At St Oswald’s, a long-established boys’ grammar school in the north of England, a new year has just begun. For the staff and boys of the school, a wind of unwelcome change is blowing. Suits, paperwork and Information Technology rule the world; and Roy Straitley, the eccentric veteran Latin master, is finally – reluctantly – contemplating retirement. But beneath the little rivalries, petty disputes and everyday crises of the school, a darker undercurrent stirs.

What is the role of the writer? Prophet? High priest of art? Court jester? Or witness to the real world? Looking back on her own childhood and writing career, Margaret Atwood examines the metaphors which writers of fiction and poetry have used to explain - or excuse! - their activities, looking at what costumes they have assumed, what roles they have chosen to play. In her final chapter she takes up the challenge of the title: if a writer is to be seen as "gifted", who is doing the giving and what are the terms of the gift?

When an exotic stranger, Vianne Rocher, arrives in the French village of Lansquenet and opens a chocolate boutique directly opposite the church, Father Reynaud denounces her as a serious moral danger to his flock - especially as it is the beginning of Lent, the traditional season of self-denial. As passions flare and the conflict escalates, the whole community takes sides. Can the solemnity of the church compare with the sinful pleasure of a chocolate truffle?

While writers might disagree over showing versus telling or plotting versus pantsing, none would argue this: If you want to write strong fiction, you must make your readers feel. The reader's experience must be an emotional journey of its own, one as involving as your characters' struggles, discoveries, and triumphs are for you. That's where The Emotional Craft of Fiction comes in. Veteran literary agent and expert fiction instructor Donald Maass shows you how to use story to provoke a visceral and emotional experience in readers.

It's every novelist's greatest fear: pouring their blood, sweat, and tears into writing hundreds of pages only to realize that their story has no sense of urgency, no internal logic, and so is a page-one rewrite. The prevailing wisdom in the writing community is that there are just two ways around this problem: pantsing (winging it) and plotting (focusing on the external plot). 

The sentence is the common ground where every writer walks. A poet writes in sentences, but so does the unsung author who came up with Items trapped in doors cause delays. A good sentence can be written (and read) by anyone if we simply give it the gift of our time, and it is as close as most of us will get to making something truly beautiful. Enter acclaimed author Professor Joe Moran. Using minimal technical terms, First You Write a Sentence is his unpedantic but authoritative explanation of how the most ordinary words can be turned into verbal constellations of extraordinary grace. 

Here is a new collector's edition of this modern classic as you have never heard it before, read by Natalie Goldberg herself, and then infused with her most personal reflections about this "magic manual" for all writers. Try these ingenious, Zen-based exercises to expand your writing skills ¿ or just for fun.

Bird by Bird is the bible of writing guides - a wry, honest, down-to-earth book that has never stopped selling since it was first published in the United States in the 1990s. Best-selling novelist and memoirist Anne Lamott distils what she's learned over years of trial and error. Beautifully written, wise and immensely helpful, this is the book for all serious writers and writers-to-be.

In June of 1999, Stephen King was hit by a van while walking along the shoulder of a country road in Maine. Six operations were required to save his life and mend his broken body. When he was finally able to sit up, he immediately started writing. This book - part biography, part a collection of tips for the aspiring writer - is the extraordinary result.

No one comes out of a movie talking about structure. What audiences love and remember about a movie are great scenes. Marlon Brando in the back seat in On the Waterfront giving his "I could'a been a contender" speech. Meg Ryan's fake orgasm in Katz's Deli in When Harry Met Sally with the climactic punch line: "I'll have what she's having." In Superbad, Jonah Hill professing "I love you" to his friend Michael Cera by touching his nose with a "boop".

With so many excellent writing guides lining bookstore shelves, it can be hard to know where to look for the best advice. Should you go with Natalie Goldberg or Anne Lamott? Maybe William Zinsser or Stephen King would be more appropriate. Then again, what about the classics - Strunk and White, or even Aristotle himself? In Murder Your Darlings, Roy Peter Clark, who has been a beloved and revered writing teacher to children and Pulitzer Prize winners alike for more than 30 years, has compiled a remarkable collection of more than 100 of the best writing tips.

It begins with a painting won in a raffle: 15 sunflowers, hung on the wall by a woman who believes that men and boys are capable of beautiful things. And then there are two boys, Ellis and Michael, who couldn't be closer. And the boys become men, and then they meet Annie, and it changes nothing and everything. Tin Man sees Sarah Winman follow the acclaimed success of When God Was a Rabbit and A Year of Marvellous Ways with a love letter to human kindness and friendship, loss and living.

Tired of the hero's journey? Frustrated that funny, romantic, and comforting stories aren't taken seriously? Sad that the books and movies you love never seem to be critically acclaimed, even when they sell like crazy? The heroine's journey is here to help. Multiple New York Times best-selling author Gail Carriger presents a clear, concise analysis of the heroine's journey, how it differs from the hero's journey, and how you can use it to improve your writing and your life. Narrated by Starla Huchton. 

Story isn't just one way to persuade. It's the way. It's built into the architecture of the brain, and has been since early humans gathered around the camp fire, trying to figure out how to outsmart the lion next door. In Story or Die, story coach Lisa Cron sets out to decode the power of story, first by examining how the brain processes information, translates it into narrative, and then guards it as if your life depends on it.

Have you always wanted to write a book, but not sure how? Have you got an idea, but you just don’t know what to do with it? Have you tried writing your first draft, but are never happy with what you write? Amazon US and UK best-selling horror and thriller author, Rick Wood, takes you through the process that has seen him publish over 30 books and grew a loyal fanbase to his work.