By Graeme Harper (ed.)
A spouse to inventive Writing comprehensively considers key elements of the perform, occupation and tradition of artistic writing within the modern world.
- The such a lot entire assortment particularly when it comes 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 career and cultural practices surrounding inventive 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, 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 options 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 inventive Writing and the opposite Arts (pages 144–159): Harriet Edwards and Julia Lockheart
Chapter eleven brokers, Publishers, and Booksellers: A ancient standpoint (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 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 rather 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 study (pages 278–290): Graeme Harper
Chapter 19 Literary Prizes and Awards (pages 291–303): Claire Squires
Chapter 20 D.H. Lawrence, eternally at the flow: 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 all over the world (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 battle collage (pages 377–392): Eric Bennett
Chapter 26 “To the mind's eye, the sacred is self?evident”: strategies 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 in the neighborhood of Writers (pages 405–420): Patrick Bizzaro
Chapter 28 artistic Writing to the long run (pages 421–432): Graeme Harper
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Extra info for A Companion to Creative Writing
45–53. 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.
Just as important is that the very act of writing, of organizing our ideas and experiences into prose, changes how we understand what has happened and leads us to new ways of thinking about events, people, emotions, and ideas. A final common question about authorial presence in creative nonfiction concerns how explicit and personal that presence must be. How intimate must the writer be with the reader? What is the best way to reveal the author’s presence and thoughts? Again, there is as much variation in the answers to these questions as there are writers with varying projects and goals.
For observational or journalistic writing, even after taking notes – or in the process of interviews or observations – engaging in invention writing helps define and discover the focus of the project. Form The approaches to form that are available to the novelist are available to the creative nonfiction writer. This is important to remember because the first inclination for many writers when working with creative nonfiction is to construct a straightfoward, chronological narrative. Because we experience life in chronological order, some writers initally assume that fidelity to the truth and the necessity of logical organization require writing that reflects those experiences.