|
Books > Language & Literature > Literary & linguistic reference works > Creative writing & creative writing guides
Creativity and Feature Writing explores how to generate ideas in
feature writing. Using clear explanations, examples and exercises,
experienced feature writer and teacher Ellie Levenson highlights
how feature writers, editors and bloggers can generate ideas and
how to turn these into published, paid for articles. A variety of
approaches to idea generation are explored including getting
feature ideas from: objects, your own life and the lives of others
the news and non-news articles, including books, leaflets, the
internet and any other printed matter press releases, and from
direct contact with charities and press officers new people, new
places and new experiences. The book draws on a range of tips from
practicing journalists and editors and displays case studies of
example features to chart ideas from conception to publication.
If a story is going to fail, it will do so first at the premise
level. Anatomy of a Premise Line: How to Master Premise and Story
Development for Writing Success is the only book of its kind to
identify a seven-step development process that can be repeated and
applied to any story idea. This process will save you time, money,
and potentially months of wasted writing. So whether you are trying
to write a feature screenplay, develop a television pilot, or just
trying to figure out your next story move as a writer, this book
gives you the tools you need to know which ideas are worth
pursuing. In addition to the 7-step premise development tool,
Anatomy of a Premise Line also presents a premise and idea testing
methodology that can be used to test any developed premise line.
Customized exercises and worksheets are included to facilitate
knowledge transfer, so that by the end of the book, you will have a
fully developed premise line, log line, tagline, and a completed
premise-testing checklist. Here is some of what you will learn
inside: Ways to determine whether or not your story is a good fit
for print or screen Case studies and hands-on worksheets to help
you learn by participating in the process Tips on how to
effectively work through writer's block A companion website
(www.routledge.com/cw/lyons) with additional worksheets, videos,
and interactive tools to help you learn the basics of perfecting a
killer premise line
Creativity and Feature Writing explores how to generate ideas in
feature writing. Using clear explanations, examples and exercises,
experienced feature writer and teacher Ellie Levenson highlights
how feature writers, editors and bloggers can generate ideas and
how to turn these into published, paid for articles. A variety of
approaches to idea generation are explored including getting
feature ideas from: objects, your own life and the lives of others
the news and non-news articles, including books, leaflets, the
internet and any other printed matter press releases, and from
direct contact with charities and press officers new people, new
places and new experiences. The book draws on a range of tips from
practicing journalists and editors and displays case studies of
example features to chart ideas from conception to publication.
Tailor your screenplay to sell. Find out what Hollywood script
readers, producers, and studio executives want in a screenplay (and
why) from someone who's been there. Discover what it takes to begin
a lasting career as a screenwriter. Peppered with interviews from
established professionals, Writing for the Green Light: How to Make
Your Script the One Hollywood Notices gives you a sharp competitive
edge by showcasing dozens of everyday events that go on at the
studios but are rarely if ever discussed in most screenwriting
books. With his behind-the-scenes perspective, Scott Kirkpatrick
shows you why the system works the way it does and how you can use
its unwritten rules to your advantage. He answers such questions
as: Who actually reads your script? How do you pique the interest
of studios and decision makers? What do agents, producers, and
production companies need in a script? How much is a script worth?
What are the best genres for new writers and why? What are real
steps you can take to 'break in' to television writing? How do you
best present or pitch a project without looking desparate? How do
you negotiate a contract without an agent? How do you exude
confidence and seal your first deal? These and other insights are
sure to give you and your screenplay a leg-up for success in this
competitive landscape!
Tailor your screenplay to sell. Find out what Hollywood script
readers, producers, and studio executives want in a screenplay (and
why) from someone who's been there. Discover what it takes to begin
a lasting career as a screenwriter. Peppered with interviews from
established professionals, Writing for the Green Light: How to Make
Your Script the One Hollywood Notices gives you a sharp competitive
edge by showcasing dozens of everyday events that go on at the
studios but are rarely if ever discussed in most screenwriting
books. With his behind-the-scenes perspective, Scott Kirkpatrick
shows you why the system works the way it does and how you can use
its unwritten rules to your advantage. He answers such questions
as: Who actually reads your script? How do you pique the interest
of studios and decision makers? What do agents, producers, and
production companies need in a script? How much is a script worth?
