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"From the bestselling author of the National Book Award winner Let the Great World Spin comes a lesson in how to be a writer--and so much more than that. Intriguing and inspirational, this book is a call to look outward rather than inward. McCann asks his readers to constantly push the boundaries of experience, to see empathy and wonder in the stories we craft and hear. A paean to the power of language, both by argument and by example, Letters to a Young Writer is fierce and honest in its testament to the bruises delivered by writing as both a profession and a calling. It charges aspiring writers to learn the rules and even break them. These fifty-two essays are ultimately a profound challenge to a new generation to bring truth and light to a dark world through their art."
"A collection of essays from today's most acclaimed authors--from Cheryl Strayed to Roxane Gay to Jennifer Weiner, Alexander Chee, Nick Hornby, and Jonathan Franzen--on the realities of making a living in the writing world. In the literary world, the debate around writing and commerce often begs us to take sides: either writers should be paid for everything they do or writers should just pay their dues and count themselves lucky to be published. You should never quit your day job, but your ultimate goal should be to quit your day job. It's an endless, confusing, and often controversial conversation that, despite our bare-it-all culture, still remains taboo. In Scratch, Manjula Martin has gathered interviews and essays from established and rising authors to confront the age-old question: how do creative people make money? As contributors including Jonathan Franzen, Cheryl Strayed, Roxane Gay, Nick Hornby, Susan Orlean, Alexander Chee, Daniel Jose Older, Jennifer Weiner, and Yiyun Li candidly and emotionally discuss money, MFA programs, teaching fellowships, finally getting published, and what success really means to them, Scratch honestly addresses the tensions between writing and money, work and life, literature and commerce. The result is an entertaining and inspiring book that helps readers and writers understand what it's really like to make art in a world that runs on money--and why it matters. Essential reading for aspiring and experienced writers, and for anyone interested in the future of literature, Scratch is the perfect bookshelf companion to On Writing, Never Can Say Goodbye, and MFA vs. NYC."
"Immensely helpful and illuminating to any aspiring writer, this special edition of Stephen King's critically lauded, million-copy bestseller shares the experiences, habits, and convictions that have shaped him and his work."
A Companion to Creative Writing comprehensively considers key aspects of the practice, profession and culture of creative writing in the contemporary world. The most comprehensive collection specifically relating to the practices and cultural and professional place of creative writing Covers not only the "how" of creative writing, but many more topics in and around the profession and cultural practices surrounding creative writing Features contributions from international writers, editors, publishers, critics, translators, specialists in public art and more Covers the writing of poetry, fiction, new media, plays, films, radio works, and other literary genres and forms Explores creative writing's engagement with culture, language, spirituality, politics, education, and heritage"
"The Creative Writer's Survival Guide is a must-read for creative-writing students and teachers, conference participants, and aspiring writers of every stamp. Directed primarily at fiction writers but suitable for writers of all genres, John McNally's guide is a comprehensive, take-no-prisoners blunt, highly idiosyncratic, and delightfully subjective take on the writing life."
"Creative Writing: Writers on Writing anthologises original literary work by eight contemporary authors; Amal Chatterjee, Colm Breathnach, Fred D'Aguiar, Jane Draycott, Philip Gross, Kathryn Heyman, Sabyn Javeri, and Emily Raboteau. Dealing with birth and death, love and ambition, domestic drama and foreign adventure, they take the reader to the country (Ireland, Guyana, England) and to the city (Delhi, Karachi, New York and Prague). The pieces are accompanied by reflective essays in which the authors explore the creative process behind the writing. For readers, the essays provide insights into the works themselves; for writers, they provide insights into literary craft; and for students on creative writing courses, they provide diverse models of how to discuss one's own writing."
"This book explores narrative imagination and emotion as resources for learning critical meta-reflection. The author examines the learning trajectories of several students as they engage in learning to think critically through a new approach to creative writing, and details how learning through writing is linked to new discoursal identities which are trialled in the writing process. In doing so, she analyses the processes of expansion and change that result from the negotiations involved in learning through writing. This volume offers a completely new approach to creative writing, including useful practical advice as well as a solid theoretical base. It is sure to appeal to students of creative writing and discourse analysis as well as applied linguistics and language as identity."
"This book explores the effectiveness of the writing workshop in the Creative Writing classroom,going beyond the question of whether or not the workshop works to consider alternative pedagogical models. The needs of a growing and diverse student population are central to the contributors' consideration of non-normative pedagogies."
"This book advances creative writing studies as a developing field of inquiry, scholarship, and research. It discusses the practice of creative writing studies, the establishment of a body of professional knowledge, and the goals and future direction of the discipline within the academy."
"This is a compelling look at the current state and future direction of creative writing by a preeminent scholar in the field. Explores the practice of creative writing, its place in the world, and its impact on individuals and communities Considers the process of creative writing as an art form and as a mode of communication Examines how new technology, notably the internet and cell phones, is changing the ways in which creative work is undertaken and produced Addresses such topics as writing as a cultural production, the education of a creative writer, the changing nature of communication, and different attitudes to empowerment"
"Wendy Bishop and David Starkey have created a remarkable resource volume for creative writing students and other writers just getting started. In two- to ten-page discussions, these authors introduce forty-one central concepts in the fields of creative writing and writing instruction, with discussions that are accessible yet grounded in scholarship and years of experience. Keywords in Creative Writing provides a brief but comprehensive introduction to the field of creative writing through its landmark terms, exploring concerns as abstract as postmodernism and identity politics alongside very practical interests of beginning writers, like contests, agents, and royalties. This approach makes the book ideal for the college classroom as well as the writer's bookshelf, and unique in the field, combining the pragmatic accessibility of popular writer's handbooks, with a wider, more scholarly vision of theory and research."
