But so may the thought of finishing, showing, or even selling their work. It is in this "artistic anxiety" that creative blocks begin.With an understanding that could only be gained through years of experience in counseling artists, writers, and performers, Eric Maisel, Ph.D. discusses each stage of creation-wishing, choosing, starting, working, completing, selling--and the anxieties particular to each. He then shows how these inhibiting tensions can be turned to artistic advantages, how truth and beauty arrive in the work of art precisely because, and only when, anxiety has been understood, embraced, and resolved.Fearless Creating guides the reader, whether an experienced artist or someone just starting out, past the pitfalls that appear in each stage of the process. By following Dr. Maisel's exercises related both to the world at hand and the ongoing struggles of artistic life, readers will emerge from this book with a completed work of art and a new perspective on their potential to be a fearless creator.

    "It has never been easier to make a great living doing what you love. But to make it happen, first you need an EVIL PLAN. Everybody needs to get away from lousy bosses, from boring, dead-end jobs that they hate, and ACTUALLY start doing something they love, something that matters. Life is short." -Hugh MacLeodFreud once said that in order to be truly happy people need two things: the capacity to work and the capacity to love. Evil Plans is about being able to do both at the same time. The sometimes unfortunate side effect is that others will hate you for it. MacLeod's insights are brash, wise, and often funny.

    

    May draws on his experience to show how we can break out of old patterns in our lives. His insightful book offers us a way through our fears into a fully realized self.

    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.

    Considering various types of participatory writing as different strains of one style—immersion writing—Robin Hemley offers new perspectives and practical advice for writers of this nonfiction genre.Immersion writing can be broken down into the broad categories of travel writing, immersion memoir, and immersion journalism. Using the work of such authors as Barbara Ehrenreich, Hunter S. Thompson, Ted Conover, A. J. Jacobs, Nellie Bly, Julio Cortazar, and James Agee, Hemley examines these three major types of immersion writing and further identifies the subcategories of the quest, the experiment, the investigation, the infiltration, and the reenactment. Included in the book are helpful exercises, models for immersion writing, and a chapter on one of the most fraught subjects for nonfiction writers—the ethics and legalities of writing about other people.A Field Guide for Immersion Writing recalibrates and redefines the way writers approach their relationship to their subjects. Suitable for beginners and advanced writers, the book provides an enlightening, provocative, and often amusing look at the ways in which nonfiction writers engage with the world around them.A Friends Fund Publication.

    Making it happen is hard. With a fresh perspective, Carol Lloyd motivates the person searching for two things: the creative life and a life of sanity, happiness and financial solvency. Creating a Life Worth Living is for the hundreds of thousands of people who bought Julia Cameron's The Artist's Way, but who are looking for more down-to-earth solutions and concrete tasks for achieving their goals.Creating a Life Worth Living helps the reader search memory for inspiration, understand his or her individual artistic profile, explore possible futures, design a daily process and build a structure of support. Each of the 12 chapters, such as "The Drudge We Do For Dollars" and "Excavating the Future," contains specific exercises and daily tasks that help readers to clarify their desires and create a tangible plan of action for realizing dreams. The book also provides inspiring anecdotes and interviews with people who have succeeded in their chosen fields, such as performance artist Anna Devere Smith, writer Sally Tisdale and filmmaker R. J. Cutler.The pursuit of one's dreams is one of the great joys in life but also one of the most terrifying. Creating a Life Worth Living is an invaluable road map for this journey, guiding readers as they take the first tentative steps that are necessary before they can fly.

    A moving account of Dillard’s own experiences while writing her works, The Writing Life offers deep insight into one of the most mysterious professions.

    A Writer’s Book of Days is a compilation of all that she’s learned from getting together to write with other people. She says, “the book came about because I saw the difference ongoing, regular practice could make in a writer’s life.” Practice makes perfect, and this book makes practice easy by providing writers and would-be writers with stimulating topics, helpful instruction, monthly guidelines, dozens of inspiring quotes, writerly lore, and tips for special writing sessions such as marathons, cafe writing, and other ways to make the work of writing more creative and fun.

    Gilbert offers insights into the mysterious nature of inspiration. She asks us to embrace our curiosity and let go of needless suffering. She shows us how to tackle what we most love, and how to face down what we most fear. She discusses the attitudes, approaches, and habits we need in order to live our most creative lives. Balancing between soulful spirituality and cheerful pragmatism, Gilbert encourages us to uncover the “strange jewels” that are hidden within each of us. Whether we are looking to write a book, make art, find new ways to address challenges in our work, embark on a dream long deferred, or simply infuse our everyday lives with more mindfulness and passion, Big Magic cracks open a world of wonder and joy.

