How does it feel to be constantly regarded as a potential threat, strip-searched at every airport? Or be told that as an actress, the part you're most fitted to play is 'wife of a terrorist'? How does it feel to have words from your native language misused, misappropriated and used aggressively towards you? How does it feel to hear a child of colour say in a classroom that stories can only be about white people? How does it feel to go 'home' to India when your home is really London?

Your Story Matters is an indispensable and inclusive guide not only to the how of writing, but also the why. Nikesh Shukla, author, writing mentor and best-selling editor of The Good Immigrant, knows better than most the power that every unique voice has to effect change. Everyone has a story inside that only they can tell; all you need is the friendly, informal and practical advice in this audiobook to help draw it out and let you know that your story is worthy of being told. 

Dimple Pennington knew of her half siblings, but she didn't really know them. Five people who don't have anything in common except for faint memories of being driven through Brixton in their dad's gold jeep and some pretty complex abandonment issues. Dimple has bigger things to think about. She's 30, and her life isn't really going anywhere. An aspiring lifestyle influencer with a terrible and wayward boyfriend, Dimple's life has shrunk to the size of a phone screen. And despite a small but loyal following, she's never felt more alone.

In his brilliantly illuminating new book Sathnam Sanghera demonstrates how so much of what we consider to be modern Britain is actually rooted in our imperial past. In prose that is, at once, both clear-eyed and full of acerbic wit, Sanghera shows how our past is everywhere: from how we live to how we think, from the foundation of the NHS to the nature of our racism, from our distrust of intellectuals in public life to the exceptionalism that imbued the campaign for Brexit and the government's early response to the COVID crisis. And yet empire is a subject weirdly hidden from view.

Brown Girl Like Me is an inspiring memoir and empowering manifesto that equips women with the confidence and tools they need to navigate the difficulties that come with an intersectional identity. Jaspreet Kaur unpacks key issues such as the media, the workplace, the home, education, mental health, culture, confidence and the body, to help South Asian women understand and tackle the issues that affect them and help them be in the driving seat of their own lives.

This is my story, from a crumbling apartment in Central Falls, Rhode Island, to the stage in New York City, and beyond. This is the path I took to finding my purpose and my strength, but also to finding my voice in a world that didn't always see me. As I wrote Finding Me, my eyes were open to the truth of how our stories are often not given close examination. They are bogarted, reinvented to fit into a crazy, competitive, judgmental world. So I wrote this for anyone who is searching for a way to understand and overcome a complicated past, let go of shame and find acceptance.

Trying to navigate her Indian world at home and the British world outside her front door, Anita Rani was a girl who didn't ­fit in anywhere. She was always destined to stand out: from playing Mary in her otherwise all white nursery nativity to growing up in '80s Yorkshire with her Punjabi family, spending evenings in the factory her parents owned whilst trying to ­figure out how best to get rid of hair that seemed to be growing everywhere.

White tears possess a potency that is rarely acknowledged or commented upon, but they have long been used as a dangerous and insidious tool against people of colour. Taking us from the slave era, when white women fought in court to keep 'ownership' of their slaves, through centuries of colonialism, when women offered a soft face for brutal tactics, to the modern workplace, in which tears serve as a defense to counter accusations of bias and microaggressions, White Tears/Brown Scars tells a charged story of white women's active participation in campaigns of oppression. 

Stop the denial. Abandon guilt. Interrogate capitalism. When it comes to racial justice, how do we transform demonstrations of support into real and meaningful change? With intellectual rigour and razor-sharp wit, Emma Dabiri cuts through the haze of online discourse to offer clear advice.

Edie is just trying to survive. She’s messing up in her dead-end admin job in her all-white office, she is sleeping with all the wrong men and she has failed at the only thing that meant anything to her: painting. No one seems to care that she doesn’t really know what she’s doing with her life beyond looking for her next hook-up. And then she meets Eric, a white, middle-aged archivist with a suburban family, including a wife who has sort-of-agreed to an open marriage and an adopted Black daughter who doesn’t have a single person in her life who can show her how to do her hair.

In the Dream House is Carmen Maria Machado's engrossing and wildly innovative account of a relationship gone bad. Tracing the full arc of a harrowing experience with a charismatic but volatile woman, this is a bold dissection of the mechanisms and cultural representations of psychological abuse. Each chapter views the relationship through a different lens, as Machado holds events up to the light and examines them from distinct angles.

How should we talk about sex? It is a thing we have and also a thing we do: a supposedly private act laden with public meaning, a personal preference shaped by outside forces, a place where pleasure and ethics can pull wildly apart. We need to interrogate the fraught relationships between discrimination and preference, pornography and freedom, rape and racial injustice, punishment and accountability, pleasure and power, capitalism and liberation. We need to rethink sex as a political phenomenon.

When Gill and Gabe's eldest son drowns overseas, they decide they must hide the truth from their desperately unwell teenaged daughter. But as Gill begins to send letters from her dead son to his sister, the increasingly elaborate lie threatens to prove more dangerous than the truth. Told through alternating perspectives, and moving between Tasmania and London, this is a story about family, food, grief and hope.

Nadia Owusu is a woman of many languages, homelands and identities. She grew up in Rome, Dar-es-Salaam, Addis Ababa, Kumasi, Kampala and London. And for every new place there was a new language, a new identity and a new home. At times she has felt stateless, motherless and identity-less. At others, she has had multiple identities at war within her. It's no wonder she started to feel fault lines in her sense of self. It's no wonder that those fault lines eventually ruptured.

The sharp-tongued (and secretly soft-hearted) Kiki Banjo is an expert in relationship-evasion, and likes to keep her feelings close to her chest. As the host of the popular student radio show, Brown Sugar, it is her mission to make sure the women who make up the Afro-Caribbean Society at Whitewell University also do not fall into the mess of 'situationships', players and heartbreak. But when Kiki meets the distressingly handsome and charming newcomer Malakai Korede, her defences are weakened and her heart is compromised.