(Neil Gaiman)Drawn from Gaiman's trove of published speeches, poems and creative manifestos, 'ART MATTERS' is an embodiment of this remarkable multimedia artist's vision - an exploration of how reading, imagining, and creating can transform the world and our lives. 'ART MATTERS' brings together four of Gaiman's most beloved writings on creativity and artistry:❖1❖"CREDO", his remarkably concise and relevant manifesto on free expression, first delivered in the wake of the Charlie Hebdo shootings❖2❖"MAKE GOOD ART", his famous 2012 commencement address delivered at the Philadelphia University of the Arts❖3❖"MAKING A CHAIR", a poem about the joys of creating something, even when the words won't come❖4❖"ON LIBRARIES", an impassioned argument for libraries that illuminates their importance to our future and celebrates how they foster readers and daydreamers.'ART MATTERS' is a stirring testament to the freedom of ideas that inspire us to make art in the face of adversity and dares us to choose to be bold.RUNNING TIME ⇰ 49mins.©2018 Neil Gaiman (P)2018 HarperCollins Publishers

    There's not a writer alive, novice or master, who will not benefit from this book and fall in love with it. Cover to cover, this wise little book is riveting and delightful. Readers will turn to The Mindful Writer again and again as a source inspiration, guidance, and support.

    Le Guin:"I read her nonstop growing up and read her still. What makes her so extraordinary for me is that her commitment to the consequences of our actions, of our all too human frailties, is unflinching and almost without precedent for a writer of such human optimism."—Junot Diaz"A lot of her work is about telling stories, and what it means to tell stories, and what stories look like. She's been extremely influential on me in that area of what I, as a beginning writer, thought a story must look like, and the much more expan-sive view I have now of what a story can be and can do."—Karen Joy Fowler"She was and remains a central figure for me."—Michael ChabonUrsula K. Le Guin is one of our foremost public literary intellectuals and this collection of her recent talks, essays, introductions, and book reviews is the best manual we have for traveling the worlds explored in recent fiction; the most useful guide to the country we're visiting, life.Ursula K. Le Guin was born in Berkeley, California, in 1929. Among her honors are the National Book Foundation's Medal for Distinguished Contribution to American Letters, a National Book Award, the Hugo, Nebula, and Kafka awards, a Pushcart Prize, and the Harold D. Vursell Me-morial Award from the American Academy of Arts and Letters. She lives in Portland, Ore-gon.

    Trouble is, plot is where most writers fall down--but you don't have to be one of them. With this book, you'll learn how to create stories that build suspense, reveal character, and engage readers--one scene at a time.Celebrated writing teacher and author Martha Alderson has devised a plotting system that's as innovative as it is easy to implement. With her foolproof blueprint, you'll learn to devise a successful storyline for any genre. She shows how to:Use the power of the Universal StoryCreate plot lines and subplots that work togetherEffectively use a scene tracker for maximum impactInsert energetic markers at the right points in your storyShow character transformation at the book's climaxThis is the ultimate guide for you to write page-turners that sell!

    What's the point? There's so much else to read. With these essays, Lizzie Skurnick has answered those questions. It's as if a kindly psychiatrist suddenly appeared with a sheaf of missing brain scans. Does the mere mention of a mink-trimmed coat make you secretly swoon, even though you are rabidly anti-fur? You have 'A Little Princess' complex. Do you long to cover your enemies with leeches? You're having a 'Little House' flashback... So stretch out on Dr. Lizzie's couch and find out why you think it would be kind of cozy to be locked up in an attic with your brother. Or learn to dissect the subtle class consciousness of Judy Blume's New Jersey. Ponder the way that Lois Duncan's characters come into unexpected powers, natural and supernatural alike, as they enter adolesence. And most of all, enjoy.

    At 26, she's still serving coffee at The Beanery Coffee House, while her friends are getting married, having babies, and having real careers. Even Olivia, Maggie's best friend from childhood, is getting married to the doctor with whom she lives. Maggie's roommate? Her dog Solo (his name says it all). The man in Maggie's life? Well there isn't one, except the guy she has a crush on, Domenic, who works with her at the coffee shop as a bus boy.

    It is the road on which nearly everyone who wants to write—and many of the people who do write—get lost.”So writes Ann Patchett in "The Getaway Car", a wry, wisdom-packed memoir of her life as a writer. Here, for the first time, one of America’s most celebrated authors ("State of Wonder", "Bel Canto", "Truth and Beauty"), talks at length about her literary career—the highs and the lows—and shares advice on the craft and art of writing. In this fascinating look at the development of a novelist, we meet Patchett’s mentors (Allan Gurganas, Grace Paley, Russell Banks), see where she made wrong turns (poetry), and learn how she gets the pages written (an unromantic process of pure hard work). Woven through engaging anecdotes from Patchett’s life are lessons about writing that offer an inside peek into the storytelling process and provide a blueprint for anyone wanting to give writing a serious try. The bestselling author gives pointers on everything from finding ideas to constructing a plot to combating writer’s block. More than that, she conveys the joys and rewards of a life spent reading and writing.

