Ever since the term "creative nonfiction" first came into widespread use, memoirists and journalists, essayists and fiction writers have faced off over where the border between fact and fiction lies. An early and influential book on questions of form in creative nonfiction, Bending Genre asks not where the boundaries between the genres should be drawn, but what happens when you push the line. The expanded second edition doubles the first edition with 23 new essays that broaden the exploration of hybridity, structure, unconventionality, and resistance in creative nonfiction, pushing the conversation forward in diverse and exciting ways. Written for writers and students of creative writing, this collection brings together perspectives from leading writers of creative nonfiction, including Michael Martone, Brenda Miller, Ander Monson, David Shields, Kazim Ali--and in the new edition--Catina Bacote, Ira Sukrungruang, Ingrid Horrocks, Elena Passarello, and Aviya Kushner. Each writer's innovative essay probes our notions of genre and investigates how creative nonfiction is shaped, modeling the forms of writing being discussed. Like creative nonfiction itself, Bending Genre is an exciting hybrid that breaks new ground. Features in the second edition: -Updated introduction to the new edition -Expanded sections on Hybrids, Structures, and "Unconventions" -A new section on Resistances -50 essays in all

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.

In an age where many see screenwriters as the storytellers of the new century and everyone appears to be trying to write a screenplay, this book provides the framework for you to write a great screenplay. It goes beyond the concerns of act structure and the merits of story-driven - as opposed to character-driven - screenplays to tackle the real complexities of writing a compelling screenplay.
This second edition contains:
- the different layouts for film, television, documentary and corporate screenplays
- a detailed analysis of what is required from a premise, an outline, a step outline, a treatment and a first draft
- a simple stage by stage guide to the inevitable re-write
- tips on finding an agent.
This new approach to writing for film and television covers everything from finding an idea to writing a finished screenplay. The author's framework, 'A Creative Matrix', brings together all the elements of screenplay writing - from story, character, theme, and dramatic structure to plot, genre, tone and style in an understandable way that is easy to follow. His analysis includes illustrating what comprises a good thriller, identifying the different types of sit-com, and showing the qualities of a screen romance that both works and convinces.
The author uses examples from across European, American and World Cinema, as well as television, and this revised edition now contains a comprehensive index.

This open access collection of essays examines the literary advice industry since its emergence in Anglo-American literary culture in the mid-nineteenth century within the context of the professionalization of the literary field and the continued debate on creative writing as art and craft. Often dismissed as commercial and stereotypical by authors and specialists alike, literary advice has nonetheless remained a flourishing business, embodying the unquestioned values of a literary system, but also functioning as a sign of a literary system in transition. Exploring the rise of new online amateur writing cultures in the twenty-first century, this collection of essays considers how literary advice proliferates globally, leading to new forms and genres.

Dramatizing Blindness: Disability Studies as Critical Creative Narrative engages with the cultural meanings and movements of blindness. This book addresses how blindness is lived in particular contexts-in offices of ophthalmology and psychiatry, in classrooms of higher education, in accessibility service offices, on the street, and at home. Taking the form of a play written in five acts, the narrative dramatizes how the main character's blindness is conceived of in the world and in the self. Each act includes an analysis where blind studies is explored in relation to disability studies. This work reveals the performative enactment of blindness that is lived in the public as well as in the private corners of the self, demonstrating how blindness is a form of perception. Devon Healey's work orients to blindness as a necessary and creative feature of the sensorium and shows how blindness is a form of perception.

Explore the world with your students and discover its wonders - all while developing the English skills they need to become successful global citizens. Through spectacular National Geographic video and inspiring photography students will travel the globe, learning about different countries, cultures, people, and their customs. With clearly structured methodology and explicit grammar instruction, this six-level primary series is packed with fascinating facts that spark curiosity, personalisation activities that get your students talking and new online resources that make it even easier to bring the world to the classroom and the classroom to life.

