by Anne E. Beall ‧ RELEASE DATE: Oct. 24, 2025
A productively therapeutic writing guide that balances practical and emotional advice.
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In this prose-writing guide, Beall encourages would-be writers to proceed with empathy.
If asked to name the top attributes required to be a successful writer—such as imagination, determination, discipline, or an affinity for language—compassion likely would not make most people’s lists. According to the author, however, compassion is essential when it comes to telling engaging stories. “Compassion gives me permission to take my time and really listen for what the story wants to be,” writes Beall in her introduction. “Whether I’m writing memoir or fiction, I try to meet myself where I am—with regrets and pride, failure and grace.” In this writing guide, the author lays out how aspiring writers can better incorporate compassion into their work, from the way they envision their characters to the way they treat themselves. Beginning with self-compassion, Beall discusses why doubt is so common among writers at all stages of their careers, especially those who are just starting out. Self-compassion, she asserts, means giving yourself permission to write freely, without feeling the need to justify yourself. This does not mean silencing one’s inner critic completely, since, as Beall points out, that internal voice is necessary for improvement. Rather, the author helps readers train their inner critics to be supportive and constructive rather than judgmental and intrusive, demonstrating how self-compassion can help writers to be more vulnerable in their creativity and to find their voices on the page. A trained psychologist, Beall incorporates ideas from that field, like cognitive biases and reframing life experiences to see them from a new perspective. She discusses the necessity of empathy when turning real experiences into prose narrative, particularly when the writing grapples—directly or indirectly—with real people from the writer’s life. From crafting complex characters and enticing conflicts to finding literary community and facing rejection from the publishing world, Beall demystifies the process from a place of kindness.
Her prose is gentle but precise: “Emotional truth doesn’t always come in the form of dramatic speeches or outbursts. Sometimes it shows up in silence, hesitation, or subtle reactions—a pause before speaking, a glance away, the way someone’s fingers brush a photograph before setting it down.” Each chapter features writing exercises to help readers practice craft concepts, personal anecdotes from Beall’s own experiences as an author, and writing prompts that encourage readers to generate their own material. The author also includes guided visualizations (a rare feature in writing guides) to assist aspiring writers in opening their minds to the process. Readers are invited to imagine themselves walking down a beach, for example, where the shells they find represent stories that have been spat out of the ocean of life experience, or to picture an imaginary house in which they feel so safe and welcome that they can revisit painful memories while sitting inside of it. The book is certainly emotion-forward, and readers may sometimes feel as though, on the way to the writing workshop, they accidentally wandered into a self-help seminar. (One chapter is called “Overcoming Writer’s Block With Compassion.”) For those amenable to an openhearted approach, however, Beall has much sound advice to offer.
A productively therapeutic writing guide that balances practical and emotional advice.Pub Date: Oct. 24, 2025
ISBN: 9798990192928
Page Count: 280
Publisher: N/A
Review Posted Online: March 13, 2026
Kirkus Reviews Issue: May 1, 2026
Review Program: Kirkus Indie
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IndieBound Bestseller
by Steve Martin illustrated by Harry Bliss ‧ RELEASE DATE: Nov. 17, 2020
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
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IndieBound Bestseller
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
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by Matthew McConaughey ‧ RELEASE DATE: Sept. 16, 2025
It’s not Shakespeare, not by a long shot. But at least it’s not James Franco.
A noted actor turns to verse: “Poems are a Saturday in the middle of the week.”
McConaughey, author of the gracefully written memoir Greenlights, has been writing poems since his teens, closing with one “written in an Australian bathtub” that reads just as a poem by an 18-year-old (Rimbaud excepted) should read: “Ignorant minds of the fortunate man / Blind of the fate shaping every land.” McConaughey is fearless in his commitment to the rhyme, no matter how slight the result (“Oops, took a quick peek at the sky before I got my glasses, / now I can’t see shit, sure hope this passes”). And, sad to say, the slight is what is most on display throughout, punctuated by some odd koanlike aperçus: “Eating all we can / at the all-we-can-eat buffet, / gives us a 3.8 education / and a 4.2 GPA.” “Never give up your right to do the next right thing. This is how we find our way home.” “Memory never forgets. Even though we do.” The prayer portion of the program is deeply felt, but it’s just as sentimental; only when he writes of life-changing events—a court appearance to file a restraining order against a stalker, his decision to quit smoking weed—do we catch a glimpse of the effortlessly fluent, effortlessly charming McConaughey as exemplified by the David Wooderson (“alright, alright, alright”) of Dazed and Confused. The rest is mostly a soufflé in verse. McConaughey’s heart is very clearly in the right place, but on the whole the book suggests an old saw: Don’t give up your day job.
It’s not Shakespeare, not by a long shot. But at least it’s not James Franco.Pub Date: Sept. 16, 2025
ISBN: 9781984862105
Page Count: 208
Publisher: Crown
Review Posted Online: Aug. 15, 2025
Kirkus Reviews Issue: Sept. 15, 2025
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