    And the secret phrase is this:NOBODY WANTS TO READ YOUR SH*T. Recognizing this painful truth is the first step in the writer's transformation from amateur to professional. From Chapter Four: “When you understand that nobody wants to read your shit, you develop empathy. You acquire the skill that is indispensable to all artists and entrepreneurs—the ability to switch back and forth in your imagination from your own point of view as writer/painter/seller to the point of view of your reader/gallery-goer/customer. You learn to ask yourself with ev­ery sentence and every phrase: Is this interesting? Is it fun or challenging or inventive? Am I giving the reader enough? Is she bored? Is she following where I want to lead her?"

    Despite this, little has been written to help authors hone their craft to truly connect with this audience. Writing Great Books for Young Adults gives writers the advice they need to tap this incredible market. Topics covered include: Listening to the voices of youthMeeting your young protagonist Developing a writing styleConstructing plotsTrying on points of view Agent Regina Brooks has developed award-winning authors across the YA genre, including a Coretta Scott King winner. She attends more than 20 conferences each year, meeting with authors and teaching.

    From the trilogy's darker themes of violence and social control to fashion and weaponry, the collection's exploration of the Hunger Games reveals exactly how rich, and how perilous, protagonist Katniss' world really is.• How does the way the Games affect the brain explain Haymitch's drinking, Annie's distraction, and Wiress' speech problems?• What does the rebellion have in common with the War on Terror?• Why isn't the answer to "Peeta or Gale?" as interesting as the question itself?• What should Panem have learned from the fates of other hedonistic societies throughout history and what can we?The Girl Who Was On Fire covers all three books in the Hunger Games trilogy.

    Join Broody McHottiepants as he attempts to pen Brooding YA Hero: Becoming a Main Character (Almost) as Awesome as Me, a "self-help" guide (with activities--you always need activities) that lovingly pokes fun at the YA tropes that we roll our eyes at, but secretly love. As his nefarious ex, Blondie DeMeani, attempts to thwart him at every turn, Broody overcomes to detail, among other topics, how to choose your genre, how to keep your love interest engaged (while maintaining lead character status), his secret formula for guaranteed love triangle success, and how to make sure you secure that sequel, all while keeping his hair perfectly coiffed and never breaking a sweat.

    Now, in his first book of nonfiction, Percy challenges the notion that literary and genre fiction are somehow mutually exclusive. The title essay is an ode to the kinds of books that make many readers fall in love with fiction: science fiction, fantasy, mysteries, horror, from J.R.R. Tolkien to Anne Rice, Ursula K. Le Guin to Stephen King. Percy's own academic experience banished many of these writers in the name of what is "literary" and what is "genre." Then he discovered Michael Chabon, Aimee Bender, Cormac McCarthy, Margaret Atwood, and others who employ techniques of genre fiction while remaining literary writers. In fifteen essays on the craft of fiction, Percy looks to disparate sources such as Jaws, Blood Meridian, and The Girl with the Dragon Tattoo to discover how contemporary writers engage issues of plot, suspense, momentum, and the speculative, as well as character, setting, and dialogue. An urgent and entertaining missive on craft, Thrill Me brims with Percy's distinctive blend of anecdotes, advice, and close reading, all in the service of one dictum: Thrill the reader.

    Ursula Nordstrom, director of Harper's Department of Books for Boys and Girls from 1940 to 1973, was arguably the single most creative force for innovation in children's book publishing in the United States during the twentieth century. Considered an editor of maverick temperament and taste, her unorthodox vision helped create such classics as Goodnight Moon, Charlotte's Web, Where the Wild Things Are, Harold and the Purple Crayon, and The Giving Tree.Leonard S. Marcus has culled an exceptional collection of letters from the HarperCollins archives. The letters included here are representative of the brilliant correspondence that was instrumental in the creation of some of the most beloved books in the world today. Full of wit and humor, they are immensely entertaining, thought-provoking, and moving in their revelation of the devotion and high-voltage intellect of an incomparably gifted editor, mentor, and publishing visionary.

    The world says that writing doesn't matter much. Our families and jobs need us. We have to make money. The ugly voices in our head tell us we're not good enough. There are a ton of reasons why we choose to not write. . . and yet, if we are writers, we must find a way to the page. Over and over again. Often one of the hardest things for writers is allowing ourselves the time and space to write when so many other obligations fill our time. Writing Day in and Day Out is a book for writers who would like to find that time and space and build a practice of writing in their daily lives.In this intimate volume, Cumbo-Floyd tells about her own writing practice, shares suggestions - but never rules - for how you might find a way to more words in your daily life, and offers encouragement for the days when writing seems to be too far away or too painful.

    Having written in a number of genres -- prose, poetry, personal and critical essays, as well as plays -- she is an artist ideally suited to answer essential questions about what makes a story striking, a novel come alive, a writer an artist as well as a craftsman.In The Faith of a Writer, Oates discusses the subjects most important to the narrative craft, touching on topics such as inspiration, memory, self-criticism, and "the unique power of the unconscious." On a more personal note, she speaks of childhood inspirations, offers advice to young writers, and discusses the wildly varying states of mind of a writer at work. Oates also pays homage to those she calls her "significant predecessors" and discusses the importance of reading in the life of a writer.Oates claims, "Inspiration and energy and even genius are rarely enough to make 'art': for prose fiction is also a craft, and craft must be learned, whether by accident or design." In fourteen succinct chapters, The Faith of a Writer provides valuable lessons on how language, ideas, and experience are assembled to create art.