A Companion to Creative Writing by Graeme Harper (ed.)

By Graeme Harper (ed.)

A significant other to inventive Writing comprehensively considers key features of the perform, occupation and tradition of artistic writing within the modern world.

 

  • The such a lot accomplished assortment particularly 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 artwork and more
  • Covers the writing of poetry, fiction, new media, performs, motion pictures, radio works, and different literary genres and forms
  • Explores inventive writing’s engagement with tradition, language, spirituality, politics, schooling, and heritage

 

Content:
Chapter 1 The structure of tale (pages 7–23): Lorraine M. Lopez
Chapter 2 Writing artistic Nonfiction (pages 24–39): Bronwyn T. Williams
Chapter three Writing Poetry (pages 40–55): Nigel McLoughlin
Chapter four Writing for kids and teens (pages 56–70): Kathleen Ahrens
Chapter five Write on! sensible 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 how you can Make a Pocket Watch: The British Ph.D. in inventive 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 point of view (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 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 push 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, ceaselessly at the movement: 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 world wide (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 inventive Writing and the chilly struggle college (pages 377–392): Eric Bennett
Chapter 26 “To the mind's eye, the sacred is self?evident”: strategies 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 artistic Writing to the long run (pages 421–432): Graeme Harper

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But, more to the point, without a sense of authorial presence and interpretation, creative nonfiction becomes narrative without a point. Imagine a story your friend tells you with only facts and no sense of why you are being told the story. Is it supposed to be funny? Tragic? Terrifying? Sad? How do we know? It is the author stepping back to reflect, to explain, to expand on her interpretation of the events, the people, the ideas, that sets creative nonfiction apart. When we know why the narrative matters to the author, then we can know why it matters to us.

Alice Munro, invoked earlier, is notorious for retyping story drafts from memory with the idea of retaining only what is essential to the narrative. Again, the idea of writing creatively suggests to many the wrongheaded notion that imaginative expression trumps all else and that following rules – even those pertaining to language and mechanics – somehow impedes such expression, shackling 22 Lorraine M. López the artist’s creative impulses. In fact, writing creatively and composing stories means sharing a vision with the world, and in order to accomplish this, communication is essential.

As a writer and a teacher, I have my favorite exercises and approaches, but not room to cover them all here. So I would urge writers to explore these resources and try different ideas until they find ones that work for them. There are, however, three areas of writing that sometimes differ in emphasis from writing fiction or poetry, and yet are particularly crucial for the creative nonfiction writer to attend to and master. I do, then, want to spend a moment on some thoughts on invention, form, and the position of the writer.

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