Combo Split editions include half of the Student's Book content and corresponding sections of the Workbook, with online access to student resources.

Combo Split editions include half of the Student's Book content and corresponding sections of the Workbook, with online access to student resources.

Acclaimed playwright Terrence McNally's works are characterized by such diversity that critics have sometimes had difficulty identifying the pattern in his carpet. To redress this problem, In Muse of Fire, Raymond-Jean Frontain has collected McNally's most illuminating meditations on the need of the playwright to first change hearts in order to change minds and thereby foster a more compassionate community. When read together, these various meditations demonstrate the profound ways in which McNally himself functioned as a member of the theater community-as strikingly original dramatic voice, as generous collaborator, and even as the author of eloquent memorials. These pieces were originally written to be delivered on both highly formal occasions (academic commencement exercises, award ceremonies, memorial services) and as off-the-cuff comments at highly informal gatherings, like a playwriting workshop at the New School. They reveal a man who saw theater not as the vehicle for abstract ideas or the platform for political statements, but as the exercise of our shared humanity. "Theatre is collaborative, but life is collaborative," McNally says. "Art is important to remind us that we're not alone, and this is a wonderful world and we can make it more wonderful by fully embracing each other. [. . .] I don't know why it's so hard to remind ourselves sometimes, but thank God we've had great artists who don't let us forget. And thank the audiences who support them because I think that those artists' true mission has been to bring the barriers down, break them down; not build walls, but tear them down."

In this innovative fusion of practice and criticism, Jeremy Scott shows how insights from stylistics and linguistics can enrich the craft of creative writing. Focusing on crucial methodological issues that confront the practicing writer, this book introduces writers to key topics from stylistics, provides in-depth analysis of a wide range of writing examples and includes practical exercises to help develop creative writing skills. Thoroughly revised and expanded throughout, this updated edition more clearly lays out specialist ideas and technical terms within the field of linguistics, and features both greater focus on the creative process and more practical exercises to help writers engage with ideas in their work. Clear and accessible, this invaluable guide will give both students and writers a greater critical awareness of the creative possibilities of language.

Combo Split editions include half of the Student's Book content and corresponding sections of the Workbook, with online access to student resources.

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 examines Uncreative Writing-the catch-all term to describe Neo-Conceptualism, Flarf and related avant-garde movements in contemporary North American poetry-against a decade of controversy. David Kaufman analyzes texts by Kenneth Goldsmith, Vanessa Place, Robert Fitterman, Ara Shirinyan, Craig Dworkin, Dan Farrell and Katie Degentesh to demonstrate that Uncreative Writing is not a revolutionary break from lyric tradition as its proponents claim. Nor is it a racist, reactionary capitulation to neo-liberalism as its detractors argue. Rather, this monograph shows that Uncreative Writing's real innovations and weaknesses become clearest when read in the context of the very lyric that it claims to have left behind.

This timely book takes a radical and innovative look at Creative Writing, the academy's newest success story

Michelene Wandor has written the first history of Creative Writing, analysing its relationship with English, literary studies and cultural theory, and theorising its pedagogy. Erudite and provocative, the book presents a searching critique of Creative Writing's aims, its position in higher education, and the methodology of the workshop format in which it is conventionally taught.

Written with wit, intelligence and authority, "The Author is not Dead, Merely Somewhere Else "argues for a radical reconception of the subject, suggesting inspiring strategies for change.

The book is indispensable reading for teachers and students, as well as all those concerned with the future of literature.

Transmedia Character Studies provides a range of methodological tools and foundational vocabulary for the analysis of characters across and between various forms of multimodal, interactive, and even non-narrative or non-fictional media. This highly innovative work offers new perspectives on how to interrelate production discourses, media texts, and reception discourses, and how to select a suitable research corpus for the discussion of characters whose serial appearances stretch across years, decades, or even centuries. Each chapter starts from a different notion of how fictional characters can be considered, tracing character theories and models to approach character representations from perspectives developed in various disciplines and fields. This book will enable graduate students and scholars of transmedia studies, film, television, comics studies, video game studies, popular culture studies, fandom studies, narratology, and creative industries to conduct comprehensive, media-conscious analyses of characters across a variety of media.

Many writers dream of having their work published by a respected publishing house, but don't always understand publishing contract terms - what they mean for the contracting parties and how they inform book-publishing practice. In turn, publishers struggle to satisfy authors' creative expectations against the industry's commercial demands. This book challenges our perceptions of these author-publisher power imbalances by recasting the publishing contract as a cultural artefact capable of adapting to the industry's changing landscape. Based on a three-year study of publishing negotiations, Katherine Day reveals how relational contract theory provides possibilities for future negotiations in what she describes as a 'post negotiation space'. Drawing on the disciplines of cultural studies, law, publishing studies and cultural sociology, this book reveals a unique perspective from publishing professionals and authors within the post negotiation space, presenting the editor as a fundamental agent in the formation and application of publishing's contractual terms.

