"It was the best teaching-writing job I ever had." --John...

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 his New York Times bestseller Steal Like an Artist, Austin Kleon showed readers how to unlock their creativity by “stealing” from the community of other movers and shakers. Now, in an even more forward-thinking and necessary book, he shows how to take that critical next step on a creative journey—getting known. Show Your Work! is about why generosity trumps genius. It’s about getting findable, about using the network instead of wasting time “networking.” It’s not self-promotion, it’s self-discovery—let others into your process, then let them steal from you. Filled with illustrations, quotes, stories, and examples, Show Your Work! offers ten transformative rules for being open, generous, brave, productive. In chapters such as You Don’t Have to Be a Genius; Share Something Small Every Day; and Stick Around, Kleon creates a user’s manual for embracing the communal nature of creativity— what he calls the “ecology of talent.” From broader life lessons about work (you can’t find your voice if you don’t use it) to the etiquette of sharing—and the dangers of oversharing—to the practicalities of Internet life (build a good domain name; give credit when credit is due), it’s an inspiring manifesto for succeeding as any kind of artist or entrepreneur in the digital age.

Brenda Ueland was a journalist, editor, freelance writer, and teacher of writing. In If You Want to Write: A Book about Art, Independence and Spirit she shares her philosophies on writing and life in general. Ueland firmly believed that anyone can write, that everyone is talented, original, and has something important to say. In this book she explains how find that spark that will make you a great writer. Carl Sandburg called this book the best book ever written about how to write. Join the millions of others who've found inspiration and unlocked their own talent.

Working-class stories are not always tales of the underprivileged and dispossessed. Common People is a collection of essays, poems and memoir written in celebration, not apology: these are narratives rich in barbed humour, reflecting the depth and texture of working-class life, the joy and sorrow, the solidarity and the differences, the everyday wisdom and poetry of the woman at the bus stop, the waiter, the hairdresser. Here, Kit de Waal brings together thirty-three established and emerging writers who invite you to experience the world through their eyes, their voices loud and clear as they reclaim and redefine what it means to be working class. Features original pieces from Damian Barr, Malorie Blackman, Lisa Blower, Jill Dawson, Louise Doughty, Stuart Maconie, Chris McCrudden, Lisa McInerney, Paul McVeigh, Daljit Nagra, Dave O’Brien, Cathy Rentzenbrink, Anita Sethi, Tony Walsh, Alex Wheatle and more.

In her entertaining and edifying New York Times bestseller, acclaimed author Francine Prose invites you to sit by her side and take a guided tour of the tools and tricks of the masters to discover why their work has endured. Written with passion, humour and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart – to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; to look to John le Carré for a lesson in how to advance plot through dialogue and to Flannery O’ Connor for the cunning use of the telling detail; to be inspired by Emily Brontë ’ s structural nuance and Charles Dickens’ s deceptively simple narrative techniques. Most importantly, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted, and reminds us that good writing comes out of good reading.

In Advice to Writers, Jon Winokur, author of the bestselling The Portable Curmudgeon, gathers the counsel of more than four hundred celebrated authors in a treasury on the world of writing. Here are literary lions on everything from the passive voice to promotion and publicity: James Baldwin on the practiced illusion of effortless prose, Isaac Asimov on the despotic tendencies of editors, John Cheever on the perils of drink, Ivan Turgenev on matrimony and the Muse. Here, too, are the secrets behind the sleight-of-hand practiced by artists from Aristotle to Rita Mae Brown. Sagacious, inspiring, and entertaining, Advice to Writers is an essential volume for the writer in every reader.

