Two teens who have nothing in common work together at a record store in All Our Worst Ideas, a powerful and voice-driven YA novel from Vicky Skinner. When Amy, on her way to becoming valedictorian of her graduating class and getting accepted to her dream school, gets dumped by her long-term boyfriend, she takes a job at a record store to ease the pain. She needs a distraction, badly. Oliver, Amy’s record store co-worker, isn’t so sure about Amy—his complete opposite—but what he is sure of is his decision not to go to college. He just can’t figure out how to tell his mother. As they work late-night shifts at the record store, Amy and Oliver become friends and then confidantes and then something more, but when Amy has a hard time letting go of what she thought was her perfect future with her ex, she risks losing the future she didn’t even know she wanted with Oliver.

Veronica Mars meets Moxie in this hilarious and biting YA contemporary novel following Margot Mertz, a girl who runs an internet cleanup business and embarks on a quest to take down a revenge-porn site targeting the girls in her school. For the right price, high school junior Margot Mertz will go to the ends of the internet to remove your nip-slip, dick pic, or embarrassing DM. At least that's what it says on her business card. Margot founded a now notorious company that helps students, teachers, even a local weatherman, discreetly clean up their digital shame. And since her parents lost her college fund, Margot is happy to work for anyone... if they can pay, she can clean. But when a fellow student hires her to take down some leaked nudes, Margot discovers a secret revenge porn site featuring Roosevelt High girls. And hell hath no fury like Margot when she sees girls’ butts shared without their consent. With the help of an unwitting ally, the popular and uncomfortably handsome Avery Green, Margot will gain access to the far flung cliques of Roosevelt High. Anything to find the mastermind (read: asshole) behind the site. But the more she digs, the deeper and darker the case becomes until Margot realizes that some jobs are so dirty, no one can come away clean. Even her. Gross.

“Calling My Name is a treasure.”—Nic Stone, New York Times–bestselling author of Dear Martin Calling My Name is a striking, luminous, and literary exploration of family, spirituality, and self—ideal for readers of Jacqueline Woodson, Jandy Nelson, Naomi Shihab Nye, and Sandra Cisneros. This unforgettable novel tells a universal coming-of-age story about Taja Brown, a young African American girl growing up in Houston, Texas, and deftly and beautifully explores the universal struggles of growing up, battling family expectations, discovering a sense of self, and finding a unique voice and purpose. Told in fifty-three short, episodic, moving, and iridescent chapters, Calling My Name follows Taja on her journey from middle school to high school. Literary and noteworthy, this is a beauty of a novel that captures the multifaceted struggle of finding where you belong and why you matter.

If you've ever struggled to craft a powerful message that really hits the spot, you'll know it's harder than it looks. Wouldn't it be helpful to have an expert on hand to explain how the professionals really do it? Better still, how about a whole range of writers ready to pass on their trade secrets? Well that's exactly what you'll find in the pages of this book. Think of it as a rocket-assisted launch for your writing career, structured over ten distinct lessons and illustrated with classic and contemporary international examples of the best copywriting. Designed to help anyone who works with words improve their writing, this book is packed with practical techniques and features effective exercises to pump up your persuasive powers. Includes inspiring contributions from professional writers, an in-depth look at the challenges involved in writing copy for brands and worked examples that cover writing for digital, brand storytelling and packaging copy.

When you Read Like a Writer (RLW) you work to identify some of the choices the author made so that you can better understand how such choices might arise in your own writing. The idea is to carefully examine the things you read, looking at the writerly techniques in the text in order to decide if you might want to adopt similar (or the same) techniques in your writing. You are reading to learn about writing. Instead of reading for content or to better understand the ideas in the writing (which you will automatically do to some degree anyway), you are trying to understand how the piece of writing was put together by the author and what you can learn about writing by reading a particular text. As you read in this way, you think about how the choices the author made and the techniques that he/she used are influencing your own responses as a reader. What is it about the way this text is written that makes you feel and respond the way you do?

This edition of Herzog on Herzog presents a completely new set of interviews in which Werner Herzog discusses his career from its very beginnings to his most recent productions. Herzog was once hailed by Francois Truffaut as the most important director alive. Famous for his frequent collaborations with mercurial actor Klaus Kinski - including the epics, Aguirre, the Wrath of God and Fitzcarraldo, and the terrifying Nosferatu - and more recently with documentaries such as Grizzly Man, Cave of Forgotten Dreams and Into the Abyss, Herzog has built a body of work that is one of the most vital in post-war German cinema.

I was eleven, no more, when the wish came to me to be a writer; and then very soon it was a settled ambition. But for the young V. S. Naipaul, there was a great distance between the wish and its fulfillment. To become a writer, he would have to find ways of understanding three very different cultures: his family's half-remembered Indian homeland, the West Indian colonial society in which he grew up, and the wholly foreign world of the English novels he read. In this essay of literary autobiography, V. S. Naipaul sifts through memories of his childhood in Trinidad, his university days in England, and his earliest attempts at writing, seeking the experiences of life and reading that shaped his imagination and his growth as a writer. He pays particular attention to the traumas of India under its various conquerors and the painful sense of dereliction and loss that shadows writers' attempts to capture the country and its people in prose. Naipaul's profound reflections on the relations between personal or historical experience and literary form, between the novel and the world, reveal how he came to discover both his voice and the subjects of his writing, and how he learned to turn sometimes to fiction, sometimes to the travel narrative, to portray them truthfully. Along the way he offers insights into the novel's prodigious development as a form for depicting and interpreting society in the nineteenth century and its diminishing capacity to do the same in the twentiethÑa task that, in his view, passed to the creative energies of the early cinema. As a child trying to read, I had felt that two worlds separated me from the books that were offered to me at school and in the libraries: the childhood world of our remembered India, and the more colonial world of our city. ... What I didn't know, even after I had written my early books of fiction ... was that those two spheres of darkness had become my subject. Fiction, working its mysteries, by indirections finding directions out, had led me to my subject. But it couldn't take me all the way. -V.S. Naipaul, from Reading & Writing