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This collection of essays appears on the wave of digital media tutoring developments in university and college writing centers in the United States and around the world. It provides students and scholars of literacy, new media, and communication as well as writing center practitioners with a valuable new tool for understanding the progress and direction of new media debates at the intersection of writing, technology, and communication. Comprised of twenty essays by leading scholars in media, communication, composition, and writing center studies, Writing Centers and New Media is a major new reader that provides rich cross-disciplinary scholarship. As a rich resource for students and scholars, and as a sourcebook for writing center practitioners, this collection fills a critical gap in writing center scholarship that is essential and significant for the emerging practice of new media tutoring and for future developments in writing center studies.

Lauer Series in Rhetoric and Composition Series Editors: Patricia Sullivan, Catherine Hobbs, Thomas Rickert, and Jennifer Bay Responding to a widespread belief that the field of composition studies is less unified than it was in the late twentieth century, editors Deborah Coxwell-Teague and Ronald F. Lunsford ask twelve well-known composition theorists to create detailed syllabi for a first-year composition course and then to explain their theoretical foundations. Each contributor to FIRST-YEAR COMPOSITION: FROM THEORY TO PRACTICE, discusses the major goals and objectives for their course, its major assignments, their use of outside texts, the role of reading and responding to these texts, the nature of classroom discussion, their methods of responding to student writing, and their assessment methods. The contributors to FIRST-YEAR COMPOSITION: FROM THEORY TO PRACTICE include Chris Anson, Suresh Canagarajah, Douglas Hesse, Asao Inoue, Paula Mathieu, Teresa Redd, Alexander Reid, Jody, Shipka, Howard Tinberg, Victor Villanueva, Elizabeth Wardle and Doug Downs, and Kathleen Blake Yancey. Their twelve essays provide a window into these teachers' classrooms that will help readers, teachers, and writing program administrators appreciate the strengths of unity and diversity in rhetoric and composition as a field. The examples will empower new and experienced teachers and administrators. The editors frame the twelve essays with an introductory chapter that identifies key moments in composition's history and a concluding chapter that highlights the varied and useful ways the contributors approach the common challenges of the first-year composition course.

The Gorelets Omnibus collects all the bloody little bits of Michael Arnzen's poetry written in the past 10 years into one big volume. From the contents of the original Gorelets chapbook and his classic "refrigerator of the damned" online magnetic poetry experiment, to Arnzen's latest flash fiction and brand new Zombie Haikruel series, this collection chronicles his revolutionary vision for the horror short form. He even received a Bram Stoker Award for Alternative Forms for some of the work included in this book. As one of the first writers to recognize the creative capacity of handheld devices, Arnzen's pioneering work to deliver gory entertainment in as few characters as possible is still eminently relevant today. Thus, a "casebook of criticism"-a collection of scholarly analyses of Arnzen's unique approach to the genre-is included alongside the poetry. The hardcover edition contains more than 50 pages of must-have bonus material, including: the hard-to-find Martha Stewart parody, "Michael Arnzen Dying," additional haikruel you won't find elsewhere, unfinished poems and pieces no longer available on his website, the "Borelets" parody, and an impressive "horror poetry workshop" of instructional essays by Arnzen on crafting terrifying verse, alongside over 300 "twisted" writing prompts specifically intended to instigate weirdness.

Screenwriting Poetics and the Screen Idea is a new and original investigation into how screenwriting works, showing how to understand, study and research screenwriting and screen narrative production. It explores three facets - the practices, the creative 'poetics' and the texts - to re-conceptualise and join together our understanding of screenwriting and development. These facets serve the 'screen idea', that sense of something that might become a film or television show, and the focus for the beliefs and received wisdom behind the poetics. Macdonald applies a range of film, media and creative theories to the study and research of screenwriting, and includes three new, original case studies: story development in the successful ITV soap Emmerdale, the silent film work of Hitchcock's first major screenwriter Eliot Stannard, and David Lean's last, unfinished 'magnum opus', Nostromo.