By Graeme Harper (ed.)
A significant other to inventive Writing comprehensively considers key facets of the perform, career and tradition of inventive writing within the modern world.
- The so much complete assortment particularly on the subject of the practices and cultural position of inventive writing
- Covers not just the “how” of inventive 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, 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 teenagers (pages 56–70): Kathleen Ahrens
Chapter five Write on! sensible suggestions 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 tips on 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 historic point of view (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 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 push of Writers' gala's (pages 263–277): Cori Stewart
Chapter 18 artistic Writing study (pages 278–290): Graeme Harper
Chapter 19 Literary Prizes and Awards (pages 291–303): Claire Squires
Chapter 20 D.H. Lawrence, perpetually at the circulation: inventive 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: 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 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 artistic 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 artistic Writing to the long run (pages 421–432): Graeme Harper
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Additional info for A Companion to Creative Writing
Do I believe in bending events to create a more compelling narrative? Isn’t memory notoriously faulty? Can I combine people into one character? What if I want to write about people I know and say things they won’t like? If the power of creative nonfiction is the telling of what happened, isn’t that undermined by the choices we make in telling stories? Obviously, any time the question of “truth” comes up in a conversation, there is no easy answer. If you ask ten writers of creative nonfiction how to answer the questions above you might very well get ten different answers.
Writers of creative nonfiction have to remember that they are writing about real people, not fictional characters. Some writers, such as Lynn Bloom, argue that their observations and their experiences are their own and they can write what they wish, leaving others to tell their own stories if they like. “No matter what their subjects think, creative nonfiction writers defending the intergrity of their work should not, I contend, expose their material either to censorship or consensus” (Bloom 279).
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. Fiction or poetry does not always contain the same detached, reflective moment or moments. Sometimes characters or personas in fiction or poetry are not aware of insights the author provides. But, in creative nonfiction, the authorial presence that guides the reader is an important element and allure of the form.