Here are 100 books that Writing Picture Books fans have personally recommended if you like
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As a writer, I love words and am continuously fascinated by the way they work. In terms of writing manuals, I particularly value the work of writers who combine knowledge and understanding of writing techniques while also providing inspiration and keys to freeing the imagination. I’ve found these books brilliantly complement my professional interest in story structure and how story works, and match my own approach to combining theory with practice; craft with art in my work on story. I hope you find they inspire creativity in you, too.
This book, by Pulitzer prize winner Robert Olen Butler, is in three parts. Transcripts of inspiring lectures are followed by well-edited accounts of individual coaching sessions. These provide very useful nuggets of practical wisdom about unblocking habitual patterns that get in the way of flowing writing practice – habitual patterns that every writer faces and needs to deal with. The stories analysed in the book are found in the final part. An appendix follows, with a story by Butler called ‘Open Arms’, which demonstrates his skill as a writer. A theme that flows through the book is ‘yearning’ – and the book invites you to engage with this theme… with open arms. It’s a work that I go to when I’m stuck – it never fails to inspire.
This comprehensive guide to writing creative fiction collects the lectures of the Pulitzer Prize winning author, Robert Olen Butler, transcribed and edited by Janet Burroway, the author of the classic text on creative writing, "Writing Fiction". "From Where You Dream" reimagines the process of writing as emotional rather than intellectual, and tells writers how to achieve the dreamspace necessary for composing honest, inspired fiction. Proposing fiction as the exploration of the human condition with yearning as its compass, Butler reinterprets the traditional tools of the craft using the dynamics of desire. Butler offers invaluable insights into the nature of voice…
As a writer, I love words and am continuously fascinated by the way they work. In terms of writing manuals, I particularly value the work of writers who combine knowledge and understanding of writing techniques while also providing inspiration and keys to freeing the imagination. I’ve found these books brilliantly complement my professional interest in story structure and how story works, and match my own approach to combining theory with practice; craft with art in my work on story. I hope you find they inspire creativity in you, too.
If you’re in need of inspiration, this book will either make you fall in love with writing or fall back in love with it again. Although it’s a book for the younger writer (aged 9-12), it’s a perfect book for the young-at-heart, grown-up kid. It’s full of energy and verve – just the thing to boost creativity and confidence. Although it’s one of the shortest books on my list, its content packs a punch. It contains exercises to spark the imagination, helpful hints and tips from established authors, and plenty of advice on writing both fiction and nonfiction.
A lively and humorous self-help book for children aged 9-12 on being a writer. It shows them how to develop writing practice as part of their everyday lives, rather than just in the classroom. The book offers advice on avoiding unhelpful feelings such as anxiety, impatience and self-rejection and shows how writing is a brilliant tool for building self-confidence, understanding and effectiveness throughout life. "Aimed at schoolchildren, here is a book that should capture their imagination, make them realise that writing can be fun, and inspire them to create their own written material." Writing Magazine
As a writer, I love words and am continuously fascinated by the way they work. In terms of writing manuals, I particularly value the work of writers who combine knowledge and understanding of writing techniques while also providing inspiration and keys to freeing the imagination. I’ve found these books brilliantly complement my professional interest in story structure and how story works, and match my own approach to combining theory with practice; craft with art in my work on story. I hope you find they inspire creativity in you, too.
I picked up this book as the title sounded interesting, but it sat on my bookshelves for over five years before I delved into it. Since then, it’s become one of my favourite guides to writing. It’s described as ‘probably the most unusual guidebook for creative writing in the world.’ It’s full of insights such as ‘grammar is a mapping of the human soul,’ or ‘the social word… is serious play.’ The play takes place in a field with the four ‘great human virtues’ at its corners: beauty, good will, truth, and openness. It’s a ‘sourcebook of spells’ that have the power to ‘carry you into that place of the heart from which true language comes.’
This is an inspirational workbook of creative writing exercises for poets and teachers, and for all who wish to develop the life of the imagination. Paul Mathews gives us permission to indulge our fantasy, and then, when that life is flowing, provides the tools to craft it into poetry and song. There are over 300 exercises for improving writing skills, for self study. They are also ideally suited for group work with adults. Teachers will find these exercises popular with students.
As a writer, I love words and am continuously fascinated by the way they work. In terms of writing manuals, I particularly value the work of writers who combine knowledge and understanding of writing techniques while also providing inspiration and keys to freeing the imagination. I’ve found these books brilliantly complement my professional interest in story structure and how story works, and match my own approach to combining theory with practice; craft with art in my work on story. I hope you find they inspire creativity in you, too.
