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Books > Language & Literature > Literary & linguistic reference works > Creative writing & creative writing guides
This books helps teachers apply the research on growth mindset and
goal setting, whether using a writing program or a workshop model.
It uses tone, trust and language to quicken students' discovery of
their writing identities and take risks when they are stuck. The
author also shows how to use student work to deliver clear,
just-in-time feedback during planning, drafting, revising, and
editing. The book ultimately helps writers reflect so they are
better able to apply what they learned about content, craft, and
style to their future writing.
As major universities and professional organizations like the
Poynter Institute have begun to examine graphic nonfiction from a
critical perspective, new courses are emerging that give student
writers and artists the tools to tell their own nonfiction stories
in comics form. Nonfiction Comics is the first textbook to bring
these tools and techniques together in a single volume. Most
novices who first attempt the form arrive at it from a background
of journalism or art, meaning they arrive with at least one deficit
in the required skill set. Journalists, for example, typically have
had little training in illustration. Artists and designers may not
know how to conduct interviews or to avoid the potential legal
pitfalls of telling the personal stories of real people. This book
aims to fill in the gaps providing student journalists, artists,
designers, creative writers, web producers and others the tools
they need to tell stories visually and graphically.
Based on the authors' popular team-taught nonfiction comics
course, Nonfiction Comics teaches readers how to create a graphic
nonfiction story from start to finish, providing guidance on:
- how to find the story and how to find and utilize appropriate
facts and visuals;
- nonfiction narrative techniques
- artist's tools and techniques
- print, digital, and multimedia production
- legal and ethical considerations
Interviews with well-known nonfiction comics creators--showcased
in the book and on the book's companion website--will discuss best
practice and offer readers inspiration to begin creating their own
work.
Stories are medicine. During a time of heightened isolation,
bestselling author Richard Van Camp shares what he knows about the
power of storytelling-and offers some of his own favourite stories
from Elders, friends, and family. Gathering around a campfire, or
the dinner table, we humans have always told stories. Through them,
we define our identities and shape our understanding of the world.
Master storyteller and bestselling author Richard Van Camp writes
of the power of storytelling and its potential to transform
speakers and audiences alike. In Gather , Van Camp shares what
elements make a compelling story and offers insights into basic
storytelling techniques, such as how to read a room and how to
capture the attention of listeners. And he delves further into the
impact storytelling can have, helping readers understand how to
create community and how to banish loneliness through their tales.
A member of the Tlicho Dene First Nation, Van Camp also includes
stories from Elders whose wisdom influenced him. During a time of
uncertainty and disconnection, stories reach across vast distances
to offer connection. Gather is a joyful reminder of this for
storytellers: all of us.
In this learned but practical book, Jen Webb shows how 'research
practices can invigorate writing; creative practices can invigorate
research; and - if properly organised and managed - creative
writing can operate as a mode of knowledge generation, a way of
exploring problems and answering questions that matter in our
current context'. Researching creative writing enables
writer-researchers to craft a toolkit that will help them produce
better creative work and more rigorous research work.
Brian Daldorph first entered the Douglas County Jail classroom in
Lawrence, Kansas, to teach a writing class on Christmas Eve 2001.
His last class at the jail for the foreseeable future was mid-March
2020, right before the COVID-19 lockdown; the virus is taking a
heavy toll in confined communities like nursing homes and prisons.
Words Is a Powerful Thing is Daldorph's record of teaching at the
jail for the two decades between 2001 and 2020, showing how the
lives of everyone involved in the class-but especially the inmates
who came to class week after week-benefited from what happened
every Thursday afternoon in that jail classroom, where for two
hours inmates and instructor became a circle of ink and blood,
writing together, reciting their poems, telling stories, and having
a few good laughs. Words Is a Powerful Thing brings into the light
the works of fifty talented inmate writers whose work deserves
attention. Their poetry speaks of 'what really matters' to all of
us and gives the reader sustained insight into the role that
creativity plays in aiding survival and bringing positive change
for inmates, and, in turn, for all of us. Daldorph's account of his
teaching experience not only takes the reader inside the daily life
at a county jail but also sets the work done in the writing class
within the larger context of inmate education is the US corrections
system, where education is often one of the few lifelines available
to inmates. Words Is a Powerful Thing provides a teaching guide for
instructors working with incarcerated writers, offering an
extensive examination of both the challenges and benefits. When
Brian Daldorph decided the story of his classroom experiences and
the great writing produced by the inmates deserved to be told to
wider audiences, he struggled with how to bring it all together.
