By Graeme Harper (ed.)
A spouse to artistic Writing comprehensively considers key elements of the perform, occupation and tradition of inventive writing within the modern world.
- The so much complete assortment in particular in relation to the practices and cultural position of artistic writing
- Covers not just the “how” of artistic writing, yet many extra subject matters in and round the career and cultural practices surrounding artistic writing
- Features contributions from overseas writers, editors, publishers, critics, translators, experts in public paintings and more
- Covers the writing of poetry, fiction, new media, performs, movies, radio works, and different literary genres and forms
- Explores inventive 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 teens (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 easy methods to 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 viewpoint (pages 161–178): John Feather
Chapter 12 The altering position of the Editor: Editors previous, current, and destiny (pages 179–194): Frania Hall
Chapter thirteen Translation as artistic 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 particularly 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 push of Writers' gala's (pages 263–277): Cori Stewart
Chapter 18 inventive Writing learn (pages 278–290): Graeme Harper
Chapter 19 Literary Prizes and Awards (pages 291–303): Claire Squires
Chapter 20 D.H. Lawrence, perpetually 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 artistic Writing all over the world (pages 334–347): Matthew McCool
Chapter 23 inventive 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 inventive Writing and the chilly conflict college (pages 377–392): Eric Bennett
Chapter 26 “To the mind's eye, the sacred is self?evident”: suggestions 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 resources for A Companion to Creative Writing
In doing so, skilled authors pay attention to the rhythm of words on the page and the level of discourse. They will often pause at the end of passages and read the work aloud, listening for the flow and authenticity of the language. At this stage, as well as during revision and editing, it is critical to be aware of phonemic relationships between words, in addition to being on the lookout for unintentional rhyming words, distracting meter, and words or phrases repeated too often or in too close proximity to one another.
It is a peculiarly open form, inviting broken and incomplete images, half-recollected fragments, and the mass (and mess) of detail” (266). Some memoirs focus on a small segment of life, such as Joan Didion’s The Year of Magical Thinking, which covers one year of her life surrounding the death of her husband. Others cover a larger part of a life, but may focus on one Writing Creative Nonfiction 27 aspect of that life, such as a relationship with a person, one aspect of life in work or family, or a thematic set of experiences.
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. Marx, Groucho.
A Companion to Creative Writing by Graeme Harper (ed.)