Thou Shalt:
Ten Commandments of Good Writing
By Charles Euchner
Creator The Writing Code

Copyright © 2011. All Rights Reserved. For reprint rights, contact Also visit



then. readers need ideas in small packets. need to get ideas in simple. So now everyone needs to learn at least the basics of writing. share. we need to return to our roots as a species. we easily master more abstract skills of writing. We can use insights from this research to connect with manage our own writing process and connect better with the reader. you get lost in the sea of data. The average corporate professional sends and receives more than 200 email messages a day. it’s how we make sense of the world.  Everywhere: Information is essentially free and instant—therefore has no special value. overwhelmed by the information glut. has the same basic format as construction (building great sentences and paragraphs. finding the right context). To thrive in the Information Age. We evolved as a storytelling species. break it down into simple pieces. High school graduates in 2000 were exposed to more information in a year than their grandparents encountered in their entire lifetimes. interpretation. Storytelling. in fact. we need to move “back to the future” to understand what the latest research on neuroscience tells us about communication and creativity. How to respond? Go back to the future—and forward again. style and editing) and analysis (asking powerful questions. grammar and punctuation. In fact. the conscious brain cannot handle more than two or three tasks at a time. They need to see connections between those ideas … to visualize and experience action … and to experience even abstract ideas dramatically. Storytelling isn’t so hard. ideas have to stand out—in timing. Whether it’s analysis of stock offerings or a story of redemption. But if we move back to our primeval past to understand storytelling. no matter what you write. But modern writers spend less and less time with stories and visuals—and more time on data and abstract ideas. assessing variables. and then use them right away. Return to the Past . and consume ideas. or uniqueness. and Back to the Future To begin. one after another.  Impact: To matter. By learning storytelling. . So: Writing matters. Readers. The implications of this explosion are threefold:  Everyone: More people write and read more stuff than ever before. . people in all fields need to write sparkling prose. So much of the answer. digestible formats. all day long—pales in its power next to the unconscious. Brain research shows our conscious brains—what we use to perform tasks. lies in the ancient arts of storytelling. Otherwise.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING The Writing Revolution A daily New York Times contains more information than the average seventeenthcentury person would encounter in a lifetime. Most people can learn a couple dozen basic skills in a day. gems of insight get lost because of flat writing—and overly laborious processes of writing and editing. Too often. That does not mean writers should pander to 3 . Research on the brain shows how people create. So.

it still requires teaching. These skills enable writers to manage the ever-shifting demands of the craft without getting overwhelmed—and with a clear sense of the audience and vehicles for conveying ideas. show “the world of the story. whatever—we tell stories about the qualities of things. 4 . Consider one example: Start strong. Make sure. You would be amazed how much this simple “trick of the trade” improves your writing. the arts. necessary but mundane details — in the middle. physical. to close strongly. politics. we have a template for learning all the technical skills of writing—building great sentences and paragraphs. sports. that we should follow the wisdom of Albert Einstein: “Make everything as simple as possible. and editing. When you learn the skills of narrative. Construction: After mastering storytelling. The Writing Code teaches you everything you need to know about storytelling — how to develop powerful characters. Once you can build a good story.” develop conflict. article or report or book — make sure you start with something important and memorable. With our story-based approach. getting grammar right. events. anyone can learn to write well.” To connect with the reader. also. each one simple and intuitive. Storytelling: Stories offer the most concrete. The Writing Code’s storytelling skills offer a template for other writing challenges. Analysis is really just a more abstract form of storytelling. you can learn other skills easily. And then pack all the less exciting stuff — attributions. The Writing Code operates on a three-part system. As analysts—of business. we move into the abstract world of analysis. we describe how larger categories of things. The same tricks you learn as a storyteller make it easy to master these techniques. But we have lots more to offer you. show change over the “narrative arc. to leave a lasting impression with the reader. science. It means. Part 1 is storytelling. sensual aspect of writing. But if storytelling is natural. Rather than describing particular things. are not just useful for professional writers. Any organization can create a new culture of writing that transforms the way people explore and explain ideas. Analysis: Finally. you dramatically expand your capacity in all fields.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING the lowest common denominator. For every level of writing — the sentence. tangible. write fast. Everyone loves stories. using the right words. rather. too. writers need to master ninety-six skills. individual identity and group action. It doesn’t mean we should be simplistic. imagination and creation. it turns out. section or chapter. We love hearing and telling them. Stories give meaning to life. Part 3 is analysis. Storytelling offers real value for business strategy. finish strong. giving your writing style. paragraph. Part 2 is construction. right away. and outcomes. From Storytelling to Construction to Analysis By embracing our innate powers as storytellers and using the insights of modern science.” These skills. but not simpler. from top to bottom. we make it easy for you to master all the skills of writing. They make everything else possible—memory and history.

