By Graeme Harper (ed.)
A better half to artistic Writing comprehensively considers key elements of the perform, career and tradition of artistic writing within the modern world.
- The such a lot complete assortment particularly on the subject of the practices and cultural position of artistic writing
- Covers not just the “how” of inventive writing, yet many extra issues in and round the career and cultural practices surrounding artistic writing
- Features contributions from overseas 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 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 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 how one can 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 historic 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 inventive Writing and “the lash of feedback” (pages 213–228): Steven Earnshaw
Chapter 15 yet what is fairly 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 artistic Writing examine (pages 278–290): Graeme Harper
Chapter 19 Literary Prizes and Awards (pages 291–303): Claire Squires
Chapter 20 D.H. Lawrence, eternally at the movement: 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 artistic Writing and the chilly battle collage (pages 377–392): Eric Bennett
Chapter 26 “To the mind's eye, the sacred is self?evident”: recommendations 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 locally of Writers (pages 405–420): Patrick Bizzaro
Chapter 28 inventive Writing to the long run (pages 421–432): Graeme Harper
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Additional info for A Companion to Creative Writing
Like creating great music or erecting sound and inviting living spaces, writing fiction is comprised of much trial and error, demanding flexibility and an unflagging determination to improve. At times, storytelling can be a Sisyphean endeavor, especially for beginners undertaking their first stories. Dedicated writers, like expert builders, develop the habit of meticulousness and vigor for recursive tasks to the extent that such drive becomes similar to obsession. These tend to be people for whom the only thing more challenging than writing is not writing anything at all.
There are many books and articles, a number of which I’ve included at the end, that offer specific exercises and strategies to get you started on and help you develop a creative nonfiction project. It is also the case that the tools available to the novelist are equally available to the creative nonfiction writer. The strategies and advice about form, details, voice, scenes, narrative, revision, editing, and other approaches to writing fiction and poetry that are contained in other chapters of this book, as well as other books, also benefit the writer of creative nonfiction.
López one cannot begin a third-person limited narration in one character’s perspective and then present a thought or feeling experienced by another character without jarring the reader. So if a story begins in the third person that is limited to a particular character, the writer commits to presenting this perspective consistently. There are times, though, when the writer may discover another viewpoint is necessary to illuminate aspects of the narrative outside the purview of the narrating character.
A Companion to Creative Writing by Graeme Harper (ed.)