By Graeme Harper (ed.)
A spouse to artistic Writing comprehensively considers key facets of the perform, occupation and tradition of artistic writing within the modern world.
- The so much accomplished assortment in particular 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 career 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! functional techniques 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 find out how to Make a Pocket Watch: The British Ph.D. in artistic 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 ancient viewpoint (pages 161–178): John Feather
Chapter 12 The altering position of the Editor: Editors earlier, current, and destiny (pages 179–194): Frania Hall
Chapter thirteen Translation as inventive 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 rather 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 inventive 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 circulate: 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 artistic Writing world wide (pages 334–347): Matthew McCool
Chapter 23 artistic 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 artistic Writing and the chilly warfare collage (pages 377–392): Eric Bennett
Chapter 26 “To the mind's eye, the sacred is self?evident”: options 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 inventive Writing to the long run (pages 421–432): Graeme Harper
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Extra resources for A Companion to Creative Writing
Certainly there is a danger for writers who forget that they have the company of the reader on their journey. On the other hand, the wellcrafted essay is a joy in which the reader both discovers new lands of information and insight, as well as the opportunity to travel inside an inquisitive and open mind. Observations of travel, nature, and culture If memoir and the essay offer writers genres through which to explore the interiors of their minds, creative nonfiction also provides opportunities for those who find their interests in the world they encounter.
New York: Little, Brown, 2005. Williams, Bronwyn T. ” College English. 3 (2003): 290–304. 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.
Memoir, with its focus on the memories and reflections of the author, is the most interior genre of creative nonfiction. Memoir often differs from autobiography by not trying to cover the entire story of a life. Instead, as the name implies, memoir focuses on the memories and meanings of the writer, as messy and idiosyncratic and incomplete as those may be. As Patricia Hampl says, “Memoir is the intersection of narration and reflection, of story-telling and essay-writing . . It is a peculiarly open form, inviting broken and incomplete images, half-recollected fragments, and the mass (and mess) of detail” (266).