Rather than exploring Tom Brady’s powerful right arm.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING events. Because the Writing Code begins by creating a strong foundation. 5 . or even broader categories of leadership. Rather than exploring Jack Welch’s management of General Electric. you learn the many skills you need for the three-step move from storytelling to technique to analysis. it teaches faster—and more completely—than any other writing system. and outcomes. for example. we talk about the characteristics of corporate leaders in times of crisis . . Or we might explore whole categories of quarterbacks or football players or athletes. . Take another example. we might talk about the biomechanics of movement. Under The Writing Code.

From 30. Present these characters in all their complexity—avoid cardboard heroes and villains—and show how they deal with conflict and adversity. Science has made all kinds of wondrous things—cities and skyscrapers. Others—including chimps.. But as far as we know. medical miracles and 6 . wondering and deciding. 2. We live in the Age of Science.000 years ago. Put those characters on a journey. It happened around the time that the size of clans expanded and those clans began to wander longer distances and then come home again. move us emotionally and intellectually. Nothing excites our brains more than images of our own kind. discussed the weather (“So hot!”). hear. Sitting by fires or in caves.” Start with characters. find shelter. so find or create characters with strong qualities. Find the Story in Everything You Write. They warned each other of predators (“Bear in woods!”). Man is a storytelling creature. our ancestors told tales that helped them understand the day-to-day perils and potential of life. arguing and negotiating. We’re a narcissistic species. Stories take us away from the here and now. chimps. angled for advantage with potential mates (“Hubba. whales. holding and helping. cars and rockets. 1. the power to tell. parks. hubba”). and remember stories separates humans from other species. We evolved to tell stories. machines from digital pens to and the energy to fuel them. find the details about your settings that help explain the characters and action. “If you can’t order things in a narrative fashion.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING The Ten Commandments of Writing Here are just ten of the skills you can master—or remind yourself—to improve tyour writing and editing right now. dolphins. camps. churches. prisons.000 to 100. cars. and parking lots—will set the parameters for your characters and stories. Show how they interact with different people and situations.. out great ancestors began telling stories. and elephants—use tools. Emphasize the word show. Make sure you know the characters’ deepest desires. only humans tell stories. guessing and calculating.” the novelist Jonathan Franzen once remarked. “We experience our lives in narrative form. Some species—like apes. Put these scenes in a setting that helps tell the story. Give the Reader Action and Emotion. reproduce. and birds—use language. To really bring your story to life. Other species eat. Put them into action. How you depict places—homes. your life is a chaotic bowl of mush. Show them fretting and fighting. offices. and make things.”) More than anything else. schools. streets. and taught their young with stories (“In my day . birds. by streams or in mountains. and help us understand and organize our lives.