If this book only contained Erasmus’ virtuoso display and structural analysis of how the sentence ‘Your letter pleased me greatly’ can be expressed in over 150 ways, it would be well worth getting. The book, however, contains far more – including examples of descriptive writing that Erasmus admired. If you want ideas on how you might describe a shipwreck, a storm, or a whirlwind, you’ll find them here. It also has ideas on how to describe games, processions, and battles. It features interesting descriptions of living creatures, ranging from porcupines to bees to mythical creatures like the phoenix. Not many writing manuals offer an appreciative evaluation of classical texts easily accessible on line. I’ve enjoyed engaging with the work of the authors quoted – and would recommend it for anyone seeking to drink deep from the fountain of historic practices, to refresh and reinvigorate their own writing style.
The first edition of the De duplici copia verborum ac rerum of Erasmus was completed during Erasmus’ third and most lengthy visit to England (1509-1514). It is dedicated appropriately to John Colet for use in St. Paul’s School, which he had recently opened in London. The present translation was made from a seventeenth century copy of the De copia which had first been collated with a copy of the first edition of Schurer, dated January, 1513, with a copy of the first revised edition, published by Froben in 1526, and with a copy of the 1540 Basle Opera Omnia edition…
I spent my childhood reading for pleasure, for escapism, for humor, for reassurance, for different views of the world, and even out of sheer boredom sometimes when there was nothing else to do. I have no doubt it’s what made me into a writer. In retrospect, it makes total sense that my first book was about the history and power of a children’s series. When I found myself immersed in not just my old Nancy Drews but the fascinating stories of the people and times that produced her, it was like being back in my childhood bedroom again, only this time with the experience to understand how what I read fit into the larger story of America, feminism, and literature. I hope the books I’ve recommended will inspire you to revisit your old favorites with a new eye.
I love letter collections and this one is among my very favorites. From 1940 to 1973, Ursula Nordstrom was the director of the Department of Books for Boys and Girls at Harpers, one of New York’s biggest publishing houses. Her letters to the authors she worked with are so funny, sharp, and wise that I always wish I’d had a chance to work with her. Even if I had, though, the competition was stiff as her authors included pretty much every single person who wrote and/or illustrated what we now think of as a children’s classic. To name just a few: Charlotte’s Web and Stuart Little; Where the Wild Things Are; Goodnight Moon; The Little House on the Prairie Books, and many, many more. You’ll learn how they all came to be and also close the book feeling like you had a great, gossipy publishing lunch in…
She trusted her immense intuition and generous heart--and published the most. Ursula Nordstrom, director of Harper's Department of Books for Boys and Girls from 1940 to 1973, was arguably the single most creative force for innovation in children's book publishing in the United States during the twentieth century. Considered an editor of maverick temperament and taste, her unorthodox vision helped create such classics as Goodnight Moon, Charlotte's Web, Where the Wild Things Are, Harold and the Purple Crayon, and The Giving Tree.
Leonard S. Marcus has culled an exceptional collection of letters from the HarperCollins archives. The letters included here…
I have studied creativity for 40 years and, along with the textbook I wrote, I am continually teaching my marketing students how to become more creative. I have unequivocally demonstrated that everyone who wants to become more creative can do so with the appropriate tutelage. This is why I get so much satisfaction from teaching creativity and it is why I wrote my book that I am highlighting here.
This book contains 17 chapters written by educational psychologists who have worked with creativity. These chapters range from establishing the best conditions in organizations for creativity to occur, how to test for creativity, problem-solving and creativity, freedom, and constraint in creativity, time’s impact on creativity, how dreams and other insights influence creativity, how society influences creativity, the relevance of talent in creativity, to leadership involving creativity. The spectrum of perspectives is broad indeed and I have personally gleaned much about all the relevant domains relating to creativity from reading this book.
Originally published in 1988, this book provides sixteen chapters by acknowledged experts on the richness and diversity of psychological approaches to the study of creativity. Addressing various aspects and levels of analysis, together they constitute a broad survey of the understanding of what it is to be 'creative'. In the first part of The Nature of Creativity, the role of the environment is discussed. In the second part, the role of the individual is viewed - first from a psychometric perspective; and then from a cognitive or information-processing perspective. In the third part, the role of interaction between individual and…
I believe that people need stories and book marketing done well can help readers find the stories they need to craft a more hope-filled, compassionate, and meaningful life. The authors I meet are sharp and creative, but many don’t have experience with book marketing. I find coaching authors to amplify their platforms is a rewarding way to support the community. My front-row seat to watching my clients’ dreams become reality is so inspiring. This book was a collaboration of book marketing experts, whom I admire, and I was so honored they agreed to share their insights with our readers.
