Being a writer is not just about typing. It's also about surviving the roller-coaster of the creative journey. Self-doubt, fear of failure, the need for validation, perfectionism, writer's block, comparisonitis, overwhelm, and much more. This book offers a survival strategy and ways to deal with them all.

Original Writing: * provides students with the practical skills they need to write confidently and effectively for different purposes and audiences * examines the conventions and styles of different types of original writing, such as writing to entertain, writing to inform and writing to persuade * looks at a wide range of examples of successful writing, including extracts from The Office, Health Education leaflets, Kerrang! and students' own work * includes a guide to planning and writing commentaries * explores problematic areas and includes advice from experts in a range of areas, from radio to song writing. Written by an experienced teacher, author and AS and A2 Level examiner, Original Writing is an essential resource for students of AS and A2 Level.

James Rollins, the New York Times bestselling master of nail-biting suspense and historical mystery, combines cutting-edge biotechnology with a centuries-old secret in an apocalyptic story that reveals where humankind is truly headed The Doomsday Key At Princeton University, a famed geneticist dies inside a biohazard lab. In Rome, a Vatican archaeologist is found dead in St. Peter's Basilica. In Africa, a U.S. senator's son is slain outside a Red Cross camp. The three murders on three continents bear a horrifying connection: all the victims are marked by a Druidic pagan cross burned into their fl esh. The bizarre murders thrust Commander Gray Pierce and Sigma Force into a race against time to solve a riddle going back centuries, to a ghastly crime against humanity hidden within a cryptic medieval codex. The fi rst clue is discovered inside a mummifi ed corpse buried in an English peat bog—a gruesome secret that threatens America and the world. Aided by two women from his past—one his exlover, the other his new partner—Gray must piece together the horrifying truth. But the revelations come at a high cost, and to save the future, Gray will have to sacrifi ce one of the women at his side. That alone might not be enough, as the true path to salvation is revealed in a dark prophecy of doom. Sigma Force confronts humankind's greatest threat in an adventure that races from the Roman Coliseum to the icy peaks of Norway, from the ruins of medieval abbeys to the lost tombs of Celtic kings. The ultimate nightmare is locked within a talisman buried by a dead saint—an ancient artifact known as the Doomsday Key.

Richard, last-born son of the Duke of York, was seven months short of his nineteenth birthday when he bloodied himself at the battles of Barnet and Tewkesbury, earning his legendary reputation as a battle commander and ending the Lancastrian line of succession. But Richard was far more than a warrior schooled in combat. He was also a devoted brother, an ardent suitor, a patron of the arts, an indulgent father, a generous friend. Above all, he was a man of fierce loyalties, great courage and firm principles, who was ill at ease among the intrigues of Edward's court.

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

In 14th century France, Aida is accused of being a witch when the Black Death wipes through her village. Abandoned by her family, she is surrounded by death and disease, but when a woman who may actually be a witch tells her how to cure the plague, it may mean uncovering a dark magic.

A fifty percent revision of a popular Complete Idiot's Guide that now, more than ever, offers readers a thorough, creative writing class in a book, with Dr. Laurie Rozakis as their teacher. The book is refocused to more of an academic approach. Readers can begin to unlock their creativity from the first page, with fabulous exercises that help them explore their talents and experiment with different genres and forms of writing, including: • •Short stories •Narrative nonfiction •Memoirs •Magazine articles •Poetry •Drama •Blogging and freewriting

The Psychology of Creative Writing takes a scholarly, psychological look at multiple aspects of creative writing, including the creative writer as a person, the text itself, the creative process, the writer's development, the link between creative writing and mental illness, the personality traits of comedy and screen writers, and how to teach creative writing. This book will appeal to psychologists interested in creativity, writers who want to understand more about the magic behind their talents, and educated laypeople who enjoy reading, writing, or both. From scholars to bloggers to artists, The Psychology of Creative Writing has something for everyone.

This national bestseller from celebrated novelist and memoirist Dani Shapiro is an intimate and eloquent companion to living a creative life. Through a blend of memoir, meditation on the artistic process, and advice on craft, Shapiro offers her gift to writers everywhere: a guide of hard-won wisdom and advice for staying the course. In the ten years since the first edition, Still Writing has become a mainstay of creative writing classes as well as a lodestar for writers just starting out, and above all, an indispensable almanac for modern writers.

In typical academic circles, texts must be critiqued, mined for the obfuscated meanings they hide, and shown to reveal larger, broader meanings than what are initially evident. To engage in this type of writing is to perform an authentic version of scholarship. But what if a scholar chooses instead to write without critique? What if they write about travelling, their children, food, grocery shopping, frozen garlic bread, sandwiches, condiments, falafel, yoga, and moments that normally wouldn’t be considered scholarly? Can the writing still be scholarly? Can scholarly writing be authentic if its topics comprise the everyday? In Authentic Writing, Jeff Rice uses this question to trace a position regarding critique, the role of the scholar, the role of the personal in scholarship, the banal as subject matter, and the idea of authenticity. He explores authenticity as a writing issue, a rhetorical issue, a consumption issue, a culture issue, and an ideological issue. Rather than arguing for a more authentic state or practice, Rice examines the rhetorical features of authenticity in order to expand the focus of scholarship.