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Handbuch für alle, die schreiben

Das neue Handbuch für alle, die beruflich schreiben müssen und wollen, erscheint zum neuen Jahr und ich bin mit einem Beitrag dabei.

Das Schreibbuch

Das Schreibbuch ist ein Fachbuch. Von Profis für die Praxis. Mit vielen Tipps, Hinweisen und Beispielen. Für Print-Autoren genauso wie für PR-Leute und Internet-Kreative. Das Schreibbuch ist aber auch kein Fachbuch. Weil die meisten Autoren aus ihrer subjektiven Sicht schreiben und ihre eigene Erfahrung einbringen – indem sie berichten, was ihnen wichtig ist, ohne altbekannte Weisheiten wiederzukäuen ...

Das Schreibbuch
Das Handbuch für alle, die professionell schreiben
von den Herausgebern Dirk Lehmanski & Michael Braun
erscheint im Januar im ISB-Verlag
und ist ab sofort (auch bei Amazon) vorbestellbar

Mehr über das Buch und die Autor/innen auch unter

Mein Beitrag »Texte/-n mit Herzblut« erscheint übrigens demnächst auch häppchenweise hier im Textorin-Blog.

»dieTextorin« | 09. Dezember 2007, 19:12


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THE TITLE , of course, is Kurt Cobain's trenchant revision of that tired old dictum of Descartes, and also a recipe for a certain kind of bliss. We enter this conference from so many directions, some of us astride vectors, that my instinct is to try and finesse a coherence out of it all. I would like to connect everything that has been said before me but alas I can't. I'm a novelist and I'm primarily interested in particulars. I have an appetite for the specific and the concrete. And yet here I am, obviously and easily seduced by abstractions like bliss.

Kauf billig Thomas Sabo | 20. Juli 2010, 12:07

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When Bernard Cache made the little curve on the screen with his color markers, I was delighted, I think by the elegance of his gesture, and yet abstraction seems to be what we were all flying toward on the wings of his particular charms. A series of curves would not have been enough without his larger generalizations which encompass and make coherent the amazing diversity of his gestures. We might have thought he was dumb if he'd just given us the shapes and no theory, and that is interesting to jeans

discount jeans | 20. Juli 2010, 12:07

So I live in a place with big things and I find that these buildings areed hardy clothing dumb. That is, they're mute. They don't say anything to me except maybe a monosyllable like 'mm' or 'um.' They're simply there and nothing else, and there is no back-side to them either. A lot of you have probably been to Seattle and you must have seen the mountain. It's Mt. Rainier but it's called 'the mountain' and I don't know how exactly it links to the built environment I've described (except that I can draw it for you) but I must say it is the most dumbfounding, most mute, biggest bigness I have seen. It hides in the clouds and when it emerges, the guest from NYC in the passenger seat will look and say: 'What is that?'. You can only say 'It's the mountain'. There is nothing else to say. What can you say? And I find these buildings have the same effect on me. It's an effect that I think Rem Koolhaas described well in his 'Bigness', in the 5th of the theorems he said were latent in the book Delirious New York. He wrote 'together all these breaks - with scale, with architectural composition,thomas sabo charms club with tradition - with ethics - imply the final, most radical break: Bigness is no longer part of any tissue. It exists; at most, it co exists. Its subtext is fuck context.'True Religion Jeans

ed hardy clothing | 22. Juli 2010, 09:07


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