•explains the basics of how to write a novel, script or poetry (Part 2).•explores how to deal with the practicalities and problems of becoming a writer (Part 3).
•explains the basics of how to write a novel, script or poetry (Part 2).
Conversely, if you have no interest in cultural, academic or theoretical contexts you will quickly see that you should avoid Section One, and if you have no interest in knowing how to get your writing out into the ‘real’ world and make a splash as a writer, you will turn a blind eye to Section Three (although I gather that this rather unlikely).
But if you were, indeed, to be the ‘ideal reader’ and read the book from one end to the other, you might make a number of surprising connections.
apply relevant language skills to produce and realise story, narrative and other literary and textual forms in a range of text-based media (K, T, P, I, C) 6.
demonstrate the capacity to think creatively, critically, and reflectively to research, develop and evaluate ideas, concepts, problems and processes (K, T, P, I, C) 7.
writing for teenagers; writing humorous fiction; finding a film agent Steven Earnshaw As a handbook this guide is intended not just to help and inform, but also to provoke and inspire.
The contributors are professionals within their fields of expertise and apart from being asked to cover the necessary topic have been free to deal with their subject how they see fit – there has been no attempt to produce regulation and uniform chapters.For instance, Brian Kiteley’s ‘Reading and Writing Historical Fiction’ and David Rain’s ‘Literary Genres’ include digressions into different aspects of the history of the novel, and might be read in conjunction with Jane Rogers’s ‘Introduction to the Novel’. Aaron Kunin’s ‘New Poetries’ is packed full of references to experiments with writing and concepts and takes the reader well beyond the realms of poetry. As well as the main creative writing activities, chapters cover other practices, from translation to starting a small magazine and from memoir writing to writing for children.Contributors are all experts in their fields: poets, novelists, dramatists, agents, publishers, editors, tutors, critics and academics.The learning activities and assessment tasks focus on the practice and development of writing skills and knowledge of genres, technologies and industry practices.Students graduate with a broad portfolio of written creative works completed.The book is aimed primarily at the student embarking on a creative writing programme in Higher Education, with many of the writers here also teaching on creative writing MAs or MFAs, and to that end many of the chapters reflect the different teaching styles on offer. The aim throughout has been to have within the pages of a single book all that you might need as a writer or tutor to further your writing and teaching, and to further your writing career.It explores a number of different contexts within which the student-writer and teacher of creative writing work: literary tradition and genre, the postgraduate degree, the academy, literary culture, literary theory, the world of publishing and production, the world of being a writer and writing.research, produce and write creative works in a range of genres for text based media publication or production (K, T, P, I, C) 10.apply cultural, social, or global perspectives to writing within the creative arts discipline. develop a capacity for a skilled practice through drafting, revising, reflection and rewriting of written creative works (K, P, I, C, J).