Provides new insights and observations from Vogler's pioneering work in mythic structure for writers.

    It was an inspiration.In A Broom of One's Own, Nancy Peacock, whose first novel was selected by the New York Times as a Notable Book of the Year, explores with warmth, wit, and candor what it means to be a writer. An encouragement to all hard-working artists, no matter how they make a living, Peacock's book provides valuable insights and advice on motivation, craft, and criticism while offering hilarious anecdotes about the houses she cleans.

    Then learn to read as a writer, to search out that hidden machinery, which it is the business of art to conceal and the business of the apprentice to comprehend.”  In The Hidden Machinery, critically acclaimed and New York Times bestselling author Margot Livesey offers a masterclass for those who love reading literature and for those who aspire to write it. Through close readings, arguments about craft, and personal essay, Livesey delves into the inner workings of fiction and considers how our stories and novels benefit from paying close attention to both great works of literature and to our own individual experiences. Her essays range in subject matter from navigating the shoals of research to creating characters that walk off the page, from how Flaubert came to write his first novel to how Jane Austen subverted romance in her last one. As much at home on your nightstand as it is in the classroom, The Hidden Machinery will become a book readers and writers return to over and over again.

    It covers everything from questions of truth and ethics to questions of craft and the crucial retrospective voice. An appendix provides information on legal issues.Judith Barrington, an award-winning memoir writer and acclaimed writing teacher, is attuned to the forces, both external and internal, that work to stop a writer; her tone is respectful of the difficulties and encouraging of taking risks. Her nimble prose, her deep belief in the importance of this genre, and her delight in the rich array of memoirists writing today make this book more than the typical "how-to" creative writing book. In this second edition the author has added new material and reflects on issues raised since Writing the Memoir was written, early in the memoir boom."No student of memoir writing could fail to learn from this wise, pragmatic, and confiding book. One hears on every page the voice of an intelligent and responsive teacher, with years of thinking about memoir behind her."--Vivian GornickJudith Barrington is the author of Lifesaving: A Memoir and numerous individual memoirs which have been published in literary magazines and anthologies. She is the author of three volumes of poetry: Trying to Be an Honest Woman, History and Geography, and Horses and the Human Soul (forthcoming in 2002). She has taught creative writing for the past twenty years.

    It's not that every person has lived such a unique or dramatic life, but we inherently understand that writing memoir-whether it's a book, blog, or just a letter to a child-is the single greatest portal to self-examination. While there have been other writing books, there's been nothing like Marion Roach Smith's THE MEMOIR PROJECT. Marion has written four books and she's been teaching a sold-out memoir writing class for 13 years. Her new book is a disarmingly frank, but wildly fun, distillation of all the unsentimental lessons that WORK. Tired topics like writing exercises, morning pages and "writer's block" are replaced with quirky, provocative tactics that teach you to write with purpose. Previously self-published in April 2010 (under the title Writing What You Know: Realia), the book has already proven hugely popular, and with its new title and updated content, it is sure to find an even bigger and even more enthusiastic audience.

    An underpaid, twenty-something executive assistant in New York City, she was struggling to make ends meet when she decided to embark on a Walden- esque retreat from the high-priced eateries that drained her wallet. Though she was living in the nation's culinary capital, she decided to swear off all restaurant food. "The Art of Eating In" chronicles the delectable results of her twenty-four-month experiment, with thirty original recipes included. What began as a way to save money left Erway with a new appreciation for the simple pleasure of sharing a meal with friends at home, the subtleties of home-cooked flavors, and whether her ingredients were ethically grown. She also explored the anti-restaurant underground of supper clubs and cook-offs, and immersed herself in an array of alternative eating lifestyles from freeganism and dumpster-diving to picking tasty greens on a wild edible tour in Brooklyn's Prospect Park. Culminating in a binge that leaves her with a foodie hangover, "The Art of Eating In" is a journey to savor. Watch a Video

    Whether she is contemplating the Grand Canyon, her vegetable garden, motherhood, genetic engineering, or the future of a nation founded on the best of all human impulses, these essays are grounded in the author's belief that our largest problems have grown from the earth's remotest corners as well as our own backyards, and that answers may lie in both those places.Sometimes grave, occasionally hilarious, and ultimately persuasive, Small Wonder is a hopeful examination of the people we seem to be, and what we might yet make of ourselves.

    Many of us love to tell them, and even dream of making a living from it too. But what is a story? Hundreds of books about screenwriting and storytelling have been written, but none of them ask 'Why?' Why do we tell stories? And why do all stories function in an eerily similar way? John Yorke has been telling stories almost his entire adult life, and the more he has done it, the more he has asked himself why? Every great thinker or writer has their theories: Aristotle, David Hare, Lajos Egri, Robert McKee, Gustav Freytag, David Mamet, Christopher Booker, Charlie Kaufman, William Goldman and Aaron Sorkin - all have offered insightful and illuminating answers. Here, John Yorke draws on these figures and more as he takes us on a historical, philosophical, scientific and psychological journey to the heart of all storytelling.What he reveals is that there truly is a unifying shape to narrative - one that echoes the great fairytale journey into the woods, and one, like any great art, that comes from deep within. Much more than a 'how to write' book, Into the Woods is an exploration of this fundamental structure underneath all narrative forms, from film and television to theatre and novel-writing. With astonishing detail and wisdom, John Yorke explains to us a phenomenon that, whether it is as a simple fable, or a big-budget 3D blockbuster, most of us experience almost every day of our lives.