This book uses an interdisciplinary inter-mediational approach to reflect on the relational complexity of unsettlement as a predominant sensibility of the present epoque. The book tackles interrelated aspects of unsettlement including temporality, the disconcerting effects of the Anthropocene, the biomedical facets of unsettlement and the post-pandemic futures. It uses a chimeric approach combining essayistic and speculative fiction writing methods, negotiating rational, affective and imaginative ways of inquiry, and showing rather than merely explaining. The book poses questions, but gives no ready-made answers, and invites to think together on the unsettlement as a negatively global human condition that can be collectively made into a generative move of resurgence and refuturing. Contributing to critical reflections on the main features and sensibilities of the current epoque, the book will be of interest to scholars and undergraduate and graduate students, as well as the general public, interested in critical global and future perspectives, in decolonial research, gender studies and posthumanities.

Confident with the basics of your craft? Looking to take your writing to the next level? Advanced Fiction gives you the tools to hone your skills by thinking more deeply and systematically about deploying them on the page. Friendly and down-to-earth, Amy Weldon guides you through the realities of craft and process, combining a broad anthology of landmark stories with instruction on the more advanced aspects of fiction writing. Featuring interactive prompts, exercises and suggestions for further reading, this book guides you from larger philosophical issues to subtler technical ones, from topics as diverse as the intricate principles of storytelling to navigating artistic and political landscapes conscientiously and building a writing career. Beginning with a brief recap of the basics, the text goes on to examine: - The psychology of writing and revising - Practical methods for drafting and notebook-keeping - Taking personal and technical risks with ideas, images, and forms - Making responsible decisions about representing identities, bodies, and histories on the page - Complex craft concepts such as world-building, structure, time, and moving from short forms to novels Placing students’ own work in conversation with established stories, the accompanying anthology selections range widely in culture, technique and time period, including authors of dystopia, historical fiction, satire, and fiction in translation as well as literary realists tackling themes like economic inequality, climate change, and identity. Thoughtful and essential, this book provides excellent guidance for students and budding authors on the complexities of fiction writing from the beginning of a writing project – short story or novel – to the end.

We evaluate poems constantly: as workshop leaders, competition judges and journal editors. But how do we judge the success of verse in these contexts? The authors propose an innovative method by which anyone involved in the assessment of poetry can be more transparent about how they value verse. This book foregrounds the ethical and professional obligations of poets, teachers and critics to conduct axiological inquiry so they can discover and publish what they value. We Need to Talk suggests why and how people who care about poetry should communally explore and document their shared (and conflicting) values. This is the first book to provide the background and theory, as well as a practical, working model, for the communal, empirical evaluation of creative writing.

Young adult literature holds an exceptional place in modern American popular culture-accessible to readers of all levels, it captures a diverse audience and tends to adapt to the big screen in an exciting way. With its wide readership, YAL sparks interesting discussions inside and outside of the classroom. This collection of new essays examines how it has impacted college composition courses, primarily focusing on the first year. Contributors discuss popular YA stories, their educational potential, and possibilities for classroom discussion and exercise.

Storynomics - Story-Driven Marketing in the Post-Advertising World is a brilliant book that's destined to send shockwaves through the worlds of marketing and branding. Drawing on the experiences gained with his Storynomics seminars, Robert McKee - author of Story: Substance, Structure, Style and the Principles of Screenwriting and Dialogue: The Art of Verbal Action for Page, Stage and Screen - has teamed up with Tom Gerace to produce a work that is at once imaginative, innovative and inspirational. There has been a major change in the way brands connect with consumers. In the past, brand managers and chief marketing executives would find stories people loved and then interrupt their telling with advertisements. Today's consumers have tired of the ads and are blocking, skipping or avoiding them at unprecedented rates. The consequences are that marketing professionals are finding it harder and harder to reach their customers. Some business leaders have recognised that storytelling is the future of marketing, and to succeed in an increasingly ad-free world, they must place `story' at the centre of their strategies. There is still some misunderstanding about story and how it can be used effectively. Robert McKee created the Storynomics seminars to show business leaders how to apply storytelling to their businesses, to drive revenue, margins and brand loyalty. In their new book, McKee and Gerace bring a whole new meaning to marketing, to displace old theories and practices with story-driven messages. Storynomics, the book, is essential reading for all serious professionals.

In this compelling collection of essays contributors critically examine Creative Writing in American Higher Education. Considering Creative Writing teaching, learning and knowledge, the book recognizes historical strengths and weaknesses. The authors cover topics ranging from the relationship between Creative Writing and Composition and Literary Studies to what it means to write and be a creative writer; from new technologies and neuroscience to the nature of written language; from job prospects and graduate study to the values of creativity; from moments of teaching to persuasive ideas and theories; from interdisciplinary studies to the qualifications needed to teach Creative Writing in contemporary Higher Education. Most of all it explores the possibilities for the future of Creative Writing as an academic subject in America.