By Graeme Harper (ed.)
A significant other to artistic Writing comprehensively considers key points of the perform, career and tradition of inventive writing within the modern world.
- The so much complete assortment in particular in terms of the practices and cultural position of inventive writing
- Covers not just the “how” of artistic writing, yet many extra issues in and round the occupation and cultural practices surrounding artistic writing
- Features contributions from overseas writers, editors, publishers, critics, translators, experts in public paintings and more
- Covers the writing of poetry, fiction, new media, performs, movies, radio works, and different literary genres and forms
- Explores inventive writing’s engagement with tradition, language, spirituality, politics, schooling, and heritage
Chapter 1 The structure of tale (pages 7–23): Lorraine M. Lopez
Chapter 2 Writing inventive Nonfiction (pages 24–39): Bronwyn T. Williams
Chapter three Writing Poetry (pages 40–55): Nigel McLoughlin
Chapter four Writing for kids and teenagers (pages 56–70): Kathleen Ahrens
Chapter five Write on! useful thoughts for constructing Playwriting (pages 71–85): Peter Billingham
Chapter 6 Writing for Sound/Radio (pages 86–97): Steve May
Chapter 7 Writing the Screenplay (pages 98–114): Craig Batty
Chapter eight New Media Writing (pages 115–128): Carolyn Handler Miller
Chapter nine tips on how to Make a Pocket Watch: The British Ph.D. in artistic Writing (pages 129–143): Simon Holloway
Chapter 10 artistic Writing and the opposite Arts (pages 144–159): Harriet Edwards and Julia Lockheart
Chapter eleven brokers, Publishers, and Booksellers: A ancient viewpoint (pages 161–178): John Feather
Chapter 12 The altering position of the Editor: Editors previous, current, and destiny (pages 179–194): Frania Hall
Chapter thirteen Translation as artistic Writing (pages 195–212): Manuela Perteghella
Chapter 14 inventive Writing and “the lash of feedback” (pages 213–228): Steven Earnshaw
Chapter 15 yet what is particularly at Stake for the Barbarian Warrior? constructing a Pedagogy for Paraliterature (pages 229–244): Jeffrey S. Chapman
Chapter sixteen inventive Writing and schooling (pages 245–262): Jeri Kroll
Chapter 17 the increase and upward push of Writers' fairs (pages 263–277): Cori Stewart
Chapter 18 inventive Writing examine (pages 278–290): Graeme Harper
Chapter 19 Literary Prizes and Awards (pages 291–303): Claire Squires
Chapter 20 D.H. Lawrence, ceaselessly at the movement: artistic Writers and position (pages 305–319): Louise DeSalvo
Chapter 21 The Psychology of artistic Writing (pages 320–333): Marie J. C. Forgeard, Scott Barry Kaufman and James C. Kaufman
Chapter 22 inventive Writing around the globe (pages 334–347): Matthew McCool
Chapter 23 inventive Hauntings: inventive Writing and Literary background on the British Library (pages 348–356): Jamie Andrews
Chapter 24 Politics (pages 357–376): Jon Cook
Chapter 25 artistic Writing and the chilly warfare college (pages 377–392): Eric Bennett
Chapter 26 “To the mind's eye, the sacred is self?evident”: strategies on Spirituality and the Vocation of inventive Writing (pages 393–404): J. Matthew Boyleston
Chapter 27 The Writer?Teacher within the usa: where of lecturers locally of Writers (pages 405–420): Patrick Bizzaro
Chapter 28 artistic Writing to the long run (pages 421–432): Graeme Harper
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Extra resources for A Companion to Creative Writing
For example, you can write everything you know about a person, or list all you can remember in an important room, and all events and details associated with those people or places. Or you can work thematically, from a list of childhood heroes, or favorite summer smells and sounds. Invention writing helps with discovery and focus as well as amassing the details you’ll eventually need to write compelling descriptions. No one can keep all the details and insights needed for a memoir or an essay organized only in the mind.
You have to be honest with yourself. As Groucho Marx put it, The trouble with writing a book about yourself is that you can’t fool around. If you write about someone else, you can stretch the truth from here to Finland. If you write about yourself the slightest deviation makes you realize instantly that there may be honor among thieves, but you are just a dirty liar. (Marx 3) So, while writing about what you have lived through and observed may not produce objective truth, you also have an obligation to the reader to be honest.
Writing Creative Nonfiction 39 Books on Writing Creative Nonfiction Ballenger, Bruce P. Crafting Truth: Short Studies in Creative Nonfiction. Boston: Longman, 2011. Bradway, Becky and Douglas D. Hesse. Creating Nonfiction: A Guide and Anthology. Boston: Bedford/St. Martin’s, 2009. Forché, Carolyn and Philip Gerard. Writing Creative Nonfiction: Instruction and Insights from Teachers of the Associated Writing Programs. Cincinnati: Story Press, 2001. Gutkind, Lee and Hattie F. Buck. Keep It Real: Everything You Need to Know about Researching and Writing Creative Nonfiction.
A Companion to Creative Writing by Graeme Harper (ed.)