    They opened up new worlds and cast light on all the complexities she encountered in this one.She was whisked away to Narnia – and Kirrin Island – and Wonderland. She ventured down rabbit holes and womble burrows into midnight gardens and chocolate factories. She wandered the countryside with Milly-Molly-Mandy, and played by the tracks with the Railway Children. With Charlotte’s Web she discovered Death and with Judy Blume it was Boys. No wonder she only left the house for her weekly trip to the library or to spend her pocket money on amassing her own at home.In Bookworm, Lucy revisits her childhood reading with wit, love and gratitude. She relives our best-beloved books, their extraordinary creators, and looks at the thousand subtle ways they shape our lives. She also disinters a few forgotten treasures to inspire the next generation of bookworms and set them on their way.Lucy brings the favourite characters of our collective childhoods back to life – prompting endless re-readings, rediscoveries, and, inevitably, fierce debate – and brilliantly uses them to tell her own story, that of a born, and unrepentant, bookworm.

    This is not any of those—the year isn’t half-way done. What I’ve tried to do is organize some of the feelings and thoughts that events, so far, have provoked in me, in those scraps of time the year itself has allowed. These are above all personal essays: small by definition, short by necessity.”Crafted with the sharp intelligence, wit and style that have won Zadie Smith millions of fans, and suffused with a profound intimacy and tenderness in response to these unprecedented times, Intimations is a vital work of art, a gesture of connection and an act of love—an essential book in extraordinary times.

    Inside you will find:× The smell of honeysuckle× Heartbreak× A French-kissing rabbit× A haunted house× Death× A vagina singing sad old songs× Young geraniums in an ancient castle× Birth× A dog who appears in dreams as a spiritual guide× Divorce× Electromagnetic energy fields× Emotional horniness× The ghost of a sea captain× And moreI hope you enjoy these little weirds.Love,Jenny Slate

    Finally, the collection turns to remembrances of "The Great Conroy," as he is lovingly titled by friends, and concludes with a eulogy. The inarguable power of Conroy's work resonates throughout A Lowcountry Heart, and his influence promises to endure.This moving tribute is sure to be a cherished keepsake for any true Conroy fan and remain a lasting monument to one of the best-loved masters of contemporary American letters.

    Clichés around marriage—eternal bliss, domestic harmony, soul mates—leave out the real stuff. After marriage you may still want to sleep with other people. Sometimes your partner will bore the hell out of you. And when stuck paying for your spouse’s mistakes, you might miss being single.In Wedding Toasts I’ll Never Give, Ada Calhoun presents an unflinching but also loving portrait of her own marriage, opening a long-overdue conversation about the institution as it truly is: not the happy ending of a love story or a relic doomed by high divorce rates, but the beginning of a challenging new chapter of which “the first twenty years are the hardest.”Calhoun’s funny, poignant personal essays explore the bedrooms of modern coupledom for a nuanced discussion of infidelity, existential anxiety, and the many other obstacles to staying together. Both realistic and openhearted, Wedding Toasts I’ll Never Give offers a refreshing new way to think about marriage as a brave, tough, creative decision to stay with another person for the rest of your life. “What a burden,” Calhoun calls marriage, “and what a gift.”

    The interviews include favorites gleaned from the pages of the Believer magazine along with previously unpublished conversations. The book is rife with astonishing insights and profound quips. To wit:George Saunders: ‘I see writing as part of an ongoing attempt to really, viscerally, believe that everything matters, suffering is real, and death is imminent.’Ian McEwan: ‘The dream, surely, that we all have, is to write this beautiful paragraph that actually is describing something but at the same time in another voice is writing commentary on its own creation, without having to be a story about a writer.’Jamaica Kincaid: ‘All of these declarations of what writing ought to be, which I had myself—though, thank god I had never committed them to paper—I think are nonsense.... You write what you write, and then either it holds up or it doesn't hold up. There are no rules or particular sensibilities. I don't believe in that all anymore.’Janet Malcolm: ‘The narrator of my nonfiction pieces is not the same person I am—she is a lot more articulate and thinks of much cleverer things to say than I usually do.’Paul Auster: ‘In my own case, I certainly don't walk into my room and sit down at my desk feeling like a boxer ready to go ten rounds with Joe Louis. I tiptoe in. I procrastinate. I delay. I come in sideways, kind of sliding through the door.... I don't burst into the saloon with my six-shooter ready. If I did, I'd probably shoot myself in the foot.’Tobias Wolff: ‘Each time out should be a swing for the fences. Don't do base-running drills. You can do those on your own time.’

    It explores the use of art to survive abuse, incest, madness and depression, and the often deep-seated impulse toward self-destruction including cutting, eating disorders, and addiction. Here, some of our most compelling cartoonists, novelists, poets, dancers, playwrights, and burlesque performers traverse the pains and passions that can both motivate and destroy women artists, and mark a path for survival. Taken together, these artful reflections offer an honest and hopeful journey through a woman's silent rage, through the power inherent in struggles with destruction, and the ensuing possibilities of transforming that burning force into the external release of art. With contributions by Nan Goldin, bell hooks, Patricia Smith, Cristy C. Road, Carol Queen, Annie Sprinkle, Elizabeth Stephens, Carolyn Gage, Eileen Myles, Fly, Diane DiMassa, Bonfire Madigan Shive, Inga Muscio, Kate Bornstein, Toni Blackman, Nicole Blackman, Silas Howard, Daphne Gottleib, and Stephanie Howell.