    Le Guin as she explores a broad array of subjects, ranging from Tolstoy, Twain, and Tolkien to women's shoes, beauty, and family life. With her customary wit, intelligence, and literary craftsmanship, she offers a diverse and highly engaging set of readings. The Wave in the Mind includes some of Le Guin's finest literary criticism, rare autobiographical writings, performance art pieces, and, most centrally, her reflections on the arts of writing and reading.

    But with so many people and companies clamoring for attention, it’s also more challenging than ever to do work that deeply resonates with the marketplace and creates true and lasting impact.According to Todd Henry, the key to standing apart from the noise is to find your unique voice. Those who identify and develop their voices will gain more attention and wield more influence. But first they have to identify what they truly stand for, develop a compelling vision, and become masters of expressing their ideas in whatever media they choose. Henry offers strategies, exercises, and true stories that illustrate the five attributes of resonant work:• Authenticity: Uncover the narratives that are at the core of your personal and professional identity.• Uniqueness: Identify what makes your work distinct from that of others, and learn to creatively package and present your message.• Consonance: Cultivate internal consistency and harmony in your work.• Empathy: Listen to your audience’s aspirations and struggles to make your message more compelling.• Timing: Learn how to coordinate your work with ideas that already have cultural momentum.Making your work speak is a life-long process of trial, error, and realignment. Henry’s audiobook will help listeners build a body of work that resonates deeply and achieves lasting impact.

    These crippling fears are laid to rest through insightful discussions of personal experiences, the struggles of famous artists, and the rewards of producing art that comes from an authentic creative core. Providing sensitive reassurances that these struggles are normal, these essays encourage artists to focus on the development of their crafts and find inspiration to work through self-doubt.

    We see how these brilliant minds get to work, the choices they have to make: rebuffing convention, stealing (or secreting away) time from the pull of husbands, wives, children, obligations, in order to create their creations.From those who are the masters of their craft (Eudora Welty, Lynn Fontanne, Penelope Fitzgerald, Marie Curie) to those who were recognized in a burst of acclaim (Lorraine Hansberry, Zadie Smith) . . . from Clara Schumann and Shirley Jackson, carving out small amounts of time from family life, to Isadora Duncan and Agnes Martin, rejecting the demands of domesticity, Currey shows us the large and small (and abiding) choices these women made--and continue to make--for their art: Isak Dinesen, "I promised the Devil my soul, and in return he promised me that everything I was going to experience would be turned into tales," Dinesen subsisting on oysters and Champagne but also amphetamines, which gave her the overdrive she required . . . And the rituals (daily and otherwise) that guide these artists: Isabel Allende starting a new book only on January 8th . . . Hilary Mantel taking a shower to combat writers' block ("I am the cleanest person I know") . . . Tallulah Bankhead coping with her three phobias (hating to go to bed, hating to get up, and hating to be alone), which, could she "mute them," would make her life "as slick as a sonnet, but as dull as ditch water" . . . Lillian Hellman chain-smoking three packs of cigarettes and drinking twenty cups of coffee a day--and, after milking the cow and cleaning the barn, writing out of "elation, depression, hope" ("That is the exact order. Hope sets in toward nightfall. That's when you tell yourself that you're going to be better the next time, so help you God.") . . . Diane Arbus, doing what "gnaws at" her . . . Colette, locked in her writing room by her first husband, Henry Gauthier-Villars (nom de plume: Willy) and not being "let out" until completing her daily quota (she wrote five pages a day and threw away the fifth). Colette later said, "A prison is one of the best workshops" . . . Jessye Norman disdaining routines or rituals of any kind, seeing them as "a crutch" . . . and Octavia Butler writing every day no matter what ("screw inspiration"). Germaine de Staël . . . Elizabeth Barrett Browning . . . George Eliot . . . Edith Wharton . . . Virginia Woolf . . . Edna Ferber . . . Doris Lessing . . . Pina Bausch . . . Frida Kahlo . . . Marguerite Duras . . . Helen Frankenthaler . . . Patti Smith, and 131 more--on their daily routines, superstitions, fears, eating (and drinking) habits, and other finely (and not so finely) calibrated rituals that help summon up willpower and self-discipline, keeping themselves afloat with optimism and fight, as they create (and avoid creating) their creations.

    How can students with widely varied levels of literary experience learn to write poetry, fiction, creative nonfiction, and drama — over the course of only one semester? In Creative Writing: Four Genres in Brief, David Starkey offers some solutions to the challenges of teaching the introductory creative writing course: (1) concise, accessible instruction in literary basics; (2) short models of literature to analyze, admire and emulate; (3) inventive and imaginative assignments that inspire and motivate.