A wise and entertaining guide to writing English the proper way by one of the greatest newspaper editors of our time. Harry Evans has edited everything from the urgent files of battlefield reporters to the complex thought processes of Henry Kissinger. He's even been knighted for his services to journalism. In Do I Make Myself Clear?, he brings his indispensable insight to us all in his definite guide to writing well. The right words are oxygen to our ideas, but the digital era, with all of its TTYL, LMK, and WTF, has been cutting off that oxygen flow. The compulsion to be precise has vanished from our culture, and in writing of every kind we see a trend towards more -- more speed and more information but far less clarity. Evans provides practical examples of how editing and rewriting can make for better communication, even in the digital age. Do I Make Myself Clear? is an essential text, and one that will provide every writer an editor at his shoulder.
A vivid and whip-smart memoir from the legendary editor who spent decades leading newspapers in London and New York. In My Paper Chase, Harold Evans recounts the wild and wonderful tale of newspapering life. His story stretches from the 1930s to his service in WWII, through towns big and off the map. He discusses his passion for the crusading style of reportage he championed, his clashes with Rupert Murdoch, and his struggle to use journalism to better the lives of those less fortunate. There's a star-studded cast and a tremendously vivid sense of what once was: the lead type, the smell of the presses, eccentrics throughout, and angry editors screaming over the intercoms. My Paper Chase tells the story of Evans's great loves: newspapers and Tina Brown, the bright, young journalist who became his wife. In an age when newspapers everywhere are under threat, My Paper Chase is not just a glorious recounting of an amazing life, but a nostalgic journey in black and white.
A renowned journalist’s “vivid” account of his battle with Murdoch after the global media baron bought the Times of London (Chicago Tribune). In 1981, Harold Evans was the editor of one of Britain’s most prestigious publications, the Sunday Times, which had thrived under his watch. When Australian publishing baron Rupert Murdoch bought the daily Times of London, he persuaded Evans to become its editor with guarantees of editorial independence. But after a year of broken promises and conflict over the paper’s direction, Evans departed amid an international media firestorm. Evans’s story is a gripping, behind-the-scenes look at Murdoch’s ascension to global media magnate. It is Murdoch laid bare, an intimate account of a man using the power of his media empire for his own ends. Riveting, provocative, and insightful, Good Times, Bad Times is as relevant today as when it was first written. With details on the scandalous deal between Murdoch and Margaret Thatcher, this updated ebook edition includes an extensive new preface by Evans, the New York Times–bestselling author of Do I Make Myself Clear?, discussing the Rupert Murdoch phone-hacking scandal.
From a wartime beach in Wales to the gleaming skyscrapers of twenty-first-century Manhattan, the extraordinary career of Fleet Street legend Harold Evans has spanned five decades of tumultuous social, political and creative change. Just how did a working class Lancashire boy, who failed the eleven-plus, rise to a position where he could so effectively give voice to the unheard? Born in the bleak years between the wars in the sprawl of Greater Manchester into a thrifty, diligent and loving family, Evans inherited only the privilege of his parents' example. Theirs was a work ethic that led Evans through night school classes, national service and a passionate commitment to regional life, and, finally, to his unassailably successful editorship of one of our greatest newspapers, the Sunday Times. Whether unpicking the murderous chaos of Bloody Sunday, pursuing a foreign correspondent's murderers or uncovering the atrocity of Thalidomide, this consummate newsman evokes his contagious passion: for the real story and the truth.
Essential English is an indispensable guide to the use of words as tools of communication. It is written primarily for journalists, yet its lessons are of immense value to all who face the problem of giving information, whether to the general public or within business, professional or social organisations. FULLY REVISED AND UPDATED BY CRAWFORD GILLAN RECOMMENDED BY THE SOCIETY OF EDITORS
An illustrated history of American innovators -- some well known, some unknown, and all fascinating -- by the author of the bestselling The American Century.