What are the best genres for new writers and why? What are real
steps you can take to 'break in' to television writing? How do you
best present or pitch a project without looking desparate? How do
you negotiate a contract without an agent? How do you exude
confidence and seal your first deal? These and other insights are
sure to give you and your screenplay a leg-up for success in this
competitive landscape!
Plot must be as much about the emotions of the characters as it is
about the events of the story. That's the message in "The Art of
Plotting", which teaches screenwriters how to integrate plot,
characterisation and exposition to make stories compelling. Using
examples from recent and classic movies, author Linda J. Cowgill
demonstrates how the plot springs naturally from the characters -
and how that technique makes audiences connect with the story on a
more intimate level. Easy exercises reveal common plot problems and
help writers overcome them.
The classic text on writing well, now refreshed and updated. This
is the one guide that anyone who writes--whether student,
businessperson, or professional writer--should keep on his or her
desk. Filled with professional tips and a wealth of instructive
examples, 100 Ways to Improve Your Writing can help solve any
writing problem. In this compact, easy-to-use volume you'll find
the eternal building blocks of good writing--from grammar and
punctuation to topic sentences--as well as advice on challenges
such as writer's block and creating a strong title. It is a
must-have resource--perfect for reading cover to cover, or just for
keeping on hand for instant reference--now updated and refreshed
for the first time.
"Creative writing has become a highly professionalised academic
discipline, with popular courses and prestigious degree programmes
worldwide. This book is a must for all students and teachers of
creative writing, indeed for anyone who aspires to be a published
writer. It engages with a complex art in an accessible manner,
addressing concepts important to the rapidly growing field of
creative writing, while maintaining a strong craft emphasis,
analysing exemplary models of writing and providing related writing
exercises. Written by professional writers and teachers of writing,
the chapters deal with specific genres or forms - ranging from the
novel to new media - or with significant topics that explore the
cutting edge state of creative writing internationally (including
creative writing and science, contemporary publishing and new
workshop approaches)"--
The Poetry Toolkit: For Readers and Writers provides students with
the essential intellectual and practical tools necessary to read,
understand, and write poetry. * Explains the most important
elements of poetry in clear language and an easily accessible
manner * Offers readers both the expertise of an established
scholar and the insights of a practicing poet * Draws on examples
from more than 1,500 years of English literature
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.
Film Genre for the Screenwriter is a practical study of how classic
film genre components can be used in the construction of a
screenplay. Based on Jule Selbo's popular course, this accessible
guide includes an examination of the historical origins of specific
film genres, how and why these genres are received and appreciated
by film-going audiences, and how the student and professional
screenwriter alike can use the knowledge of film genre components
in the ideation and execution of a screenplay. Explaining the
defining elements, characteristics and tropes of genres from
romantic comedy to slasher horror, and using examples from classic
films like Casablanca alongside recent blockbuster franchises like
Harry Potter, Selbo offers a compelling and readable analysis of
film genre in its written form. The book also offers case studies,
talking points and exercises to make its content approachable and
applicable to readers and writers across the creative field.
Rediscovered texts for teaching composition and rhetoric. A project
of recovery and reanimation, Lost Texts in Rhetoric and Composition
foregrounds a broad range of publications that deserve renewed
attention. Contributors to this volume reclaim these lost texts to
reenvision the rhetorical tradition itself. Authors discussed
include not only twentieth-century American compositionists but
also a linguist, a poet, a philosopher, a painter, a Renaissance
rhetorician, and a nineteenth-century pioneer of comics; the
collection also features some less studied works by authors who
remain well known. These texts will give rise to new conversations
about current ideas in composition and rhetoric. This volume
contains discussion of the following authors and titles: Judah
Messer Leon, The Book of the Honeycomb's Flow, Angel DeCora,
Sterling Andrus Leonard, English Composition as a Social Problem,
Rodolphe Töpffer, William James, Kenneth Burke, Adrienne Rich, Ann
E. Berthoff, John Mohawk, "Western Peoples, Natural Peoples,"
William Vande Kopple, William Irmscher, Beat Not the Poor Desk,
Walter J. Ong, Geneva Smitherman, Thomas Zebroski, Linda Brodkey,
Craig S. Womack, Deborah Cameron, James Slevin, Marilyn Sternglass,
and William E. Coles, Jr.
