By Graeme Harper (ed.)
A significant other to inventive Writing comprehensively considers key facets of the perform, career and tradition of artistic writing within the modern world.
- The so much complete assortment in particular with regards to 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 foreign writers, editors, publishers, critics, translators, experts in public artwork 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 teens (pages 56–70): Kathleen Ahrens
Chapter five Write on! functional ideas 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 the way to Make a Pocket Watch: The British Ph.D. in inventive Writing (pages 129–143): Simon Holloway
Chapter 10 inventive Writing and the opposite Arts (pages 144–159): Harriet Edwards and Julia Lockheart
Chapter eleven brokers, Publishers, and Booksellers: A historic viewpoint (pages 161–178): John Feather
Chapter 12 The altering function of the Editor: Editors prior, 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 quite 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 thrust of Writers' gala's (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, perpetually at the circulate: inventive 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 worldwide (pages 334–347): Matthew McCool
Chapter 23 artistic 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 inventive Writing and the chilly struggle 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 academics in the neighborhood of Writers (pages 405–420): Patrick Bizzaro
Chapter 28 inventive Writing to the longer term (pages 421–432): Graeme Harper
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Extra info for A Companion to Creative Writing
O’Brien, Tim. ” In The Things They Carried. New York: Mariner Books, 2009. O’Connor, Flannery. ” In Everything That Rises Must Converge. New York: Farrar, Straus, & Giroux, 1965. 2 Writing Creative Nonfiction Bronwyn T. Williams There is a short, quiet scene in the documentary 9/11 that speaks to the power of nonfiction. The documentary was a result of a project by the filmmakers Jules and Gideon Naudet to follow a rookie New York City firefighter though his first months on the job. What began as a film about a firefighter ended as a stirring documentary about the attacks on the World Trade Center towers.
It can be tempting with memoir to think that you need to begin with the events that people would conventionally find the most impressive or traumatic. Yet, what is most important in memoir is not the facts alone, but what you think and feel about them – then and now. So a car accident or a wedding day, while they are conventionally considered significant events, may not be the most meaningful events to write about. It may be more useful to pay attention to the memories that still dig at your mind – for good or ill.
One great gift of writing is that it offers us the opportunity to manipulate time and space. Just as with the novelist, the creative nonfiction writer can condense, expand, fold back, reorder, and otherwise play with space and time. Flashbacks, foreshadowing, changing perspectives, changing the order in which events are told, are all fair game and may be effective dramatically and stylistically. In a piece of writing it may make sense to cover years in one sentence, or take pages to describe the detail of one crucial minute.