By Graeme Harper (ed.)
A better half to inventive Writing comprehensively considers key features of the perform, occupation and tradition of inventive writing within the modern world.
- The so much complete assortment in particular in relation to the practices and cultural position of artistic writing
- Covers not just the “how” of artistic writing, yet many extra themes in and round the career 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, motion pictures, radio works, and different literary genres and forms
- Explores artistic 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! sensible concepts 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 best way 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 old point of view (pages 161–178): John Feather
Chapter 12 The altering position 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 artistic Writing and “the lash of feedback” (pages 213–228): Steven Earnshaw
Chapter 15 yet what is relatively at Stake for the Barbarian Warrior? constructing a Pedagogy for Paraliterature (pages 229–244): Jeffrey S. Chapman
Chapter sixteen artistic Writing and schooling (pages 245–262): Jeri Kroll
Chapter 17 the increase and upward thrust of Writers' fairs (pages 263–277): Cori Stewart
Chapter 18 artistic Writing examine (pages 278–290): Graeme Harper
Chapter 19 Literary Prizes and Awards (pages 291–303): Claire Squires
Chapter 20 D.H. Lawrence, without end at the circulation: 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 historical past on the British Library (pages 348–356): Jamie Andrews
Chapter 24 Politics (pages 357–376): Jon Cook
Chapter 25 inventive Writing and the chilly conflict college (pages 377–392): Eric Bennett
Chapter 26 “To the mind's eye, the sacred is self?evident”: options on Spirituality and the Vocation of artistic 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 longer term (pages 421–432): Graeme Harper
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Extra resources for A Companion to Creative Writing
Karr, Mary. The Liars’ Club: A Memoir. New York: Viking, 1995. Kidder, Tracy. Mountains beyond Mountains. New York: Random House, 2003. Kingston, Maxine H. The Woman Warrior: Memoirs of a Girlhood among Ghosts. New York: Knopf, 1976. Krakauer, Jon. Into the Wild. New York: Anchor, 2007. Lopate, Phillip. , The Art of the Personal Essay (pp. xxiii–liv). New York: Doubleday, 1994. Lopate, Phillip. Portrait of My Body. New York: Anchor, 1996. Lopez, Barry H. Of Wolves and Men. New York: Scribner, 1978.
Isn’t memory notoriously faulty? Can I combine people into one character? What if I want to write about people I know and say things they won’t like? If the power of creative nonfiction is the telling of what happened, isn’t that undermined by the choices we make in telling stories? Obviously, any time the question of “truth” comes up in a conversation, there is no easy answer. If you ask ten writers of creative nonfiction how to answer the questions above you might very well get ten different answers.
50). He goes on to say that “the seat of this sensation is the pit of the stomach” (51). The impossibility of defining poetry stems from the fact that it means so many different things to many different people. To some, it must have rhythmic beat; to others it must have musicality; some would argue for both; and others for none. What I like about the Housman quote is its visceral nature. Recognition depends not on linguistic criteria or on conscious thought, but on what is physically felt. It does not demand structure or form.
A Companion to Creative Writing by Graeme Harper (ed.)