Ready to write your book? So why haven’t you done it yet? If you’re like most nonfiction authors, fears are holding you back. Sound familiar? Is my idea good enough? How do I structure a book? What exactly are the steps to write it? How do I stay motivated? What if I actually finish it, and it’s bad? Worst of all: what if I publish it, and no one cares? How do I know if I’m even doing the right things? The truth is, writing a book can be scary and overwhelming—but it doesn’t have to be. There’s a way to know you’re on the right path and taking the right steps. How? By using a method that’s been validated with thousands of other Authors just like you. In fact, it’s the same exact process used to produce dozens of big bestsellers–including David Goggins’s Can’t Hurt Me, Tiffany Haddish’s The Last Black Unicorn, and Joey Coleman’s Never Lose a Customer Again. The Scribe Method is the tested and proven process that will help you navigate the entire book-writing process from start to finish–the right way. Written by 4x New York Times Bestselling Author Tucker Max and publishing expert Zach Obront, you’ll learn the step-by-step method that has helped over 1,500 authors write and publish their books. Now a Wall Street Journal Bestseller itself, The Scribe Method is specifically designed for business leaders, personal development gurus, entrepreneurs, and any expert in their field who has accumulated years of hard-won knowledge and wants to put it out into the world. Forget the rest of the books written by pretenders. This is the ultimate resource for anyone who wants to professionally write a great nonfiction book.

This timely volume explores the signal contribution George Saunders has made to the development of the short story form in books ranging from CivilWarLand in Bad Decline (1996) to Tenth of December (2013). The book brings together a team of scholars from around the world to explore topics ranging from Saunders’s treatment of work and religion to biopolitics and the limits of the short story form. It also includes an interview with Saunders specially conducted for the volume, and a preliminary bibliography of his published works and critical responses to an expanding and always exciting creative œuvre. Coinciding with the release of the Saunders’ first novel, Lincoln in the Bardo (2017), George Saunders: Critical Essays is the first book-length consideration of a major contemporary author’s work. It is essential reading for anyone interested in twenty-first century fiction.

#1 NEW YORK TIMES BESTSELLER • WINNER OF THE MAN BOOKER PRIZE The “devastatingly moving” (People) first novel from the author of Tenth of December: a moving and original father-son story featuring none other than Abraham Lincoln, as well as an unforgettable cast of supporting characters, living and dead, historical and invented One of The New York Times’s 100 Best Books of the 21st Century • One of The Atlantic’s Great American Novels of the Past 100 Years • One of Paste’s Best Novels of the Decade Named One of the Ten Best Books of the Year by The Washington Post, USA Today, and Maureen Corrigan, NPR • One of Time’s Ten Best Novels of the Year • A New York Times Notable Book • One of O: The Oprah Magazine’s Best Books of the Year February 1862. The Civil War is less than one year old. The fighting has begun in earnest, and the nation has begun to realize it is in for a long, bloody struggle. Meanwhile, President Lincoln’s beloved eleven-year-old son, Willie, lies upstairs in the White House, gravely ill. In a matter of days, despite predictions of a recovery, Willie dies and is laid to rest in a Georgetown cemetery. “My poor boy, he was too good for this earth,” the president says at the time. “God has called him home.” Newspapers report that a grief-stricken Lincoln returns, alone, to the crypt several times to hold his boy’s body. From that seed of historical truth, George Saunders spins an unforgettable story of familial love and loss that breaks free of its realistic, historical framework into a supernatural realm both hilarious and terrifying. Willie Lincoln finds himself in a strange purgatory where ghosts mingle, gripe, commiserate, quarrel, and enact bizarre acts of penance. Within this transitional state—called, in the Tibetan tradition, the bardo—a monumental struggle erupts over young Willie’s soul. Lincoln in the Bardo is an astonishing feat of imagination and a bold step forward from one of the most important and influential writers of his generation. Formally daring, generous in spirit, deeply concerned with matters of the heart, it is a testament to fiction’s ability to speak honestly and powerfully to the things that really matter to us. Saunders has invented a thrilling new form that deploys a kaleidoscopic, theatrical panorama of voices to ask a timeless, profound question: How do we live and love when we know that everything we love must end? “A luminous feat of generosity and humanism.”—Colson Whitehead, The New York Times Book Review “A masterpiece.”—Zadie Smith