Not long after, an inmate wrote a poem titled 'Words Is a Powerful
Thing,' offering Daldorph a title, concept, and purpose: to show
that the poetry of inmates speaks not just to other inmates but to
all of us.
In The Screenwriters Taxonomy, award-winning screenwriter and
educator Eric R. Williams offers a new collaborative approach for
creative storytellers to recognize, discuss and reinvent
storytelling paradigms. Williams presents seven different aspects
of storytelling that can be applied to any fictional narrative
film-from super genre, macrogenre and microgenre to voice and point
of view-allowing writers to analyze existing films and innovate on
these structures in their own stories. Moving beyond film theory,
Williams describes how this roadmap for creative decision making
can relate to classics like Sunset Boulevard, The Wizard of Oz and
Butch Cassidy and the Sundance Kid as well as such diverse modern
favorites like 12 Years a Slave, Anomalisa and Shrek.
Write to Shoot teaches budding screenwriters and screenwriting
filmmakers how to write a short script with production in mind.
Beker instructs them how to showcase their strengths, tailor
projects to shoestring budgets, resources, and practical production
parameters without sacrificing the quality and punch of their
screenplays, whether they're creating a sizzle short for an
unproduced feature script, an independent creative work, or a
soapbox to promote a cause. Write to Shoot: Writing Short Films for
Production is a must-have guide for anyone who wants to be sure
there will be no surprises on set that come from a script that's
not ready for production.
Writing Historical Fiction: A Writers' & Artists' Companion is
an invaluable companion for a writer working in this challenging
and popular literary genre, whether your period is Ancient Rome or
World War II. PART 1 includes reflections on the genre and provides
a short history of historical fiction. PART 2 contains guest
contributions from Margaret Atwood, Ian Beck, Madison Smartt Bell,
Ronan Bennett, Vanora Bennett, Tracy Chevalier, Lindsay Clarke,
Elizabeth Cook, Anne Doughty, Sarah Dunant, Michel Faber, Margaret
George, Philippa Gregory, Katharine McMahon, Valerio Massimo
Manfredi, Hilary Mantel, Alan Massie, Ian Mortimer, Kate Mosse,
Charles Palliser, Orhan Pamuk, Edward Rutherfurd, Manda Scott, Adam
Thorpe, Stella Tillyard, Rose Tremain, Alison Weir and Louisa
Young. PART 3 offers practical exercises and advice on such topics
as research, plots and characters, mastering authentic but
accessible dialogue and navigating the world of agents and
publishers.
Designed to mentor writers at all levels, from beginning to quite
advanced, The Writer's Portable Mentor offers a wealth of insight
and crafting models from the author's twenty-plus years of teaching
and creative thought. The book provides tools for structuring a
book, story, or essay. It trains writers in observation and in
developing a poet's ear for sound in prose. It scrutinizes the
sentence strategies of the masters and offers advice on how to
publish. This second edition is updated to account for changes in
the publishing industry and provides hundreds of new craft models
to inspire, guide, and develop every writer's work.
This volume analyzes the Serial podcast, situating it in the
trajectory of other popular crime narratives and contemporary
cultural theory. Contributors focus on topics such as the ethics of
the use of fiction techniques in investigative journalism, the
epistemological overlay of postmodern indeterminacy, and the
audience's prolific activity in social media, examining the
competing narrative strategies of the narrators, characters, and
the audience. Other topics considered include the multiplication of
narratives and the longing for closure, how our minds work as we
experience true crime narratives, and what critical race theory can
teach us about the program's strategies.