Becoming a Pulitzer Prize-winning journalist was nowhere on Harold Jackson's mind when he was growing up in a Birmingham, Alabama, housing project during the 1950s and '60s. In Jackson's words, it wasn't that such a lofty goal seemed impossible for a Black boy in the segregated South (the teachers at his schools never talked about race being an obstacle), but the idea of a writing career seemed impractical to someone whose family sometimes struggled to make ends meet, especially after his father died. Jackson's memoir, Under the Sun: A Black Journalist's Journey, is an account of how he achieved this remarkable feat, spanning from his early upbringing all the way to his life in recent years. His career began in high school, when he was introduced to journalism by his freshman English teacher, who recruited him for the student newspaper staff and later successfully nominated him to become the first Black student in the University of Alabama's summer journalism workshop for high schoolers. During this time, Jackson recalls the moment he realized that being a writer didn't necessarily mean trying to become the next Langston Hughes or James Baldwin but a writer who possessed his own unique voice. This occurred in 1968, just five years after George Wallace symbolically stood in the schoolhouse door in a vain attempt to keep the university and all public schools in Alabama segregated. What Jackson learned during that week on the Alabama campus led to his incredible 45-year career as a newspaper writer and editor. However, Jackson also emphasizes that these events allowed him to not just see white people when he passed them on a sidewalk but actually talk to them, work with them, and at least believe that some of them could become his friends. But, unfortunately, that never happened for him at the University of Alabama. As Jackson emphasizes, "it was too early" for things like that to take place in the segregated South. It would take years for Jackson to learn how to maneuver past racial prejudice and other biases that prevent friendships and hinder a person's career. As he describes it, being a newspaper reporter taught him ways to get people to see past his Blackness when he needed them to answer interview questions. Over the years, these skills and insights brought him great success while at the Birmingham Post-Herald, United Press International, the Philadelphia Inquirer, the Birmingham News, and the Baltimore Sun. These situations also helped him better understand what W.E.B. DuBois meant when he said 150 years ago that Black people live double lives, behaving one way among themselves and another way among white people; they do so to be accepted, to be successful, to be loved, to be heard by the rest of society. And Jackson says that that's one of the things he loved most about being a journalist-being able to speak to "just plain folks" who wanted somebody-anybody-to listen to what they had to say"--
This is America's story as it has never been told before, with award-winning editor and journalist Harold Evans documenting and celebrating the last hundred years with more than 900 original photographs, cartoons and illustrations.
A meditation on dying by a writer who has been compared to Proust, was much praised by Salman Rushdie and is perhaps most famous for producing very little. Harold Brodkey died of AIDS in January 1996. His last written words, produced hours before his own extinction, appeared in the New Yorker magazine the week of his death. This book is the author's terrifying and intimate account of his journey into darkness. Born in 1930 in Illinois, Brodkey's mother died when he was two, after which he became withdrawn and mute for over two years. He emerged from his silent cocoon as a prodigy, however, and both his parents and his trauma figure largely in his writing. He went to Harvard, and moved to New York in 1953, publishing his first collection of short stories in 1957. Despite publishing very little for the next 31 years, Brodkey developed one of the most extraordinary reputations in modern letters, and has been compared by serious critics to Milton, Wordsworth, Freud and Proust.
Praised by Caleb Carr for his "brilliantly detailed and above all riveting" true-crime writing, Harold Schechter brings his expertise to a marvelous work of fiction. Superbly rendering the 1830s Baltimore of Edgar Allan Poe, Schechter taps into the dark genius of that legendary author -- and follows a labyrinthine path into the heart of a most heinous crime. Nevermore A literary critic known for his scathing pen, Edgar Allan Poe is a young struggling writer, plagued by dreadful ruminations and horrific visions. Suddenly he is plunged into an adventure beyond his wildest fantasies -- a quest for a killer through Baltimore's highest and lowest streets and byways. A string of ghastly murders is linked by one chilling clue -- a cryptic word scrawled in blood. It is a terrifying lure that ensnares Poe in a deadly investigation. And along the way, his own macabre literary imagination is sparked as he unveils dark realities stranger than any fiction...
Here is the comprehensive guide to writing, publishing, and selling for the ever-expanding and always exciting children’s market—now in a new and updated third edition. • Includes new chapters on self-publishing and on "how to choose a how-to," plus revision and updates throughout • Offers practical advice on getting started--and on dealing with out-of-print books • Covers picture books, chapter books, nonfiction, middle-grade and young novels, and common formats and genres • Reveals what happens inside a children's publishing company, and provides guidance in working with an editor • Sample cover and query letters, manuscript format, glossary, and recommended resources in an extensive appendix • Plus information on agents, contracts, copyright, marketing, and more “Honest and precise… everything about writing for children there is to know.” —Jane Yolen, author
The legend of Harold Sterns, the Last of the Bohemians, begins in 1912 when he runs naked through Harvard Yard, a twenty year-old man acting on impulse and looking like Shelley. At thirty-two he had left the United States, disgusted with the sordid red-baiting and prohibition snooping of the early twenties, disgusted also perhaps with himself, vowing never to return to a country so inhospitable to civilization. Harold Stearns symbolized the bitter emptiness, the bewildered desperation of the generation that had survived a war only to face a world bent on forgetting its political sins in lust and liquor, or whatever anodyne the moment might bring. Those strange futile years have been immortalized in the fiction of Hemingway and Fitzgerald; but here, in Stearn’s narrative, they make their way into biography. No one has written more soberly about that drunken state of mind; no one has been more continent in describing these excesses; no one has romanticized less about the absurd romantic attitudes of the literary Bohemia. Stearns recreates for us a world that is already as remote and fantastic as a lost continent that has sunk beneath the sea. The legend is completed by Stearn’s return to America and his telling of this tale.
Fiction. Poetry. In NOT BLESSED, a story is told not once, but twenty-eight times in twenty-eight shifting versions. Here, a story acts as a chosen narrative constraint, a constraint which, once chosen, becomes a compulsion within the text, a landing point the narrator must reach again and again. NOT BLESSED: a brilliant twist of a tale, where narrative is spun like politics in the nightly news, deployed in a language that delights and distorts as it winds toward the trauma of non-truth and multiple non-originals. NOT BLESSED asks: what is the what that makes who?
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