Download A Companion to Creative Writing by Graeme Harper (ed.) PDF
By Graeme Harper (ed.)
A significant other to inventive Writing comprehensively considers key features of the perform, career and tradition of inventive writing within the modern world.
- The so much accomplished assortment particularly in terms of the practices and cultural position of inventive writing
- Covers not just the “how” of inventive writing, yet many extra themes in and round the occupation and cultural practices surrounding inventive 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, 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! useful recommendations 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 easy methods to Make a Pocket Watch: The British Ph.D. in inventive 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 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 inventive 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 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, endlessly at the circulate: inventive Writers and position (pages 305–319): Louise DeSalvo
Chapter 21 The Psychology of inventive 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 artistic Hauntings: artistic 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”: recommendations on Spirituality and the Vocation of artistic 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 long run (pages 421–432): Graeme Harper
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Additional info for A Companion to Creative Writing
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. New York: Norton, 2008. Miller, Brenda and Suzanne Paola. Tell It Slant: Writing and Shaping Creative Nonfiction.
What is clear in the writer’s mind sometimes doesn’t translate onto the page, and outside readers can pinpoint places where obscurity and confusion occur. Sandra Cisneros says that writing creatively is like cutting one’s own hair. ” Peer readers perform the function of sharing critical information outside of the author’s purview. But not all peer review is helpful or enlightening. Writers do well to select impartial and experienced readers, preferably writers themselves with whom they can exchange work.
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.