An indispensable source of advice and inspiration for aspiring
writers, this compilation features literary luminaries -- both
classic and contemporary -- discussing the craft of creating
fiction. Includes essays by Mark Twain, Henry James, Kate Chopin,
Willa Cather, Sinclair Lewis, Jack London, Raymond Chandler,
Raymond Carver, Eudora Welty, and Kurt Vonnegut, Jr.
Award winning essayist Scott Russell Sanders once compared the art
of essay writing to "the pursuit of mental rabbits"-a rambling
through thickets of thought in search of some brief glimmer of
fuzzy truth. While some people persist in the belief that essays
are stuffy and antiquated, the truth is that the personal essay is
an ever-changing creative medium that provides an ideal vehicle for
satisfying the human urge to document truths as we experience them
and share them with others-to capture a bit of life on paper.
Crafting the Personal Essay is designed to help you explore the
flexibility and power of the personal essay in your own writing.
This hands-on, creativity-expanding guide will help you infuse your
nonfiction with honesty, personality, and energy. You'll discover:
An exploration of the basics of essay writing Ways to step back and
scrutinize your experiences in order to separate out what may be
fresh, powerful, surprising or fascinating to a reader How to move
past private "journaling" and write for an audience How to write
eight different types of essays including memoir, travel, humor,
and nature essays among others Instruction for revision and
strategies for getting published Brimming with helpful examples,
exercises, and sample essays, this indispensable guide will help
your personal essays transcend the merely private to become
powerfully universal.
A sharp, funny book about comedy screenwriting from a successful
screenwriter that uses recent - as in this century - movies you've
actually seen as examples. Greg DePaul (Screenwriter, Bride Wars,
Saving Silverman) has sold scripts to Miramax, Fox, Disney, New
Line, Sony, MGM and Village Roadshow. He's worked with comedy stars
like Jack Black, Kate Hudson, Jason Biggs and Amanda Peet. Now Greg
takes everything he knows about writing comedy and breaking into
the biz, tosses it into a blender and serves up this tasty,
fat-free smoothie of a book that's easy to read, brutally honest,
and straight from the heart ... of Hollywood. Bring the Funny is
chock full o' tricks, strategies and insider terms used by
successful comedy screenwriters, including: Comic Justice Wrylies
Genre-Bending Shadow Characters The BDR's The Two-Hander The
Conceit Comedic Escalation Gapping A.I.C. Fish Outta Water The Idea
Factory Really Important Comedy Screenwriting Rules Number 99 and
100 If you're looking to write funnier and better screenplays, you
want this book. But if you're ready to pack up your car, drive out
to L.A., and dive into a career as a comedy screenwriter, you need
this book. Now. Buy it, jam it into your pocket, and hit the gas.
Greg's got your back.
Master writing paragraphs and short essays with WRITING PARAGRAPHS
AND ESSAYS, 6e. Successfully class-tested by thousands of students,
this new edition shows you how to create effective introductions,
support paragraphs, and strong conclusions. Learn smart strategies
for organizing and presenting your ideas and use real examples from
students and professional writers to help guide your work. Take
your skills to the next level with exercises designed to reinforce
key concepts and boost your confidence as you apply them to your
writing.
For courses in English and Writing. Emphasizes the importance of
style in writing for a global audience Style: Lessons in Clarity
and Grace asserts that style is a matter of making informed choices
in the service of one's readers. While writers know best what they
want to say, readers ultimately decide if they've said it well.