What about emotion? Do stories really need emotion? Absolutely.” So finally I would write one true 7 . Write the truest sentence you know. touches. my nod doesn’t change anything. Somehow. “Do not worry. childhood. rules and laws. What do I mean by action? It could be anything from a wink or nod to a riot. Emotions don’t just help people stay engaged. he struggles to get just the right words to express a thought. you see. hopes. But . and changes in the environment. It’s not meaningful. to explain complex ideas—you need to show action and tap into emotions. All you have to do is write one true sentence. Animals—including the human animal—are programmed to respond to movement. His answer: I write one true sentence. Action arouses our attention. to count as action. quite simply. smells. Your job as a writer. So. is to attract and keep people’s attention. They also help people to understand. That nod constitutes action if it changes my story. my emotions help me to organize my ideas. If I feel emotional when I visit my old primary school. So what makes someone’s wink or nod “action”? And does that mean everything that moves. To really connect with readers—to get and keep their attention. The intellectual development of many autistics. sounds. However long it takes. If our story focuses on the speaker. it’s not. you don’t need a lot of explosions or chase scenes to show action. something has to change. Always. Those advances come from a vast accumulation of data. He thinks about who or what he’s writing about—the subject. I nod. successes. and analyses. microexpressions are small and often last for just fractions of a second. failures. So show action. Suppose I sit in a crowded theater and nod when a speaker says something. action. . Emotion compresses ideas. Which is great. A psychologist named John Gottman can assess the likelihood of marital bliss in couples by watching their microexpressions for five minutes. . brain researchers have found that rational thought is not possible without emotion. And he considers who or what this action is acting upon—the object. He asks himself what they’re doing—the action. and more. is action? Action must matter. fears. In fact. it’s because that image distills all kinds of ideas—about my family. But suppose the story focuses on me and my struggle to understand an idea. friends. equations. When I need to understand something about education. losses. You have always written before and you will write now. 3. It’s all very abstract. A scientist named Paul Eckman has developed a whole system to interpreting people’s “microexpressions. gets stuck when they cannot develop or express feelings. Write Great Sentences. therefore. When I hear the speaker’s words.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING yottabytes of data. Someone once asked Ernest Hemingway what he does when he gets writer’s block.” As the name suggests. great and small. Hemingway said. to take one example. Here’s how Hemingway’s character explains the process in his A Moveable Feast: I would stand and look out over the roofs of Paris and think.

THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING sentence. then a verb . . But first. Too many writing teachers fail to teach their students how to write good sentences. . So even professional writers write horrible. write simple and “true” sentences. over and over. then an object. No more writer’s block. So go back. If you don’t. Once you write “one true sentence. Put one thing in every bucket. then pages. develop every idea—complete every paragraph. Deliver Only One Idea Per Paragraph. . and then go on from there. I found that I could cut the scrollwork or ornament out and throw it away and start with the first true simple declarative sentence I had written. Sometimes you discover ideas that you didn’t even know you had. then another . As you consciously write about a topic. you will become a good writer. Every time you write. Don’t ever develop more than one thought in a paragraph. . And the amazing creativity of writers can make for some awful paragraphs. or like someone introduci ng or presenting something.” State and develop one idea in every paragraph. as we see in Commandment 3—then the paragraph is the second most important unit. As it says on the shampoo bottle: Rinse.” it’s easier to write another sentence . then another. the subconscious feeds all kinds of surprising ideas. . you will never develop the first idea—the one you intended to discuss in the first place. The great thing about writing is that it’s a creative process. Whenever you see two or more ideas in a paragraph. They get so caught up with the five-paragraph structure and “compare and contrast” and quotations that they don’t explain how to build a great sentence. vague. meandering. When you write. as they occur to you. But if you express every idea. So how do you write one true sentence? I just told you. break up the paragraph into as many pieces. inexact. It was easy then because there was always one true sentence that I knew or had seen or had heard someone say. Nothing matters unless you write great sentences. Let me explain. You’ll notice that you never developed the ideas you stated. Before long. forget it. one idea sparks another . . Focus on writing simple. . label every idea—in bold face type or with marginal notes. You can write some elaborate sentences. If the sentence is the most important unit of writing—and it is. . and get to work on the next idea of the next paragraph. too. 8 . then another . sturdy sentences. That’s also the difficult thing about writing. repeat. and boring sentences. Then you can do anything as a writer. Then end the paragraph. 4. So your paragraphs become collections of undeveloped ideas. you’re writing paragraphs. I like to think of paragraphs as “idea buckets. If you can write great sentences. If I started to write elaborately. You discover ideas as you write. . . then another. Write a subject . . .

