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
Creative writing
and freedom of expression
Serious play
Serious difficulty
Language’s magic
Rediscovering pleasure
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
What
is lost in translation
Stealing across a spectrum
Variation’s mirror
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
Rewriting
Failing,
and failing better
Deadlines as lifelines
Your challenger
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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