"This book describes an alternative way to teach Creative Writing, one that replaces the silent writer taking criticism and advice from the teacher-led workshop with an active writer who reflects upon and publically questions the work-in-progress in order to solicit response, from a writers' group as well as from the teacher. Both accompany the writer, first as readers and fellow writers, only later as critics. Because writers ask, they listen, and dialogues with responders become an inner dialogue that guides later writing and revision. But when teachers accompany writers, teaching CW becomes even more a negotiation of the personal because this teacher who is listener and mentor is also a model for some students of the writer and even the person they would like to become - and still the Authority who gives the grades."
"New Ideas in the Writing Arts has come about because recent changes taking place in educational settings have influenced the ways in which learners and teachers are exploring Creative Writing. The worldwide growth of Creative Writing as a formal subject of study in universities and colleges has generated explorations that appear now to be at the tip of an even greater range of explorations that promise to be undertaken in coming years. When titling this book, the intention was to say that we ..."
"The Novel: A Survival Skill is the fruit of a lifetime's search for a different, more immediate, but again systematic and serious way of talking about literature. Developed over many years, it offers a completely new account of the relationship between a writer, his or her work, and the reader. As such it radically undermines traditional literary criticism and the various criteria used for evaluating a work of fiction. Drawing on ideas from systemic psychology, Tim Parks suggests that both the content and style of a novelist's work, the kind of stories told and the way in which they are told, form part of a more general strategy or simply habit of communication that the novelist has learned within his or her family of origin. The reader reacts to these in very much the same way he or she would react to the same communicative strategy in a real life encounter, different readers reacting differently depending on their own backgrounds and habits of communication. Looking at the different value structures that can dominate in any family--good/evil, independence/dependence, success/failure, belonging/exclusion--this book looks at how a number of major writers position themselves within these value structures, how this positioning is manifest in their writing, and how readers have responded to this depending on their own positioning in the same semantics. Thomas Hardy, for example, a man eager to believe himself courageous but terrified of the consequences of any socially "unacceptable" behavior, constructs stories which are courageous in their willingness to debate difficult issues, but which constantly suggest that any attempt to behave courageously is condemned to disaster. Hardy, as it were, imprisons himself in a world where it is folly to take risks. He is thus exceedingly conservative in his life, while at the same time able to think of himself as courageous in his writing. The Novel: A Survival Skill looks at the way different readers in different periods respond to this depending on their own position with regard to fear, courage, social convention and so on."
"Creative writers who are also students or academics face two apparently contradictory imperatives: the need to answer important research questions, and the need to produce works of the imagination. The two activities depend on very different thinking processes, use language differently, and address different audiences. Yet they are not irreconcilably different: writers, whether academic or creative, tend to investigate the world around us, explore what we as human beings know and how we know it, test facts and common sense, and try to establish what really matters. And whether the result is a scholarly essay, a poem, a novel or a playscript, the writer faces similar challenges: how to convey the ideas, information, logical and emotional aspects that were a part of the work. Writer-researchers need to attend to the formulation of research questions, the selection of methodology and research methods, such practical aspects of writing and research as dealing with other people, and how the outputs are managed, analysed, interpreted and disseminated. When these issues are managed appropriately, research practices can invigorate writing, creative practices can invigorate research, and creative writing can operate as a mode of knowledge generation, a way of exploring problems and answering questions that matter."
"This collection uses the concept of 'story' to connect literary materials and methods of analysis to wider issues of social and political importance. Drawing on a range of texts, themes include post-colonial literatures, history in literature, old stories in contemporary contexts, and the relationship between creativity and criticism."
"If you're studying creative writing at a university or college, or considering doing so, this book will: show you what to expect from your course of study, demystify the habitual practices of the field, help you maximize your learning (including online), and advise you on how to sustain yourself as a writer after graduation. It offers a practical guide through the creative writing landscape for both undergraduate and graduate studies. Chapters give guidance on everything from developing ideas to revising your draft, from how to 'read as a writer' to how to give a reading, and from the mysteries of grading and critical and reflective studies to the opportunities afforded by literary citizenship. Between them the eleven contributors have had well over a hundred years of experience in teaching and studying the subject. All scholars at American universities or colleges, their creative work spans poetry, fiction and non-fiction."
Teaching Creative Writing is designed to showcase practical approaches developed by practitioners in the ever-growing community of writers in higher education. Aimed at enabling those who teach the subject to review, borrow, and adapt ideas, the emphasis throughout is on diversity. 50 contributions from an international team of writers cover a variety of forms and genres and include traditional and innovative components of creative writing courses. Helen Gildfind, reviewing in TEXT (April 2013) writes: 'Teaching Creative Writing is obviously well suited to teachers of poetry, fiction, non-fiction, and plays. It offers a practical resource for teachers who are just starting out and lack the confidence or ideas required to create truly engaging classes. This book might even be useful for experienced teachers who suspect that their own methods have become repetitive and uninspiring, or who sense complacency creeping in to their classrooms through the stultifying effects of their own habits. Less obviously, this text has value for teachers because it emphasises and models the care required to structure classes in an engaging and purposeful manner. The book may even benefit creative writers themselves, for its huge bank of activities offer a means for writers to recover from writer's block, by providing defamiliarising writing tasks.'