To create color and movement. Some sixty kilograms of it were in the bomb. 9 . students.” So they use big words to convey the vastness of their vocabularies. You should write to convey ideas. when guided through a sequence of simple pieces. You can open any McPhee work and pick a random paragraph to see just how well ordinary words work. not simplistic. you have no choice but to use complex words. When you describe complex ideas—the M-C-M sequence in market exchange. You could hold some in your lap for a month and not suffer any effects. The world. the controversies surrounding global warming. That doesn’t mean using a steady parade of monosyllabic words. op-ed writers all have egos.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING 5. sixty kilograms would be slightly less than six inches on a side. As a cube. Sixty kilograms. it is poisonous if you eat enough of it. almost never uses a word fancier than he needs. Like any heavy metal. depending on what surrounds it. The mortal enemy of good writing is pretension. The uranium was in metallic form. the sequence of actions to program software. after all. So use a long word if it’s the best word. a hundred and thirty-two pounds. Sometimes. Use simple words to prevent misunderstandings. he also uses ordinary words. Its critical mass—the point at which it will start a chain reaction until a great deal of energy has been released— varies widely. Most readers. But remember this: You should never write to show off your vocabulary. They want to sound “smart. but not intensely so. politicians. To explain a complex concept. can understand those complex wholes. is a complex place. of uranium would be about the size of a football. In order to facilitate the cognitive process and to eradicate any potentiality of miscommunication. CEOs. the process of fission—break them down into manageable chunks. his book about the dangers of nuclear proliferation. You want to be simple. it is imperative that each and every writer employ solely the most efficacious and uncompounded locutions in each and every one of his or her compositions. Break Down Complex Ideas. Every complex thing really consists of many simple things. U-235 is radioactive. simplest word to convey ideas. Use Simple Words. for the metal is compact—almost twice as dense as lead. perhaps the greatest nonfiction writer of our time. Teachers. I did just that with The Curve of Binding Energy. whether they’re short or long. The material that destroyed Hiroshima was uranium-235. Period. You need to find the word that bests expresses your ideas. Always look for the smallest. he uses ordinary words precisely. 6. But always err on the side of short words. John McPhee. the lighting and shutter speed of a camera. Got it? No? Let’s try again.

I introduced Bouton to my charges and asked: What’s the best way to develop the best pitching motion? “Long tossing.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING On and on McPhee goes. his style shifted from breaking the rules to honoring the game. When you do all the little things right. Long tossing is just what it sounds like—throwing the baseball over long distances. Which is fine. Most people long-toss the same way. And so it goes with writing. and longer passages. an expose of the outrageous and puerile exploits of big-leaguers. You have to lean back and then rock forward. Mostly. You develop tendencies—toward shorter or longer sentences. make it possible to explain even the most complex ideas. as much as 200 or 250 feet. Jim Bouton rocked organized baseball in 1970 when he published Ball Four. Develop Style By Mastering the Basics. To throw long. But it’s also brisk. though. I noted the maneuvers of these writers and occasionally copied them. and pushed myself to understand some philosophy. Over his life. presented one at a time in the right sequence. Players spend no time strutting or preening. more or less use of quotations and statistics and other forms of explaining. you will discover that your truest style comes from the voice you find mastering the simple tricks and maneuvers of language. At that game. Years ago took a couple of teenagers to a vintage baseball game. describing the most complex topics with simple little words. six inches—you are piotching with your natural style. After tossing from the longest distances. As you master the basics. When I was first writing for publication—in a small weekly newspaper on Long Island—I idolized Red Smith. 10 . But long tossing offers nothing fancy. or critical mass—but he always gives us a simple explanation. slinging your arm forward like a slow-moving whip. The game is slow and ordered by manners that would please Amy Vanderbilt. formal or vernacular speech. but to spread them out like wedding guests in a receiving line. But as he aged. Occasionally he must introduce a technical idea-like U-235. a columnist for The New York Times. greater or lesser use of commas and semicolons. Vintage baseball offers an antidote to the modern game. I also admired Hemingway and Fitzgerald. you move closer and closer to your partner. Simple words and sentences. He understands that the best way to explain something is not to pile on ideas like men in a rugby scrum. read biographies. your style slowly emerges. with just small variations for their size and strength.” he said. 7. you can’t worry about what you look like. paragraphs. Patience allows McPhee to get small words to do big jobs. They come to play. Style in writing comes only after the long tossing of building great sentences. Bouton embraced the game’s traditions. When you get to the standard pitching distance—60 feet. I met the man whose life has embraced both rebellion and nostalgia. pay attention to the maneuvers of different stylists.

