speak) so you're loosened up for any style of writing and have a wider palette of tools to have at your disposal.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/29822455]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/29822455]]></link>
</review>
      <review>
  <id>1689371</id>
    <user>
    <id>113644</id>
    <name><![CDATA[Melissa]]></name>
    <location><![CDATA[San Antonio, TX]]></location>
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  <text_reviews_count type="integer">22</text_reviews_count>
  <title>
    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170684453m/68024.jpg</image_url>
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  <link>http://www.goodreads.com/book/show/68024.Steering_the_Craft_Exercises_and_Discussions_on_Story_Writing_for_the_Lone_Navigator_or_the_Mutinous_Crew</link>
  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

    <rating>3</rating>
  <votes>0</votes>
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  <read_at>Sat Jan 01 00:00:00 -0800 2005</read_at>
  <date_added>Tue Jun 05 16:04:14 -0700 2007</date_added>
  <date_updated>Sat Jun 09 10:34:36 -0700 2007</date_updated>
  <read_count></read_count>
    <body><![CDATA[Some of us online got this book and did some of the exercises on livejournal together, then it fizzled out. It was fun though, even though I can't write fiction worth a crap. Also I don't try.]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/1689371]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/1689371]]></link>
</review>
      <review>
  <id>17056380</id>
    <user>
    <id>954892</id>
    <name><![CDATA[Rose]]></name>
    <location><![CDATA[Germany]]></location>
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  <text_reviews_count type="integer">22</text_reviews_count>
  <title>
    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170684453m/68024.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170684453s/68024.jpg</small_image_url>
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  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

    <rating>4</rating>
  <votes>0</votes>
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  <read_at>Sat Dec 01 00:00:00 -0800 2007</read_at>
  <date_added>Wed Mar 05 04:00:18 -0800 2008</date_added>
  <date_updated>Wed Mar 05 04:01:23 -0800 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[The good: the examples are from books I've actually read. The less-good: I disagree that prose is the ultimately most important element of a novel. The story is!]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/17056380]]></url>
  <link><![CDATA[http://www.goodreads.com/review/show/17056380]]></link>
</review>
      <review>
  <id>30365400</id>
    <user>
    <id>1269392</id>
    <name><![CDATA[Diane]]></name>
    <location><![CDATA[The United Kingdom]]></location>
    <link><![CDATA[http://www.goodreads.com/user/show/1269392-diane]]></link>
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  <text_reviews_count type="integer">22</text_reviews_count>
  <title>
    <![CDATA[Steering the Craft: Exercises and Discussions on Story Writing for the Lone Navigator or the Mutinous Crew]]>
  </title>
  <image_url>http://photo.goodreads.com/books/1170684453m/68024.jpg</image_url>
  <small_image_url>http://photo.goodreads.com/books/1170684453s/68024.jpg</small_image_url>
  <link>http://www.goodreads.com/book/show/68024.Steering_the_Craft_Exercises_and_Discussions_on_Story_Writing_for_the_Lone_Navigator_or_the_Mutinous_Crew</link>
  <average_rating>4.02</average_rating>
  <ratings_count>192</ratings_count>
  <description>
    <![CDATA[Ursula K. Le Guin's extraordinary writing primer is full of  charm, wit, and opinion. Le Guin likens writing to &quot;steering a  craft,&quot; and as one reads through this volume, one has the sense  of floating down a river, with the waves of Le Guin's words lapping at  one's craft. Le Guin veers sharply from the mainstream of contemporary  writing manuals by challenging their very definition of story. While  it is common to &quot;conflate story with conflict,&quot; Le Guin  writes, she finds that limiting. &quot;Story is change,&quot; she  says. While that change may be the result of conflict, it is just as  likely to evolve from &quot;relating, finding, losing, bearing,  discovering, [or] parting.&quot; Le Guin demonstrates this complexity  with well-hewn excerpts from the works of such writers as Jane Austen, Mark Twain, J.R.R.  Tolkien, Charlotte  Brontë, and especially Virginia  Woolf. The many aspects of fine fiction writing Le Guin addresses  here include the role of the narrative sentence (its &quot;chief  duty [is] to lead to the next sentence--to keep the story  going&quot;); avoiding exposition doldrums (&quot;break up the  information, grind it fine, and make it into bricks to build the story  with&quot;); and the concept of &quot;crowding and leaping.&quot;  While prose should be &quot;crowded with sensations, meanings, and  implications,&quot; don't forget that &quot;what you leave out is  infinitely more than what you leave in.&quot;<p> Accompanying Le  Guin's text is a handful of clever writing exercises, each as enticing  as its name. Among them are &quot;I am García Márquez,&quot; which  requires writing with no punctuation; &quot;Chastity,&quot; which  challenges one to write without adjectives or adverbs; and &quot;A  Terrible Thing to Do,&quot; which proposes taking an earlier exercise  and cutting it--by half. <em>--Jane Steinberg</em></p>]]>
  </description>
  <published>1998</published>
</book>

    <rating>5</rating>
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  <read_at>Tue Sep 23 22:41:19 -0700 2008</read_at>
  <date_added>Sun Aug 17 06:54:04 -0700 2008</date_added>
  <date_updated>Tue Sep 23 22:41:19 -0700 2008</date_updated>
  <read_count></read_count>
    <body><![CDATA[We've had a great holiday doing the exercises from this.  What's fun is that it doesn't tryt o dictate the norms of the story as most guides do.  ]]></body>
    
  <url><![CDATA[http://www.goodreads.com/review/show/30365400]]></url>
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