A retelling of Shakespeare's light-hearted comedy of mistaken identity, tangled lovers, meddling fairies, and bumbling amateur actors, set in a wood on a midsummer night.

    From childhood to diagnosis to mental hospitals, everything is included, including the ugly parts of being raised in a time period that did not understand mental illness and instead applied "tough love" to children who acted abnormally.

    It was a tradition that began at the start of their twenty-three marriage. But when her husband returned from his latest trip, Savannah finds a surprise she never expected.One pretty red thong. Lots of questions. But before Savannah can get answers, her husband goes into cardiac arrest.Now, as Sheldon fights for his life, Savannah struggles to put her bitterness aside. As every female in his life becomes suspect, and Savannah finds herself questioning everything she's ever believed, a handsome doctor may be the only one that can help Savannah get through to the truth.

    The semi-autobiographical book is divided into two parts and takes place between two countries; Part I, “is a cloud a living thing?”, takes place during the Author’s tumultueuse teen years with tropical Florida as a backdrop. Part II, “Inside my Shell”, explores themes of transformation as the Author creates a new life in Paris, France. ​The poems in this collection explore the surreal rollercoaster of youth, the performance of identity, being an outsider and the tension between romantic idealism and the dystopic world in which the author finds herself. Her approach to her work as a visual artist is mirrored in her poetry style, which is accompanied by all original illustrations by the Author.

    The book brings value to both students and teachers/lecturers. It explores the basics of comprehension and memorization and shows effective applications of memory in learning. Some of the topics covered are: How to master the art of effective note taking; how to become avidly interested in any subject matter; how to get a mental second wind; and how to get physically conditioned for effective study. Written by Indiana University Professor of Psychology Harry D. Kitson in 1921 (Second Edition), "How to Use Your Mind" is today still as contemporary as it was then.

    The story has twist, and the novel gets hair pin turn and circulates on the family.

    George combines clear, intelligent, and functional advice on fiction writing with anecdotes from her own life, the story of her journey to publication, and inside information on how she meticulously researches and writes her novels. George's solid understanding of craft is conveyed in the enticing manner of a true storyteller, making Write Away not only a marvelous, interesting, and informative book but also a glimpse inside the world of a beloved writer.

    Use them to pry, chip, yank and sift good characters out of the place where they live in your memory, your imagination and your soul.Award-winning author Orson Scott Card explains in depth the techniques of inventing, developing and presenting characters, plus handling viewpoint in novels and short stories. With specific examples, he spells out your narrative options–the choices you'll make in creating fictional people so "real" that readers will feel they know them like members of their own families.You'll learn how to: draw the characters from a variety of sources, including a story's basic idea, real life–even a character's social circumstances make characters show who they are by the things they do and say, and by their individual "style" develop characters readers will love–or love to hate distinguish among major characters, minor characters and walk-ons, and develop each one appropriately choose the most effective viewpoint to reveal the characters and move the storytelling decide how deeply you should explore your characters' thoughts, emotions and attitudes

    M. Forster's Aspects of the Novel and Milan Kundera's The Art of the Novel, How Fiction Works is a scintillating study of the magic of fiction--an analysis of its main elements and a celebration of its lasting power. Here one of the most prominent and stylish critics of our time looks into the machinery of storytelling to ask some fundamental questions: What do we mean when we say we "know" a fictional character? What constitutes a telling detail? When is a metaphor successful? Is Realism realistic? Why do some literary conventions become dated while others stay fresh?James Wood ranges widely, from Homer to Make Way for Ducklings, from the Bible to John le Carré, and his book is both a study of the techniques of fiction-making and an alternative history of the novel. Playful and profound, How Fiction Works will be enlightening to writers, readers, and anyone else interested in what happens on the page.

    We spin fantasies. We devour novels, films, and plays. Even sporting events and criminal trials unfold as narratives. Yet the world of story has long remained an undiscovered and unmapped country. It’s easy to say that humans are “wired” for story, but why?In this delightful and original book, Jonathan Gottschall offers the first unified theory of storytelling. He argues that stories help us navigate life’s complex social problems—just as flight simulators prepare pilots for difficult situations. Storytelling has evolved, like other behaviors, to ensure our survival.Drawing on the latest research in neuroscience, psychology, and evolutionary biology, Gottschall tells us what it means to be a storytelling animal. Did you know that the more absorbed you are in a story, the more it changes your behavior? That all children act out the same kinds of stories, whether they grow up in a slum or a suburb? That people who read more fiction are more empathetic?Of course, our story instinct has a darker side. It makes us vulnerable to conspiracy theories, advertisements, and narratives about ourselves that are more “truthy” than true. National myths can also be terribly dangerous: Hitler’s ambitions were partly fueled by a story.But as Gottschall shows in this remarkable book, stories can also change the world for the better. Most successful stories are moral—they teach us how to live, whether explicitly or implicitly, and bind us together around common values. We know we are master shapers of story. The Storytelling Animal finally reveals how stories shape us.

    

    "I'm exactly as I appear," he once said of himself. "There is no warm, lovable person inside. Beneath my cold exterior, once you break the ice, you find cold water." Michael Mewshaw's Sympathy for the Devil, a memoir of his friendship with the stubbornly iconoclastic public intellectual, is a welcome corrective to this tired received wisdom. A complex, nuanced portrait emerges in these pages—and while "Gore" can indeed be brusque, standoffish, even cruel, Mewshaw also catches him in more vulnerable moments. The Gore Vidal the reader comes to know here is generous and supportive to younger, less successful writers; he is also, especially toward the end of his life, disappointed, even lonely. Sparkling, often hilarious, and filled with spicy anecdotes about expat life in Italy, Sympathy for the Devil is an irresistible inside account of a man who was himself—faults and all—impossible to resist. As enlightening as it is entertaining, it offers a unique look at a figure many only think they know.

    What It Is demonstrates a tried-and-true creative method that is playful, powerful, and accessible to anyone with an inquisitive wish to write or to remember. Composed of completely new material, each page of Barry’s first Drawn & Quarterly book is a full-color collage that is not only a gentle guide to this process but an invigorating example of exactly what it is: “The ordinary is extraordinary.”

     The traditional writing workshop was established with white male writers in mind; what we call craft is informed by their cultural values. In this bold and original examination of elements of writing—including plot, character, conflict, structure, and believability—and aspects of workshop—including the silenced writer and the imagined reader—Matthew Salesses asks questions to invigorate these familiar concepts. He upends Western notions of how a story must progress. How can we rethink craft, and the teaching of it, to better reach writers with diverse backgrounds? How can we invite diverse storytelling traditions into literary spaces?Drawing from examples including One Thousand and One Nights, Curious George, Ursula K. Le Guin's A Wizard of Earthsea, and the Asian American classic No-No Boy, Salesses asks us to reimagine craft and the workshop. In the pages of exercises included here, teachers will find suggestions for building syllabi, grading, and introducing new methods to the classroom; students will find revision and editing guidance, as well as a new lens for reading their work. Salesses shows that we need to interrogate the lack of diversity at the core of published fiction: how we teach and write it. After all, as he reminds us, "When we write fiction, we write the world."

    Le Guin generously shares the accumulated wisdom of a lifetime's work.