Either delete it or use it in another paragraph. rather than trying to catch them all at once. avoid “to be” and “to have. Your brain is the most powerful—and the laziest—part of your body. and feel what’s happening? Do you limit your use of adjectives and adverbs? 6. Do you use specific words. Step by step. The subconscious part of the brain holds a vast storehouse of ideas. Instead.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING 8. a linguist who also served as a college president and a U. 7. Think of Analysis as a Form of Storytelling. Your brain will crash and burn. Therefore. take it out. If you just focus on one issue at a time.” You need to track down these errors. Senator. At the higher rungs of the ladder. But the conscious can only handle one or two or. places. Here’s a trick for that: Look for prepositional phrases. So what? Here’s what: Every modifier takes you a step away from the action—and adds to the length of the sentence. 11 . we see lots of detailed information-specific people.I. 3. Edit Using the ‘Hide and Seek’ Method. used the image of a ladder to explain the range of ideas that people need to use. question. and results. feelings. so the reader can see. warn of uncertain conditions with question marks and exclamation points. 1. at most. And you won’t get pooped before finishing the job. Hayakawa. get all the punctuation right. Punctuation: Finally. only three things at a time. one by one. Don’t try to fix everything. If you have more than one idea in a paragraph. I have seen sentences with a dozen or more prepositional phrases. look ahead with colons. S. merge with semicolons. which modify nouns. and mind. One idea per paragraph: Then check your paragraphs. Action: Then make sure you use action verbs. I call it “Hide and Seek. or image that propels the reader to the next sentence. 9. Stop with periods. 4. attack the problems in your piece.” 5. actions. and automatic systems.S. Think of punctuation as a form of traffic control. impulses. Make sure every paragraph states and develops just one idea. Label the ideas as you go. look for the common problems of writing. 2. pause with commas. when you look for problems—in anything. your brain will veer in on mistakes like a heat-seeking missile. Words: Now look at your other words. Finish strong: Then see if you end every sentence with a bang—some kind of point. with a clear statement of who does what. The conscious part of the brain manages deliberate decisionmaking. one by one. sentence by sentence. At the low rungs. hear. Modifiers: Look for sentences that seem to go on forever. we see abstract ideas—concepts like war. fairness. justice. not just drafts of writing—one at a time. Start strong: Start by checking if you start every sentence strongly.

get particulory*. I’ve saved the best for last. Don’t get vague or obscure. . but young people everywhere and all times. Lots of writers write for themselves. Not just Dorothy. serve others. Your reader is someone like you—intelligent. They are busy and distracted. Get it? When you tell a story. of course. they dream of going someplace else. open to ideas—but simply has not done the work needed to understand your topic. in generalities—at the higher runs of the ladder. Stories talk about particular people doing particular things in particular places at particular times. with particular results. Don’t show off. I like to thing of it this way. But here’s how to think about it. So who is your audience? That depends. 10. Speak plainly to your readers. Serve Your Audience. Don’t go on and on. but all adults. They discuss issues. Analysis talks in categories. for their own amusement. alert. Not just Auntie Em and Uncle Henry and Miss Gulch. when you analyze. All writing is about storytelling. They need to know what you have to tell them. Not just over the rainbow. generalize. and arrange their words. It’s just that some stories are on the lower rungs of the ladder—and others are at the higher rungs of the ladder. Rather than talking about specifics. * I know.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING He called the “the ladder of abstraction. particulory isn’t even a word. Then a tornado came along and .” And he explained that good communication requires climbing up and down the ladder. . Say something worthwhile. Your ideas and words matter only if you connect with the audience. But they will get frustrated and leave—or just miss your point—if you don’t deliver your ideas clearly and simply. to talk at the appropriate level of specificity or generality. But . I suppose. When adults ignore or scold them. To become a real writer. analysis gathers up whole batches of information to talk about how things tend to happen. 12 . So: Young people need to belong and feel special. but any kind of place far from the pains of growing up. That’s OK. Don’t confuse matters. Now think of Dorothy as just one of countless children. But I thought it would make a good mnemonic device. . So: Dorothy pined for a place “over the rainbow” after being shooed away by her aunt and uncle and attacked by an angry woman named Miss Gulch. caring. in a way the reader will understand and appreciate. .

