Designed to mentor writers at all levels, from beginning to quite advanced, The Writer's Portable Mentor offers a wealth of insight and crafting models from the author's twenty-plus years of teaching and creative thought. The book provides tools for structuring a book, story, or essay. It trains writers in observation and in developing a poet's ear for sound in prose. It scrutinizes the sentence strategies of the masters and offers advice on how to publish. This second edition is updated to account for changes in the publishing industry and provides hundreds of new craft models to inspire, guide, and develop every writer's work.

In Writing with Mentors, high school teachers Allison Marchetti and Rebekah O'Dell prove that the key to cultivating productive, resourceful writers-writers who can see value and purpose for writing beyond school-is using dynamic, hot-off-the-press mentor texts. In this practical guide, they provide savvy strategies for:--finding and storing fresh new mentor texts, from trusted traditional sources to the social mediums of the day --grouping mentor texts in clusters that show a diverse range of topics, styles, and approaches --teaching with lessons that demonstrate the enormous potential of mentor texts at every stage of the writing process.

It's been a decade since Lynne Dorfman and Rose Cappelli wrote the first edition of Mentor Texts and helped teachers across the country make the most of high-quality children's literature in their writing instruction. In the second edition of this important book Lynne and Rose show teachers how to help students become confident, accomplished writers by using literature as their foundation. The second edition includes brand-new "Your Turn Lessons," built around the gradual release of responsibility model, offering suggestions for demonstrations and shared or guided writing. Reflection is emphasized as a necessary component to understanding why mentor authors chose certain strategies, literary devices, sentence structures, and words. Lynne and Rose offer new children's book titles in each chapter and in a carefully curated and annotated Treasure Chest. At the end of each chapter a "Think About It--Talk About It--Write About It" section invites reflection and conversation with colleagues. The book is organized around the characteristics of good writing--focus, content, organization, style, and conventions. Rose and Lynne write in a friendly and conversational style, employing numerous anecdotes to help teachers visualize the process, and offer strategies that can be immediately implemented in the classroom. This practical resource demonstrates the power of learning to read like writers.

An orphaned boy in contemporary Senegal must decide between doing what is right and what is easy as he struggles to keep a promise he made to his dying father in this “stirring” (School Library Journal) middle grade debut novel laced with magical realism. Eleven-year-old Mor was used to hearing his father’s voice, even if no one else could since his father’s death. It was comforting. It was also a reminder that Mor had made a promise to his father before he passed: keep your sisters safe. Keep the family together. But almost as soon as they are orphaned, that promise seems impossible to keep. With an aunt from the big city ready to separate him and his sisters as soon as she arrives, and a gang of boys from a nearby village wanting everything he has—including his spirit—Mor is tested in ways he never imagined. With only the hot summer months to prove himself, Mor must face a choice. Does he listen to his father and keep his heart true, but risk breaking his promise through failure? Or is it easier to just join the Danka Boys, who despite their maliciousness are at least loyal to their own? One Shadow on the Wall is about love and loss, family and friendship, and creating your own future—even when it’s hard to do.

"My hope is that More About the Authors will help you see how shifting your thinking about mentors can make such a difference in your teaching." -Lisa Cleaveland This is not your typical book on mentor texts. Lisa Cleaveland will show you why in her classroom authors and illustrators do the mentoring, not their texts. While this may seem like mere semantics, it's actually a singularly powerful instructional shift. "Books don't make themselves," writes Lisa, "authors and illustrators do, and my students know this because they make books too." About the Authors introduced tens of thousands of teachers to Lisa's primary writing workshop. Now she shares what she considers the most crucial aspect of her teaching. "When authors and illustrators are mentors, you teach students more about how to learn from their mentors than what to learn." With Lisa you'll: engage children by helping them discover mentor authors connect writers to the curriculum as they notice and name the moves their mentors make plan powerful units of study around mentor authors position students to mentor one another. Along the way, Lisa illustrates the effectiveness of this approach with full-color examples of students' work as well as transcripts of a question-and-answer session between her writers and famed children's author and illustrator Marla Frazee. You'll see firsthand how closely examining a mentor's work can lead little ones to big insights about writing. "What I have realized," writes Lisa Cleaveland, "is that it's all about finding mentors for writing and illustrating." Find out just how powerful this slight shift in thinking can be as you find out More About the Authors.

