The Cambridge introduction to creative writing



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Morley, David - The Cambridge introduction to creative writing (2011) - libgen.li
Harry G. Broadman - Africa\'s Silk Road China and India\'s New Economic Frontier (2007, World Bank Publications) - libgen.li

Document Outline

  • Cover
  • Half-title
  • Series-title
  • Title
  • Copyright
  • Dedication
  • Contents
  • Preface
  • Acknowledgements
  • Chapter 1 Introducing creative writing
    • An open space
      • The iceberg
      • New worlds
      • Why we write
      • A balance
    • Learning to write
      • A continent
      • Imagination’s talent
      • A play of mind
      • A psychological apprenticeship
      • Passion
      • Vocation’s providence
      • Honesty of the amateur
      • Purposes
    • Creative writing in time
      • Inventions of creative writing
      • Rhetoric’s play
      • A tradition of revolution
    • The school of wildness
      • Necessary wildness
      • What wildness is shaping
      • A total process
      • Creative communities
      • The sister arts
    • Reading and the individual writer
      • Why we read
      • Language’s music
      • Creative reading
      • Reading across time
      • Reading across taste
      • Appetites and abilities
      • A new maze
    • Recommended reading
  • Chapter 2 Creative writing in the world
    • Creative writing and creative criticism
      • Reflective criticism
      • Writing reflective essays
      • Reading yourself as a writer
      • Notional subjectivity
    • Classrooms on the world
      • Writing as teaching
      • A marriage of heaven and hell
    • Experience
      • Capturing ideas for writing
      • What we know and what we do not know
      • Writing against your experience
    • Freedom, play and magic
    • Publishing and editing
      • Circles for survival
      • Group criticism
      • Etiquette for writers
      • The editor
      • Creative writing and the publishing industry
      • The saints of the small press
    • Recommended reading
  • Chapter 3 Challenges of creative writing
    • Challenges to writers
      • Indifference
      • Rival media
      • Sentimentality, or kitsch
      • Displacement activity
      • Talking it away
      • Criticism and journalism
      • Fantasy and perfectionism
      • Politics
      • Pagefright and word-blindedness
      • Out of depth
      • Self-doubt
      • Work–life balance
      • Youth-envy
      • Age
      • Children
    • Challenges of translation
    • Challenges of experiment
      • The OuLiPo
      • Exercises in style
      • An Oulipean Sunday school exercise
    • The challenge of design
      • Restrictive liberation
      • Restriction in poetry and fiction two examples
      • Form’s game
      • Against design
    • The challenge of quality
      • Perception and reception
      • Assessing creative writing
    • Recommended reading
  • Chapter 4 Composition and creative writing
    • Habits of mind, principles of practice
      • Parallels of practice
      • Writing badly and over-writing
      • Forces of language
      • No maps
    • Discipline
      • How to be good
      • How to be bad
    • Notebooks and rituals
      • Recording and practice
      • Dreams
      • Fieldwork for writers
      • Fetishes of composition
    • Composition’s action
      • Movement
      • Props and prompts for action
      • A mental switch
      • Freewriting
      • Negative capability
      • Inspiration and duende
    • Language’s mercury
    • Influence and imitation
    • Workshops as open spaces
      • Purposes
      • Origins
      • Dynamics
      • Homogeneity
      • The generative workshop
      • The responsive workshop
      • Hazards
      • Critical not personal investment
    • Recommended reading
  • Chapter 5 Processes of creative writing
    • Seven processes
      • Preparing
      • Planning
      • Incubation
      • Beginning
      • Flowing
      • The silence reservoir
      • Breakthroughs and finish lines
      • On titles
    • The writer post-performance
    • Precisions of process
      • Raiding the languages of elsewhere
      • Precision and voice
    • Confidence and practice
      • The invisible audience
      • Suspensions of belief
    • Self’s voices
      • Voice
      • Placebo selves
      • The Other
      • Playing dead
      • Playing others
      • Being others
      • Effacement
      • Using depression
      • Change your life
    • Recommended reading
  • Chapter 6 The practice of fiction
    • Writing literary fiction
      • Flash fiction
      • Short story
      • Novella
      • Novel
    • Form and structure
      • Deciding your form
      • Subverting the form
    • Dreaming a fictional continuum
      • Plots and scene
    • Character is story
      • Finding characters
      • Character history
      • Main and viewpoint character
      • Believability
    • Storymaking
      • Point of view and narrative voice
      • Beginning
      • What if?
      • Conflict and crisis
      • Setting and time
      • Rewrites
      • The end
    • Recommended reading
  • Chapter 7 Creative nonfiction
    • Reality’s literature
      • Earlier models
      • Accuracy and art
    • Writing creative nonfiction
      • Devices
      • Basic structure
      • Subverting the structure
      • Speaking with the reader
      • Passion and involvement
    • Writing about yourself
      • The face of life
      • You area story
      • Memoir and memory
      • Pulling back
      • Knowledge is self-knowledge
    • Writing about people and the world
      • Finding a topic
      • Fieldwork and interviews
      • A literature of hope
    • Recommended reading
  • Chapter 8 Writing poetry
    • Listening to language
      • Metre and rhyme
      • Hearing your own nature
    • Finding language
      • Processes
      • Inside poems
    • Awakening language
      • Meaning and being
      • Subjects and ways of saying
    • Shaping language
      • Form
      • Free verse
      • Syllabics
      • Subverting form
      • Shaping a sequence and collection
    • Playing with language
      • Volcano and diamonds
    • Poetry’s reasons
      • A place for the genuine
    • Recommended reading
  • Chapter 9 Performing writing
    • Speaking and performing
      • The magic anthill
      • Audience as reader
      • Creating an audience
    • Voice work
      • The tongue’s arrow
      • Pools and stream of speech
      • Reading a reading
    • Reading techniques and music
      • A charm
      • Space
      • Set
      • A cold open
      • A silent rule
      • Blending music
      • Mushairas
    • Concept as performance
      • Subversions
      • Performing your writing as public art
    • Electronic performance
      • Transaesthetics
      • Collaborative performance
      • Blogs: wide open spaces
      • Distance learning
    • Recommended reading
  • Chapter 10 Writing in the community and academy
    • Community as open space
      • Lights in the dark
      • Community as open space
      • The grassroots of creative writing
      • Rooms of our own
    • Creating writing in the creative academy
      • Creative writing across disciplines
      • Creative writing with science
      • Creative writing as a crossover discipline
      • Creative recognitions
    • Academy as open space
      • Wishes
      • Chimeras
      • Ideas
    • The door and the abyss
    • Recommended reading
  • Illustrative bibliography
  • Index

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