Creative Writing A Workbook with Readings 2nd edition Sally Reilly 1000835197 9781000835199

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ISBN-10 :  1000835197 

ISBN-13 : 9781000835199

Author: Sally Reilly

Creative Writing: A Workbook with Readings provides a complete creative writing course: from ways to jump-start your writing and inspire your creativity, right through to presenting your work to agents and publishers. It covers the genres of fiction, poetry and life writing (including autobiography, biography and travel writing), combining discussions of technique with readings and exercises to guide you step by step towards becoming more adept at creative writing. The second edition has been updated and in large part newly written, with readings by a diverse group of contemporary authors displaying a variety of styles and approaches. Each chapter also features an array of inspiring writing exercises, enabling you to experiment with different methods and discover your strengths. Above all, Creative Writing: A Workbook with Readings will help you to develop your abilities while nurturing your individual voice as a writer.

 

Creative Writing A Workbook with Readings 2nd Table of contents:

Part 1: The creative process

1: Stimulating creativity and imagination

1: Introduction

2: Getting started

3: Develop a writing habit

3.1 Postpone perfection

4: Freewriting

5: Clustering

5.1 The method

6: Giving yourself time

7: Keeping a notebook

7.1 The practicalities

7.2 Observations of your environment

7.3 A record of daily events

8 Morning pages

9 Conclusion

References

2: Writing what you know

1 Introduction

2 The everyday

3 Flexing your observational muscles

3.1 Collecting and selecting

4 Voices and stories

4.1 Using your observations

5 The senses

5.1 Overused comparisons

6 Contexts

6.1 Time and signposts

7 Memory and narrative

7.1 Raiding your past

8 Conclusion

References

3: Writing what you come to know

1 Introduction

2 Memory and association

2.1 Daydreaming

3 The limitations of ‘writing what you know’

4 Cultural memory

4.1 Memory and nostalgia

5 Imagination

6 Research

6.1 What is research?

7 Conclusion

References

Part 2 Writing fiction

4: Character

1 Introduction

2 Finding your characters

3 Character checklist

4 Developing your characters

4.1 Adding complexity

5 Writing about others

6 Portraying your characters

6.1 Action and interaction

6.2 Speech and dialogue

6.3 Appearance

6.4 Interpretation

6.5 Thought

7 Character and plot

7.1 Relationships and plot

8 Conclusion

References

5: Setting

1 Introduction

2 Everything happens somewhere: the basics of place and space

3 Setting and character

4 Setting and mood

5 Setting and plot

6 Making everyday places feel new

7 Making strange places feel familiar

8 Small settings and wider contexts

10 Setting as enclosed world

11 Conclusion

References

6: Point of view

1 Introduction

2 First-person narration

2.1 Advantages and drawbacks of first-person narration

2.2 The reminiscent narrator

2.3 The unreliable narrator

3 Third-person narration

3.1 What do they know? Omniscient and objective narration

3.2 Close third person

3.3 Why use the close third person?

3.4 Less common narrative points of view

The second person

Switching perspectives

4 Conclusion

References

7: Showing and telling

1 Introduction

2 Concrete detail

3 Avoiding abstractions

4 Scene and summary: involving your readers

5 Exposition

6 Dialogue, scene and stories

6.1 Presenting dialogue

7 Mixing scene and summary

7.1 Point of view as showing

8 Dialogue and subtext

9 Conclusion

References

8: Structure and time

1 Introduction

2 Dramatic action

3 Structural shape

4 More about scenes

5 Story, plot and action

6 Time

6.1 Starting in the middle of the action

6.2 Flashbacks and backstory

7 Repetition and escalation

8 Conclusion

References

9: The story and your readers

1 Introduction

2 Decisions: technique, size and scope

2.1 Flash fiction, concision and finding the length

2.2 Linked stories

3 Mystery and suspense

3.1 Endings

4 To plan or not to plan

5 Genre and readers

6 Genre and the writing

7 What if there is no genre?

8 Conclusion

References

10: Editing fiction