This flagship text builds on that premise, with updates on subjects
such as gender-neutral writing and writing for global audiences. It
brings the authors' innovative approach to the needs of today's
students, while maintaining that writing with style is a civic and
ethical virtue. Also available with Pearson Writer Pearson Writer
is a revolutionary digital tool for writers at all levels. Built
for mobile devices, it streamlines the tedious and time-consuming
aspects of writing, so that students can focus on developing their
ideas. Pearson Writer makes it easy to stay organized, track tasks,
and stay on top of writing projects. Students can set milestones
prior to the due date, manage their sources, organize their notes
visually in the Notebook, and even get automatic feedback on their
prose. Pearson Writer is now available with Noteclipper, which
allows students to save online sources quickly and easily. Features
of Pearson Writer: Writing, Grammar, and Research Guide is a go-to
resource any time students have a question or need help. Automatic
Writing Review checks prose for possible spelling, grammar, and
style errors, while offering grammar lessons and suggestions for
revising and editing. Citation Generator keeps track of every
source throughout students' research process and builds a
bibliography in the background, taking care of those formatting
details. Research Database and NoteClipper make searching for and
managing source materials easier. Project Manager and Notebook help
students stay on top of multiple projects and make organizing ideas
and sources less cumbersome. Note: You are purchasing a standalone
product; Pearson Writer does not come packaged with this content.
Students, if interested in purchasing this title with Pearson
Writer, ask your instructor for the correct package ISBN and Course
ID. Instructors, contact your Pearson representative for more
information. If you would like to purchase both the physical text
and Pearson Writer, search for: 013415083X / 9780134150833 Style:
Lessons in Clarity and Grace Plus Pearson Writer - Access Card
Package Package consists of: 032197235X / 9780321972354 Pearson
Writer - Standalone Access Card 0134080416 / 9780134080413 Style:
Lessons in Clarity and Grace
FOREWORD BY FRASER HESTON In celebration of the fiftieth
anniversary of Planet of the Apes, the classic science-fiction film
from 1968, The Making of Planet of the Apes tells the film and
offers exclusive, never-before-seen photographs and concept art.
Based on Pierre Boulle's novel La Planete de singes, the original
Planet of the Apes was one of the most celebrated films of the
1960s and beyond. Starring Hollywood icons Charlton Heston and
Roddy McDowall, the movie struck a chord with the world and sparked
a franchise that included eight sequels, two television series, and
a long-running comic book. Now, five decades after its theatrical
release, New York Times bestselling author J. W. Rinzler tells the
thrilling story of this legendary Hollywood production-a film even
Boulle thought would be impossible to make. With a foreword by
Fraser Heston, Charlton Heston's son, The Making of Planet of the
Apes is an entertaining, informative experience that will transport
readers back to the strange alternate Earth ruled by apes, and
bring to life memorable characters such as Cornelius, Dr. Zira, Dr.
Zaius, and Taylor, the human astronaut whose time-traveling sparks
an incredible adventure. Meticulously researched and designed to
capture the look and atmosphere of the film, The Making of Planet
of the Apes is also packed with a wealth of concept paintings,
storyboards, and never-before-seen imagery-including rare journal
pages and sketches from Charlton Heston's private collection-as
well as color and black-and-white unit photography, posters, and
more unique ephemera. Comprehensive in scope, The Making of Planet
of the Apes is the definitive look at the original blockbuster
film, a must-have for fans, film buffs, and collectors alike.
Writing About Screen Media presents strategies for writing about a
broad range of media objects - including film, television, social
media, advertising, video games, mobile media, music videos, and
digital media - in an equally broad range of formats. The book's
case studies showcase media studies' geographical and industrial
breadth, with essays covering topics as varied as: Brazilian
telenovelas, K-pop music videos, Bombay cinema credit sequences,
global streaming services, film festivals, archives, and more. With
the expertise of over forty esteemed media scholars, the collection
combines personal reflections about writing with practical advice.
Writing About Screen Media reflects the diversity of screen media
criticism and encourages both beginning and established writers to
experiment with content and form. Through its unprecedented scope,
this volume will engage not only those who may be writing about
film and other screen media for the first time but also
accomplished writers who are interested in exploring new screen
media objects, new approaches to writing about media, and new
formats for critical expression.
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