Danger Zones. with Steve McGovern). Florida. and Yale University. and video and other images to “animate” and “choreograph” the process of writing. St. Based on the latest research in learning. Euchner’s latest work is Nobody Turn Me Around: A People’s History of the 1963 March on Washington (Beacon Press. Euchner has years of experience in urban and regional policy and planning. write to Euchner at charlie@thewritingcodesystem. schools. 13 . Charles Euchner has a long career as a writer and teacher. Visit www. and analysis—to teach all the skills needed to become a proficient writer. the College of the Holy Cross. Euchner also coordinated a neighborhood planning process in Fort Lauderdale. the politics of sports and cities (Playing the Field). urban policy (Urban Policy Reconsidered. He also served as the coordinator of the City of Boston’s longterm planning process. The Writing Code uses a three-step process – storytelling. The author or editor of nine books. A former journalist—he started his career writing for Education Week—he later taught for the University of Pennsylvania. To learn offers seminars for businesses. He also ghosted Ambassador John Gunther Dean’s memoir.thewritingcodesystem. He was the founding executive director of the Rappaport Institute for Greater Boston at Harvard University. Northeastern University.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING About The Writing Code The Writing Code. The Writing Code mixes public speaking. In the summer of 2011. and presidential elections (Selecting the President). Mary’s College of Maryland. Big Dreams). and other organizations to transform writing. developed by author Charles Euchner. regional issues (the Governing Greater Boston series). 2010). the State University of New York at Purchase. Euchner will offer weeklong camps for high school students seeking to transform their writing with the playful process of The Writing Code. He has also written books about baseball (The Last Nine Innings and Little League. construction. political and social movements (Extraordinary Politics). student or call (203) 645-6112.

Vanderbilt University 14 . author of The Superpower Myth A great way to get everybody from students to practicing professionals excited about the skills. Listening to Charlie extemporaneously engage a group is an exhibition of a brilliant and nimble mind at work. reports — much easier. Northeastern University The genius of a Charlie Euchner presentation is in the simple eloquence with which he delivers a bounty of usable information and advice. with just the right blend of rigor. —Chris Carroll. Gen Re. solid prose . Vice President. One day in a classroom with Charlie Euchner will save you months of frustration and make writing anything — books. hearing Charlie will move you to once again reengage in that art. and educators day about The Writing Code and Charles Euchner: Charlie Euchner is the first person I turn to — not just because he’s so terrific at what he does. Take advantage of the opportunity to work with Charlie—it is a good investment of your time and money. with all the skills you need to become a strong writer. “You’re an inspiration! I loved learning how to make connections to the human experience. and work habits that go into the composition of clear. editors. —Alex Heard Editorial Director of Outside magazine and author of The Eyes of Willie McGee If you once loved writing. School of Public Policy & Urban Affairs. Learning and Development. education. Director of Student Media. you will learn some great tips how to draw readers in and leave them wanting more. Sports writer. but also because his enthusiasm and energy for the writing process are without peer.” “Great job!” one seminar participant said. articles. The New York Daily News. —Former Ambassador Nancy E. He connects with people using a conversational style loaded with ideas borne from his years of application and research. it works. and fun.” Here is how published authors. a Berkshire Hathaway Company Charlie is one of those unique individuals who understands how the world works and can communicate it better than nearly anyone I know. He has now codified his wisdom in The Writing Code. encouragement. Trust me. He is as accessible as an old friend. Soderberg. Dean. and publishing—rave about the power of The Writing Code to transform writing in as little as one day. —Wayne Coffey. . If you write marketing material for your business. author of The Boys of Winter (New York Times bestseller) Charles Euchner is the rare talent who can both write and teach. One teacher writes: “Thank you for spreading such clear and helpful insights “ Another writes: “I liked how he showed how EASY all these skills are. journalism.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING Praise for The Writing Code People in all fields—business. . knowledge. —Barry Bluestone. —Ann Marie Sidman.” Another seminar participant calls Euchner “the Aristotle of writing.

Speaking without notes.THOU SHALT: TEN COMMANDMENTS OF GOOD WRITING Charlie Euchner is as entertaining as he is informative. —Harris Stone. I recommend Charlie as a workshop leader who makes a difference. At ease with his audience. The Writing Studio. Vanderbilt University Charlie's passion touches every listener and motivates individual transformation in an instant. he connects with an audience in just a few moments. Chancellor. —Gary Alan Jaeger. weaving together insightful advice and compelling stories. he instills optimism in the hearts of aspiring writers with simple and practical strategies. The Graduate Institute 15 .

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