No other description available.
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
Great writing isn't born, it's built--sentence by sentence. But too
many writers--and writing guides--overlook this most important
unit. The result? Manuscripts that will never be published and
writing careers that will never begin.
In this wickedly humorous manual, language columnist June
Casagrande uses grammar and syntax to show exactly what makes some
sentences great--and other sentences suck.
With chapters on "Conjunctions That Kill" and "Words Gone Wild,"
this lighthearted guide is perfect for anyone who's dead serious
about writing, from aspiring novelists to nonfiction writers,
conscientious students to cheeky literati. So roll up your sleeves
and prepare to craft one bold, effective sentence after another.
Your readers will thank you.
Poetry and short stories can act as powerful springboards to
growth, self-enhancement and healing. With the guidance of a
skilled facilitator, participants can engage with their own
creative expression, and with that of others, and in doing so find
opportunities to voice their truth, affirm their strengths, and
find new ways of coping with challenges. This accessible book
explores the therapeutic possibilities of poetry and stories in
turn, describing how to select appropriate works for discussion,
and providing techniques for facilitating personally-relevant and
growth-enhancing sessions. The author provides ideas and
suggestions for personal writing activities that emerge from or
intertwine with this discussion, and explains how participants can
create their own poetic and narrative pieces using non-literary
stimuli, such as music, photographs, paintings, objects, and
physical movement. A useful appendix contains titles of individual
poems, stories, and literary anthologies that the author has found
particularly beneficial in her work, as well as useful further
resources and contact details for readers who would like to train
to be registered or certified poetry therapists or facilitators.
Combining theory with innovative ideas for practical, experiential
exercises, this book is a valuable tool for creative arts therapy
students and practitioners, mental health and medical
professionals, and anyone else interested in the healing
possibilities of creative expression.
This is one of three short booklets designed to be given to
graduate students as they begin their studies. These booklets
explain the purposes of the dissertation and the criteria by which
it will be assessed. They help students understand the context of
their course work; the need to take an active role in shaping their
studies; and the importance of thinking ahead about the components
of the dissertation and the quality of scholarship they will need
to demonstrate.These booklets are intended to support the
dissertation research and writing process by providing faculty and
advisors with guidelines for setting clear expectations for student
performance, and with a model for helping students produce the
desired quality of work. They encourage dialogue between faculty
and students about the quality of the components of their
dissertation project. They include rubrics that students can use to
self-assess their work and that can aid faculty in providing
focused feedback.Setting explicit targets and benchmarks of
excellence of the sort advocated in these booklets will enable
departments and universities to respond to demands for
accountability with clear criteria for, and evidence of, success;
and will raise the overall quality of student performance.
MediaWriting is an invaluable resource for students planning to
enter the dynamic and changing world of media writing in the
twenty-first century. With easy-to-read chapters, a wealth of
updated, real-world examples, and helpful "How To" boxes
throughout, this textbook explains the various styles of writing
for print, broadcast, online, social media, public relations, and
multimedia outlets. Some of the features included in the book are:
A re-written Chapter 13, Writing and Reporting in the New New
Media, with updates to how social media is used today Expanded
chapters on print reporting methods and the Associated Press
Stylebook Updates to Chapters 5 and 6, Legal Considerations in
Media Writing, and Ethical Decisions in Writing and Reporting,
discuss recent court cases and current ethical issues Explanatory
"How To" boxes that help readers understand and retain main themes
Illustrative "It Happened to Me" vignettes from the authors'
professional experiences Discussion questions and exercises at the
end of every chapter Designed to meet the needs of students of
print and broadcast media, public relations, or a wannabe
jack-of-all trades in the online media environment, this
reader-friendly primer will equip beginners with the skills
necessary to succeed in their chosen writing field.
