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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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