Chris Baty, motivator extraordinaire and instigator of a wildly successful writing revolution, spells out the secrets of writing—and finishing—a novel. Every fall, thousands of people sign up for National Novel Writing Month (NaNoWriMo), which Baty founded, determined to (a) write that novel or (b) finish that novel in—kid you not—30 days. Now Baty puts pen to paper himself to share the secrets of success. With week-specific overviews, pep "talks," and essential survival tips for today's word warriors, this results-oriented, quick-fix strategy is perfect for people who want to nurture their inner artist and then hit print! Anecdotes and success stories from NaNoWriMo winners will inspire writers from the heralding you-can-do-it trumpet blasts of day one to the champagne toasts of day thirty. Whether it's a resource for those taking part in the official NaNo WriMo event, or a stand-alone handbook for writing to come, No Plot? No Problem! is the ultimate guide for would-be writers (or those with writer's block) to cultivate their creative selves.

Mianus Village provides vivid descriptions of the people, places, and events in the author's younger years growing up in the rough and tumble atmosphere of a government housing development established for World War II veterans. The poems in this book are vigorous and compelling, always comprehensible but never simplistic. They tell a story that pulls the reader forward at breakneck speed. They are full of wit and graphic detail.

In an engrossing historical novel, the Newbery Medal-winning author of Bridge to Terebithia follows a young Cuban teenager as she volunteers for Fidel Castro’s national literacy campaign and travels into the impoverished countryside to teach others how to read. When thirteen-year-old Lora tells her parents that she wants to join Premier Castro’s army of young literacy teachers, her mother screeches to high heaven, and her father roars like a lion. Nora has barely been outside of Havana — why would she throw away her life in a remote shack with no electricity, sleeping on a hammock in somebody’s kitchen? But Nora is stubborn: didn’t her parents teach her to share what she has with someone in need? Surprisingly, Nora’s abuela takes her side, even as she makes Nora promise to come home if things get too hard. But how will Nora know for sure when that time has come? Shining light on a little-known moment in history, Katherine Paterson traces a young teen’s coming-of-age journey from a sheltered life to a singular mission: teaching fellow Cubans of all ages to read and write, while helping with the work of their daily lives and sharing the dangers posed by counterrevolutionaries hiding in the hills nearby. Inspired by true accounts, the novel includes an author’s note and a timeline of Cuban history.

Starting middle school brings all the usual challenges — until the unthinkable happens, and Fern and her family must find a way to heal. Twelve-year-old Fern feels invisible. It seems as though everyone in her family has better things to do than pay attention to her: Mom (when she’s not meditating) helps Dad run the family restaurant; Sarah is taking a gap year after high school; and Holden pretends that Mom and Dad and everyone else doesn’t know he’s gay, even as he fends off bullies at school. Then there’s Charlie: three years old, a “surprise” baby, the center of everyone’s world. He’s devoted to Fern, but he’s annoying, too, always getting his way, always dirty, always commanding attention. If it wasn’t for Ran, Fern’s calm and positive best friend, there’d be nowhere to turn. Ran’s mantra, “All will be well,” is soothing in a way that nothing else seems to be. And when Ran says it, Fern can almost believe it’s true. But then tragedy strikes- and Fern feels not only more alone than ever, but also responsible for the accident that has wrenched her family apart. All will not be well. Or at least all will never be the same.

This national bestseller is "a significant contribution to discussions of the art of fiction and a necessary challenge to received views about whose stories are told, how they are told and for whom they are intended" (Laila Lalami, The New York Times Book Review). 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."

This novel of murder and its aftermath in a small Vermont town in the 1950s is “reminiscent of To Kill a Mockingbird . . . Absorbing” (The New York Times). In Kingdom County, Vermont, the town’s new Presbyterian minister is a black man, an unsettling fact for some of the locals. When a French-Canadian woman takes refuge in his parsonage—and is subsequently murdered—suspicion immediately falls on the clergyman. While his thirteen-year-old son struggles in the shadow of the town’s accusations, and his older son, a lawyer, fights to defend him, a father finds himself on trial more for who he is than for what he might have done. “Set in northern Vermont in 1952, Mosher’s tale of racism and murder is powerful, viscerally affecting and totally contemporary in its exposure of deep-seated prejudice and intolerance . . . [A] big, old-fashioned novel.” —Publishers Weekly “A real mystery in the best and truest sense.”—Lee Smith, The New York Times Book Review A Winner of the New England Book Award

In this celebrated book, UP THE CREEK WITHOUT A SADDLE, award-winning poet Jerry Johnson has created a universal memoir of life experiences. Animals, the natural world around us, people, first loves, loss, joy, and so much more breathes in his poetry full of treasured images. The words portray life on many levels, the images stay with you, and there is a feeling of kinship with what is described. It is a joy to read this book, and to give it as a gift to others that will be treasured forever. Sixteen of the book's 99 poems were beautifully set to music by Jon Gailmor and Pete Sutherland, two of Vermont's most beloved and legendary troubadours. A CD of those songs is available on the poet's website vtpoet.com.

If small-town reporter Polly Stern has to cover one more manure runoff story, she's going to lose her already unmindful mind. Polly thought she'd end up as a serious photojournalist, traveling the world, meeting important people, and documenting significant environmental and social events. Life didn't turn out as expected. With her career at a standstill, her marriage over, her nest empty, her spiritual foundation precarious, and her family keeping a vital secret from her, Polly is desperate for answers. And change. She sets out on an unintended journey, stumbling upon story after story that for some reason--coincidence, fate?--all occurred in 1937. Polly's path leads her to: a troubled teen on a stone bridge high in the Green Mountains of Vermont, a political refugee on a kosher farm carved out of the Dominican Republic jungle, a tribal chief near a remote hut in uncharted Papua New Guinea, a volunteer soldier in a foggy olive grove in Spain, an artistic Italian savant in a tenement on the Lower East Side of Manhattan, and to a Tibetan boy and his snow-white mastiff as they begin their trek across the Himalayas. As the lines blur between reality and fantasy, between truth and fiction, between present and past, Polly writes about these inspiring characters, and others, in nine short stories--all set in 1937--embedded throughout the novel. Her compelling international literary voyage reveals clues that allow Polly to uncover the truth about her own history, opening a new path for understanding, forgiveness, and love.