Writing Talk includes interviews with nineteen well-known
contemporary writers, exploring the ways in which they research and
find their original ideas. Working across genres such as fiction,
scriptwriting, radio, life writing, biography and more, the writers
offer insight into how they interpret, hone and develop these
ideas. The conversations examine the roles of technique, craft,
language, reading, memory, serendipity, habit and persistence. They
offer technical detail about the creative process and give unique
insights into the borderlands between genres as well as offering
rich, personal insights and universal resonances. A wide-ranging
introduction surveys the reasons why we are intrigued by the
mysteries of individual writing practice and how these illuminate
critical attitudes to literature and performance. Offering a rare
glimpse into the creative process of some of this generation's most
eminent voices, Writing Talk is a must read for anyone interested
in how stories are found and made. Interviewees: Alan Ayckbourn,
Iain Banks, Helen Blakeman, Louis de Bernieres, Sarah Butler,
Andrew Cowan, Jenny Diski, Patricia Duncker, David Edgar, Tanika
Gupta, Richard Holmes, Hanif Kureishi, Bryony Lavery, Toby Litt,
Kareem Mortimer, Michele Roberts, Jane Rogers, Willy Russell and
Sally Wainwright.
Myth and Creative Writing is a unique and practical guide to the
arts of creative writing. It: Gives a historical perspective on the
storyteller's art Takes a wide view of myth, to include: legends,
folklore, biblical myth, classical myth, belief myths, balladry and
song. Considers all aspects of the creative process, from
conception to completion Provides tips on seeking inspiration from
classical and mythic sources Shows how myths can be linked to
contemporary concerns Enables beginning writers to tap into the
deeper resonances of myth Guides students to further critical and
creative resources A secret that all writers know is that they are
part of a long tradition of storytelling - whether they call it
mythic, intertextual, interactive or original. And in the pantheon
of storytelling, myths (those stories that tell us, in often
magical terms, how the world and the creatures in it came to be)
are the bedrock, a source of unending inspiration. One can dress
the study of literature in the finest critical clothing - or
intellectualise it until the cows come home - but at its heart it
is nothing more - and nothing less - than the study of the human
instinct to tell stories, to order the world into patterns we can
more readily understand. Exploring the mythic nature of writing (by
considering where the connections between instinct and art are
made, and where the writer is also seen as a mythic adventurer) is
a way of finding close links to what it is we demand from
literature, which is - again - something to do with the essences of
human nature. Further, in the course of examining the nature of
myth, Adrian May provides a very practical guide to the aspiring
writer - whether in a formal course or working alone - on how to
write stories (myths) of their own, from how to begin, how to
develop and how to close.
The Writer's Hustle is a comprehensive guide to all the things
successful writers do when they're not sitting at the keyboard.
Drawing on wisdom from dozens of experienced authors, professors,
students, and other writing professionals, this book offers
pragmatic and systematic advice on the everyday professional
practices that make up a writer's life. In ten chapters, Franklin
covers the full arc of a writer's professional development, from
setting goals and establishing a routine, to mastering writing
groups and workshops, earning a mentor, and becoming a literary
citizen. He explores strategies for attending conferences,
finishing projects, submitting work, and maintaining a life-long
writing habit, and he examines the potential benefits of a formal
creative writing education, including a close look at how creative
writing students can leverage their liberal arts training into a
wide range of careers. Informative and personal, The Writer's
Hustle is an ideal companion for university students, recent
graduates, and independent enthusiasts-anyone looking to cultivate
the creativity, discipline, humility, and grit that every writer
needs to flourish.
|
You may like...
Incognito
Celine Dion
CD
R378
Discovery Miles 3 780
En Espagnol
Francis Cabrel
CD
R742
Discovery Miles 7 420
|