1 Introduction

2 What’s involved in editing?

2.1 When to edit?

2.2 Some key principles of editing

3 Becoming your own editor

4 Developing your editing practice

4.1 On screen or on paper?

4.2 Testing the sound of your stories

4.3 Approaching the major changes

5 The later stages of editing

5.1 Text layout

5.2 Editing dialogue

5.3 Punctuation and grammar

5.4 When to stop editing

6 Making use of others’ feedback

6.1 Workshops

6.2 Editors

7 Conclusion

References

Part 3 Writing poetry

11: Introduction to poetry

1 Introduction

2 Images

3 Figurative language: simile and metaphor

4 Free verse and the line

5 Conclusion

References

12: Voice and language

I Introduction

2 Point of view

2.1 First person

2.2 Third person

2.3 Second person

2.4 Exploring possibilities

3 Diction

3.1 Idiolect

4 Dramatic monologue

5 Tone

6 Conclusion

References

13: Poetic structure

I Introduction

2 Stanzas

2.1 Ways of using stanzas

3 Titles

Evel Knievel Jumps Over My Family

Discussion

4 Beginnings and endings

4.1 Finding the real beginning

4.2 Endings

When the Wolves Appear

Discussion

5 The bigger picture

5.1 Change of focus

Living Space

Discussion

5.2 Repetition

Epistle From Inside the Sharknado

Discussion

6 Conclusion

References

14: Rhyme and metre

I Introduction

2 Rhyme and other sonic effects

from ‘Rhyme’

Discussion

2.1 The sound of words

3 Metre

3.1 Scanning tips

4 The sonnet

4.1 Petrarchan sonnets

4.2 Shakespearean sonnets

5 Stretching the sonnet form

6 Syllabic verse

7 Conclusion

References

15: Revising poetry

I Introduction

2 Revising as development

3 Shape and structure

4 More revision techniques

5 Editing basics

5.1 Adjectives and adverbs

5.2 Clichés

5.3 Abstract nouns

5.4 Overly elaborate writing, or overwriting

5.5 Rhyme and metre

5.6 When to stop editing

6 Arranging poems for a pamphlet

7 Conclusion

References

Part 4 Life writing

16: Starting out

I Introduction

2 What is life writing?

2.1 Autobiography and biography

2.2 Personal essays

3 Writing from life

3.1 Difficult personal material

4 Life writing and fiction

5 Beginnings

6 Researching life writing

6.1 Focused biographical research

7 Perspective and bias

8 Conclusion

References

17: Finding a form

1 Introduction

2 Scenes in life writing: memoir

2.1 Drama in the details: biography

3 Travel writing

4 Diaries and journals

5 Using letters, emails and other documents

6 Making choices

7 Through lines: connecting fragments

8 The quest

9 Turning points

10 The past and the present

11 Conclusion

References

18: Using memory

I Introduction

2 Using your memory

3 Shaping memory into scenes

4 Storied lives

5 Unreliable memories

6 Imagination and memory

7 Research

8 Conclusion

References

19: Versions of a life

1 Introduction

2 Writing in diary form

3 There are always different versions

4 Travel and journey

4.1 Forward and backward journeys

5 Belonging and difference

6 Fact and fiction

6.1 Inventing around the facts

7 Conclusion

References

20: Life characters

1 Introduction

2 Diary reprise

3 Memory and minor characters

4 Writing about friends and family

4.1 The heart of the

5 Culture and character

5.1 Cultural range

6 Voicing the past

7 Fiction techniques in biography

7.1 Hybrid methods

8 Presenting yourself as the main character

9 Conclusion

References

Part 5 Going public

21: Going public

1 Introduction

2 Taking the long view

3 The career of writing today

4 The publishing industry

4.1 Who’s who

The literary agent

The editor

4.2 Publishers

Mainstream publishing

Independent publishing

5 Self-publishing

6 Creative writing and employment

6.1 Time management

7 Networking

7.1 Online networks

7.2 Writing groups, festivals and conferences

7.3 Retreats and residencies

8 Conclusion

References

22: Presenting your work

1 Introduction

2 Genre and preparation for submission

3 The manuscript

3.1 The title page

4 First approaches

5 Writing a cover email

6 Writing a synopsis or summary

What a synopsis is

6.1 Synopses for other works

Summarising a collection

Non-fiction submissions

7 Keeping records

8 Conclusion

References

READINGS

Part 1 The creative process

1: Readings

Reading 1.1 From ‘Fires’