A lonely young woman gets too close to her charismatic female student in this propulsive debut, culminating in a dangerously debauched Midsommar’s Eve. LONGLISTED FOR THE CENTER FOR FICTION FIRST NOVEL PRIZE AND THE VCU CABELL FIRST NOVELIST AWARD • “Memorable and meaningful.”—Claire Messud, New York Times bestselling author of The Burning Girl Lauren Cress teaches writing at a small college outside of Washington, DC. In the classroom, she is poised, smart, and kind, well liked by her students and colleagues. But in her personal life, Lauren is troubled and isolated, still grappling with the sudden death of her parents ten years earlier. She seems to exist at a remove from everyone around her until a new student joins her class: charming, magnetic Siri, who appears to be everything Lauren wishes she could be. They fall headlong into an all-consuming friendship that makes Lauren feel as though she is reclaiming her lost adolescence. When Siri invites her on a trip home to Sweden for the summer, Lauren impulsively accepts, intrigued by how Siri describes it: green, fresh, and new, everything just thawing out. But once there, Lauren finds herself drawn to Siri’s enigmatic, brooding brother, Magnus. Siri is resentful, and Lauren starts to see a new side of her friend: selfish, reckless, self-destructive, even cruel. On their last night together, Lauren accompanies Siri and her friends on a seaside camping trip to celebrate Midsommar’s Eve, a night when no one sleeps, boundaries blur, and under the light of the unsetting sun, things take a dark turn. Ultimately, Lauren must acknowledge the truth of what happened with Siri and come to terms with her own tragic past in this gorgeously written, deeply felt debut about the transformative relationships that often come to us when things feel darkest. Praise for The All-Night Sun “Inventive and luminous . . . ­­­­­Zinna’s intimate debut dazzles with original language, emotional sentience, and Swedish folklore as it plumbs the depths of grief, loss, and friendship . . . Zinna reaches an inspired emotional depth that, as the title signifies, never stops blazing.”—Publishers Weekly (starred review)

With seven unpublished novels wasting away on his hard drive, Tony Vanderwarker is astonished when John Grisham offers to take him under his wing and teach him the secrets of thriller writing. “The beginning and the end are easy,” Grisham tells him. “It’s the three hundred pages in the middle that’s the hard part.” To ensure his plot doesn’t run out of gas, Grisham puts Tony though his outline process. Tony does one, and then Grisham asks for another … and another … and another. As they work together, Grisham reveals the techniques that have helped him create compelling bestsellers for more than two decades—for instance, “You’ve got to hook your reader in the first forty pages or you’ll lose them.” After a year of constructing outlines, Grisham finally gives Tony the go-ahead to start writing. Writing with the Master immerses the reader in the creative process as Tony struggles to produce a successful thriller. It’s a roller coaster ride, sometimes hilarious, and often full of ups and downs. Grisham’s critiques and margin notes to Tony reveal his nimble imagination and plot development genius. For Grisham fans, Vanderwarker’s memoir pulls back the curtain on his writing secrets, and for aspiring writers, it’s a master class in thriller writing. In the end, Tony resolves to take Grisham’s teachings to heart and eventually decides to write what he thinks he was meant to: a book about the creative process and his incredible two years working with John Grisham.

Every Tuesday night, while his parents try to enjoy their dinner, a boy turns into a monster the moment a pea touches his lips.

For this edition of Jack London's observations on the craft of writing—culled from essays, reviews, letters, and autobiographical writings—a significant amount of new material has been added.

Culham demonstrates a major part of good writing instruction is finding the right mentor texts to share with students. Within this book, you'll discover more than 90 excellent mentor texts, along with straight-forward activities that incorporate the traits of writing across informational, narrative, and argument modes.