There are few creative acts more mysterious and magical than writing a song. But what if the goal wasn't so mysterious and was actually achievable for anyone who wants to experience more magic and creativity in their life? That's something that anyone will be inspired to do after reading Jeff Tweedy's How to Write One Song. Why one song? Because the difference between one song and many songs isn't a cute semantic trick—it's an important distinction that can simplify a notoriously confusing art form. The idea of becoming a capital-S songwriter can seem daunting, but approached as a focused, self-contained event, the mystery and fear subsides, and songwriting becomes an exciting pursuit. And then there is the energizing, nourishing creativity that can open up. How to Write One Song brings readers into the intimate process of writing one song—lyrics, music, and putting it all together—and accesses the deep sense of wonder that remains at the heart of this curious, yet incredibly fulfilling, artistic act. But it’s equally about the importance of making creativity part of your life every day, and of experiencing the hope, inspiration, and joy available to anyone who’s willing to get started.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

The sexiest romance writer on earth ... that's how most of the world views my newest client. As for me, I view him as the only guy to ever stand me up on a date. I loathe him. I don’t care if he’s still charming, if his smile still makes my heart patter faster, or if my body thinks we should give him another chance. It’s not going to happen. Hero Quinn is my client, and spending two weeks with him on his book tour to save his reputation is more than enough for me. I’m a smart woman and I'm no stranger to temptation. Which is exactly why my career saving plan is to set him up on a string of blind dates that I, his marketing manager guru, will share with his following. At the end of the two weeks, he will pick one woman to see again and viola, he’s out of my hair and I can move on. Of course, plans never go the way we want them to. Between the time we’re forced to spend together and that kiss where he pressed me against the wall, the lines begin to blur. And boy, do they ever. Dating clients goes against my rules, but it doesn't change the fact that when this is all over, I still wish I could be the one he picks to see again. Tropes for The Write One include small town romance, enemies to lovers romance, slow burn romance, second chance romance, and forced proximity romance.

IF YOU DON'T LIKE MY BOOK: GO OUT AND WRITE ONE! is for children of all ages who have wondered what it would be like to write a book. After being told one time too many to go and write his own book, Alex decides to do just that! But can he finish his story in time to present his book report on it? And what will the kids in Mrs. Ruple's class think...?

Please note: This is a companion version & not the original book. Sample Book Insights: #1 The idea of being something is not as real as the act of doing something. When you’re in the act of creating, you don’t have to worry about competing with someone else’s image of who you are. #2 You want to be heard, and that means making a sound. So as stupid as it sounds, the only way to be heard is to make a sound. Many songwriters have aspired to be Bob Dylan, but that doesn’t mean they want to BE Bob Dylan. They just want to do what Bob Dylan does. #3 The word aspiration is used to describe loftiest goals and dreams. The word achievement is used to describe something clearly defined and attainable. Connecting with yourself through practice or habit requires an effort to tune in to your own thoughts and feelings. #4 I want to be a person who encourages more people to have private moments of creativity. We should have an army of people advocating for that. It’s the coolest thing in the world when someone steps outside their so-called station in life to indulge in a personal art for the sake of art moment.

In this classroom-tested approach to writing, Brock Dethier teaches readers how to analyze and write twenty-one genres that students are likely to encounter in college and beyond. This practical, student-friendly, task-oriented text confidently guides writers through step-by-step processes, reducing the anxiety commonly associated with writing tasks. In the first section, Dethier efficiently presents each genre, providing models; a description of the genres’ purpose, context, and discourse; and suggestions for writing activities or “moves” that writers can use to get words on the page and accomplish their writing tasks. The second section explains these moves, over two hundred of them, in chapters ranging from “Solve Your Process Problems” and “Discover” to “Revise” and “Present.” Applicable to any writing task or genre, these moves help students overcome writing blocks and develop a piece of writing from the first glimmers of an idea to its presentation. This approach to managing the complexity and challenge of writing in college strives to be useful, flexible, eclectic, and brief—a valuable resource for students learning to negotiate unfamiliar writing situations.