Reading 1.2 From ‘A Real-life Education’

2: Readings

Reading 2.1 ‘Death of a Naturalist’

Reading 2.2 from ‘Netherley’

Reading 2.3 From ‘Tomorrow is Too Far’

Reading 2.4 ‘Memory: The True Key to Real Imagining’

3: Readings

Reading 3.1 ‘The Captain of the 1964 Top of the Form Team’

Reading 3.2 From Backtalk: Women Writers Speak Out

Part 2 Writing fiction

4: Readings

Reading 4.1 From ‘A Sheltered Woman’

5: Readings

Reading 5.1 From ‘The Edge of the Shoal’

6: Readings

Reading 6.1 ‘First Journeyman’

Reading 6.2 ‘Becky Finch’

Staff canteen, Morrisons, 2016

Reading 6.3 ‘Love Silk Food’

7: Readings

Reading 7.1 ‘Going the Last Inch: Some Thoughts on Showing and Telling’

Reading 7.2 ‘The Dream’

Reading 7.3 ‘Moonlight’

Reading 7.4 from ‘Freddy Barrandov Checks … in?’

Reading 7.5 from ‘Byron Francis’

Lincoln Prison, 4 September 1983

Reading 7.6 ‘I Could See the Smallest Things’

Reading 7.7 ‘Tomorrow is Too Far’

8: Readings

Reading 8.1 FromThe Art of Writing Fiction

Reading 8.2 ‘Pigeons at Daybreak’

9: Readings

Reading 9.1 ‘Bodies’

Reading 9.2 ‘Tattoo’

10: Readings

Reading 10.1 ‘Through a Tangle of Branches: Reworking the Poem’

Reading 10.2 From ‘Putting Coyolxauhqui Together: A Creative Process’

Reading 10.3 From ‘Redrafting and Editing’

Revising for Meaning

Finding your Window

Revising for Character

Revising for Pace

Revising for Style

Reading 10.4 From Steering the Craft

A Terrible Thing To Do

Part 4 Life writing

16: Readings

Reading 16.1 From Long Time No See

Reading 16.2 From ‘Little Boxes’

17: Readings

Reading 17. 1 from The Haunting of Alma Fielding

The crack in the teacup

Reading 17.2 ‘Red Riviera’

Reading 17.3 Well done, No. 3777!’

18: Readings

Reading 18.1 From Giving Up the Ghost: A Memoir

Reading 18.2 From Shame on Me: An Anatomy of Race and Belonging

What are you?

Reading 18.3 From Shame on Me: An Anatomy of Race and

Nose

19: Readings

Reading 19.1 from The Diary of a Young Girl

Monday, 15 June 1942

Saturday, 20 June 1942

Saturday, 20 June 1942

Dearest Kitty!

Reading 19.2 ‘Darkness and Light’

Reading 19.3 from Footsteps: Adventures of a Romantic Biographer

Reading 19.4 from ‘Time Travel on the St. Lawrence River’

20: Readings

Reading 20.1 from Bad Blood

Reading 20.2 from Bedsit Disco Queen: How I Grew Up and Tried to Be a Pop Star

Part-time punks

Reading 20.3 from Foreigners: Three English Lives

Made in Wales

Northern Lights

Part 5 Going public

21: Readings

Reading 21.1 from Tips From Publisher

Reading 21.2 ‘Considering Self-Publishing: A Guide’

22: Readings

22.1 Synopsis for Dark Aemilia

 

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