By Graeme Harper (ed.)
A spouse to artistic Writing comprehensively considers key elements of the perform, career and tradition of artistic writing within the modern world.
- The so much entire assortment in particular when it comes to the practices and cultural position of inventive writing
- Covers not just the “how” of inventive writing, yet many extra themes in and round the occupation 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 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 artistic 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! useful ideas 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 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 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 artistic 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 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 artistic Writing study (pages 278–290): Graeme Harper
Chapter 19 Literary Prizes and Awards (pages 291–303): Claire Squires
Chapter 20 D.H. Lawrence, endlessly at the circulation: 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 artistic Hauntings: inventive Writing and Literary history on the British Library (pages 348–356): Jamie Andrews
Chapter 24 Politics (pages 357–376): Jon Cook
Chapter 25 artistic Writing and the chilly struggle 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 academics in the neighborhood 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
He goes on to say that “the seat of this sensation is the pit of the stomach” (51). The impossibility of defining poetry stems from the fact that it means so many different things to many different people. To some, it must have rhythmic beat; to others it must have musicality; some would argue for both; and others for none. What I like about the Housman quote is its visceral nature. Recognition depends not on linguistic criteria or on conscious thought, but on what is physically felt. It does not demand structure or form.
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). 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.
Nature writing, travel writing, and writing about culture are three examples of genres that begin in observation. For writers such as Gretel Ehrlich or Barry Lopez, for example, their work begins in their observations of the natural world. It is through what they see – and no doubt through the notes they make – that they find their subjects. In the same way, writers such as Jan Morris or Pico Iyer often begin their work with what they see in the places to which they travel. When Morris writes about Istanbul or South Africa or Iyer about Japan or Toronto, we can see those places through their eyes and realize the care they take in their observations.