Writing, publishing, and marketing a book is hard. One of the biggest hurdles for me is my mindset.
Be the Gateway offered me a path to finding my creative why and using that to focus my creativity and my marketing efforts. If you find the creative life a struggle, this book can help you reclaim your excitement.
Many people feel the drive to do creative work, but get overwhelmed by the process of connecting with an audience. They follow best practices in marketing that never seem to pan out, don t produce results, and make them feel lost and oftentimes, frustrated. Be the Gateway offers a powerful way to have an impact. If you want to share your voice and inspire people with your writing, art, craft, or creative idea, you have to be the gateway for them. Instead of throwing products out into the marketplace, you open them up to a new way of looking at…
I have studied creativity for 40 years and, along with the textbook I wrote, I am continually teaching my marketing students how to become more creative. I have unequivocally demonstrated that everyone who wants to become more creative can do so with the appropriate tutelage. This is why I get so much satisfaction from teaching creativity and it is why I wrote my book that I am highlighting here.
This book is a compilation of chapters written by (mostly) psychology professors who have dealt with creativity extensively throughout their careers, and I highly recommend it. The topics cover psychometric approaches to creativity, experimental studies in creativity, the history of creativity, biological bases of creativity, the development of creativity, relationships between creativity and intelligence, the types of motivation necessary to produce creative outputs, cultural aspects of creativity, computer modeling in creativity, the development of prodigies, and significant research into creative processes. I gained valuable insights into domains and areas that I never would have considered otherwise.
This second edition of the renowned Cambridge Handbook of Creativity expands on the first edition with over two thirds new material reaching across psychology, business, entrepreneurship, education, and neuroscience. It introduces creativity scholarship by summarising its history, major theories and assessments, how creativity develops across the lifespan, and suggestions for improving creativity. It also illustrates cutting-edge work on genetics and the neuroscience of creativity, alongside creativity's potential for both benevolence and malevolence. The chapters cover the related areas of imagination, genius, play, and aesthetics and tackle questions about how cultural differences, one's physical environment, mood, and self-belief can impact creativity.…
I have studied creativity for 40 years and, along with the textbook I wrote, I am continually teaching my marketing students how to become more creative. I have unequivocally demonstrated that everyone who wants to become more creative can do so with the appropriate tutelage. This is why I get so much satisfaction from teaching creativity and it is why I wrote my book that I am highlighting here.
This is a book with various chapters written by psychologists who have studied metacognition extensively. Metacognition involves thinking about your own thinking, and psychologists all agree that it is a prime requisite to becoming creative. A creative person has to understand how his/her/their brain actually thinks. This book taught me the pitfalls in human metacognitive processes, the value of recall, the feeling of knowing or not knowing, portions of the brain responsible for various creative functions, metacognitive possibilities in older age, and metacognition’s influence on problem identification and solving. This book opened my eyes to the critical nature of metacognition to optimal human performance, and I spend significant time with my students discussing and practicing metacognition.
The term metacognition describes our self-knowledge about how we perceive, remember, think, and act. This volume contains 12 original contributions that describe psychological research on metacognition and the conditions under which metacognitive beliefs are either veridical, spurious, or biased. They explore how self-reflective processes are affected by subject variables such as developmental changes or neurological impairment. Finally, they identify methodological and theoretical issues important for this kind of research. Annotation copyright Book News, Inc. Portland, Or.
The start of my own online teaching business in 2010 felt both liberating and frustrating. I enjoyed working for myself but struggled to make my offers unique, attractive, sustainable, and successful. I had no idea how to make my voice heard in the highly-saturated and fast-growing online teaching industry. Following the advice of famous online business gurus, I lost track of what I wanted my business to accomplish and burned out following every online teaching trend there was. The books I’ve selected helped me align with my own vision and values, inspired me to overcome my limitations and succeed on my own terms.
Most online teachers I’ve worked with detest the idea of marketing, and yet this is something we cannot avoid especially when running our own business. Bernadette Jiwa defines marketing as a story you tell that has the capacity to change the world. In the book she shares multiple purposeful stories of people who shared their message in the most authentic way and how their courage moved others to action and brought about change. This is a guide into marketing that will make you excited about the change you seek to make and how your small online teaching business can transform the world.
"Every Jiwa book is a special event, and this one is no exception. Memorable stories about stories, practical, hard-won insights about how people change and why. Short and powerful.—"SETH GODIN
What makes some bad ideas successful, and why do many good ideas fail?
It turns out that there’s no such thing as a bad idea or a good idea. There is only the wrong story or the right story. The right story is one that is trusted. It is believed because it is told by the right person, for the right reasons, in the right way, at the right time,…
