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Creative Writing Handbook - Becoming a Complete Writer in all Genres
This book is for and about amazing you. It contains three main parts beyond this section. The next, ‘Creatives’ and ‘Control’ explores each notion separately. Part three examines the all-important G-forces: Grail and Grails. Discussions in this chapter underpin the thematic title and core pursuit of this book – aiding writers to identify and tightly define the core goal or goals that they desire to realize from their textual quests and conquests. Part four explores 17 popular writing genres and provides an original example of each. Four of these illustrations are first-time attempts by this writer to compose a script in a foreign discipline that is outside his comfort zone and areas of interest. May these modest, raw offerings embolden you to likewise experiment at becoming a complete writer. The penultimate chapter, Part five, explores six topics that may aid writers to answer the holy grail writer’s question, as defined by this author. These topics in order are: Spelling, scripts, styles, solo writing, champions (i.e., role models) and circulation. This book does not aim to teach readers how to develop most technical skills required of competent writers. Open-access and commercial literature available on these topics are mature. Engaging these topics are best served by a medley of resources such as handbooks, video presentations, college curricula and years of dedicated writing practice. Part I Publishers’ edition © Jericho 15 The concluding part of most sections and each chapter is titled ‘Further reading’. These parts offer one or two open-access resources that explore material discussed in that section/chapter in further detail. The principal pursuit of this book aims to help you to identify the core goal/s that may motivate you to be the best writer possible in your chosen fields. There is a dearth of literature that unravels this all-important journey. This book is suitable for informal educational settings and structured teaching environments. It may support writers of all skill levels who thrive from learning solo, in groups or a mixture thereof. It may also guide Creative Writing Professors who teach applied education courses at all levels – from certificate to Graduate-level coursework. Creative writing author authors authorship publication publishing self-publishing self-publication writing creativity Creative Writing 101
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Elements of Creative Writing
J.D. Schraffenberger, University of Northern Iowa
Rachel Morgan, University of Northern Iowa
Grant Tracey, University of Northern Iowa
Copyright Year: 2023
ISBN 13: 9780915996179
Publisher: University of Northern Iowa
Language: English
Formats Available
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Learn more about reviews.
Reviewed by Robert Moreira, Lecturer III, University of Texas Rio Grande Valley on 3/21/24
Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama. read more
Comprehensiveness rating: 4 see less
Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama.
Content Accuracy rating: 5
As far as I can tell, content is accurate, error free and unbiased.
Relevance/Longevity rating: 5
The book is relevant and up-to-date.
Clarity rating: 5
The text is clear and easy to understand.
Consistency rating: 5
I would agree that the text is consistent in terms of terminology and framework.
Modularity rating: 5
Text is modular, yes, but I would like to see the addition of a section on dramatic writing.
Organization/Structure/Flow rating: 5
Topics are presented in logical, clear fashion.
Interface rating: 5
Navigation is good.
Grammatical Errors rating: 5
No grammatical issues that I could see.
Cultural Relevance rating: 3
I'd like to see more diverse creative writing examples.
As I stated above, textbook is good except that it does not include a section on dramatic writing.
Table of Contents
- Introduction
- Chapter One: One Great Way to Write a Short Story
- Chapter Two: Plotting
- Chapter Three: Counterpointed Plotting
- Chapter Four: Show and Tell
- Chapter Five: Characterization and Method Writing
- Chapter Six: Character and Dialouge
- Chapter Seven: Setting, Stillness, and Voice
- Chapter Eight: Point of View
- Chapter Nine: Learning the Unwritten Rules
- Chapter One: A Poetry State of Mind
- Chapter Two: The Architecture of a Poem
- Chapter Three: Sound
- Chapter Four: Inspiration and Risk
- Chapter Five: Endings and Beginnings
- Chapter Six: Figurative Language
- Chapter Seven: Forms, Forms, Forms
- Chapter Eight: Go to the Image
- Chapter Nine: The Difficult Simplicity of Short Poems and Killing Darlings
Creative Nonfiction
- Chapter One: Creative Nonfiction and the Essay
- Chapter Two: Truth and Memory, Truth in Memory
- Chapter Three: Research and History
- Chapter Four: Writing Environments
- Chapter Five: Notes on Style
- Chapter Seven: Imagery and the Senses
- Chapter Eight: Writing the Body
- Chapter Nine: Forms
Back Matter
- Contributors
- North American Review Staff
Ancillary Material
- University of Northern Iowa
About the Book
This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They’ve selected nearly all of the readings and examples (more than 60) from writing that has appeared in NAR pages over the years. Because they had a hand in publishing these pieces originally, their perspective as editors permeates this book. As such, they hope that even seasoned writers might gain insight into the aesthetics of the magazine as they analyze and discuss some reasons this work is so remarkable—and therefore teachable. This project was supported by NAR staff and funded via the UNI Textbook Equity Mini-Grant Program.
About the Contributors
J.D. Schraffenberger is a professor of English at the University of Northern Iowa. He is the author of two books of poems, Saint Joe's Passion and The Waxen Poor , and co-author with Martín Espada and Lauren Schmidt of The Necessary Poetics of Atheism . His other work has appeared in Best of Brevity , Best Creative Nonfiction , Notre Dame Review , Poetry East , Prairie Schooner , and elsewhere.
Rachel Morgan is an instructor of English at the University of Northern Iowa. She is the author of the chapbook Honey & Blood , Blood & Honey . Her work is included in the anthology Fracture: Essays, Poems, and Stories on Fracking in American and has appeared in the Journal of American Medical Association , Boulevard , Prairie Schooner , and elsewhere.
Grant Tracey author of three novels in the Hayden Fuller Mysteries ; the chapbook Winsome featuring cab driver Eddie Sands; and the story collection Final Stanzas , is fiction editor of the North American Review and an English professor at the University of Northern Iowa, where he teaches film, modern drama, and creative writing. Nominated four times for a Pushcart Prize, he has published nearly fifty short stories and three previous collections. He has acted in over forty community theater productions and has published critical work on Samuel Fuller and James Cagney. He lives in Cedar Falls, Iowa.
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The creative writing coursebook : forty writers share advice and exercises for poetry and prose
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SIMILAR ITEMS (based on metadata)
- Study Guides
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Creative Writing Fundamentals _____ 1 Creative Writing is a very subjective discipline and mode of writing. However, there are some universal elements to consider and strengthen, no matter what genre you wish to write in. This guide will briefly go over images, voice, setting and story, which are central to any kind of Creative Writing you wish ...
The common ground of fiction and non-fiction writing is the creativity the writer uses to express his or her thoughts and emotions. The following examples show that, to some degree, all writing is creative, since it always involves re-creation, ie. the selection of some components, imagined or real, and exclusion of others. 1.
Introduction to Creative Writing . The creative self is fundamental to the way we find meaning and purpose in the world. The best fiction, poetry, and drama draw on everyday habits of imagination that make interaction with others possible and fruitful. At the same time, literature and creative writing develop basic skills of the imagination ...
genre includes poetry, fiction (novels, short stories), scripts, screenplays, and creative non-fiction. Elements1 Voice: An author's unique style and way of saying things. You should be able to recognize an author's written voice the way you recognize a person's spoken voice. In creative writing, one goal is to develop your written voice.
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This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States.
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