In a world where literary scandals often end up in court, the issue of responsibility in writing has never been more important. In this groundbreaking study, Carl Tighe asks the questions every writer needs to consider:

*What is it that writers do? Are they responsible for all the uses to which their writing might be put? Or no more responsible than their readers?
*How are a writer's responsibilities compromised or defined by commercial or political pressures, or by notions of tradition or originality?
*How does a writer's audience affect their responsibilities? Are these the same for writers in all parts of the world, under all political and social systems?

The first part of this book defines responsibility and looks at its relation to ideas such as power, accuracy, kitsch and political correctness. The second part examines how particular writers have dealt with these issues through a series of often-controversial case studies, including American Psycho, Crash and The Tin Drum.

Writing and Responsibility encourages its readers to interrogate the choices they make as writers. A fascinating look at the public consequences of the private act of writing, Carl Tighe's book is a must-read for everyone who writes or studies writing.

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In his decades of therapeutic practice with artists, Eric Maisel has found a common thread behind what often gets labeled "writer's block," "procrastination," or "stage fright." It's the particular anxiety that keeps creators from doing, completing, or sharing the work they are paradoxically driven toward. This "creative anxiety" can take the form of avoiding the work, declaring it not good enough, or failing to market it -- and it can cripple creators for decades, even lifetimes. But Maisel has also learned what sets successful creators apart. He shares these strategies here, including artist-specific stress management; how to work despite ego-bruising, day jobs, and other inevitable frustrations; and what not to do to deal with anxiety. These 24 lessons replace the pain of not creating with the profound rewards of free artistic self-expression.

We are on the verge of creating an exciting new kind of interactive story form that will involve audiences as active participants. This book provides a solid foundation in the fundamentals of classical story structure and classical game structure and explains why it has been surprisingly difficult to bring these two activities together. With this foundation in place, the book presents several ideas for ways to move forward in this appealing quest. The author has a conversational and friendly style, making reading a pleasure.

In this book, James A. Inman explores the landscape of the contemporary computers and writing community. Its six chapters engage critical issues, including redefining the community's generally accepted history, connecting its contemporary innovators with its long-standing spirit of innovation, advocating for increased access and diversity, and more. Between chapters, readers will find "Community Voices" sections, which provide a snapshot of the contemporary computers and writing community and introduce, in a non-hierarchical form, more than 100 of its members from around the world, in their own voices.
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Computers and Writing: The Cyborg Era" features a simultaneous emphasis on individuals, communities, and contexts they share; a creative rethinking of the character and values of the computers and writing community; a holistic exploration of meaning-making; and an activist approach to pedagogy. It is a must-read book for anyone interested in rhetoric, technology, and pedagogy, including faculty, graduate students, and colleagues in professions outside the academy.

Grand themes and complex plots are just the beginning of a great piece of fiction. Mastering the nuts and bolts of grammar and prose mechanics is also an essential part of becoming a literary artist. This indispensable guide, created just for writers of fiction, will show you how to take your writing to the next level by exploring the finer points of language. Funny, readable, and wise, this book explores the tools of the fiction writer's trade, from verb tenses to pronouns to commas and beyond. Filled with examples from the best-seller lists of today and yesterday, it will help you consider the hows and whys of language, and how mastery of them can be used to achieve clarity and grace of expression in your own work.
Here, you'll find
Encouragement and advice to face the big questions: Past or present tense? Comma or semicolon? Italic or roman? Should your dialogue be phonetically rendered, or follow standard rules of grammar? (And where does that pesky quotation mark go, again?)
Warning signs of the betrayal of language, and ways to avoid it: Unwitting rhymes, repetition, redundancy, cliche, and the inevitable failure of vocabulary
How-to (and how-not-to) examples: The grammatical "mistakes" of Charles Dickens; ambiguous pronoun usage by Nathaniel Hawthorne; the minefield of paragraph fragments found in one of today's most successful authors

Launched in middle schools in the fall of 2005, the "Writers Matter" approach was designed to discover ways to improve the fit between actual English curricula, district/state standards and, more recently, the Common Core Curriculum Standards for writing instruction. Adapted from Erin Gruwell's successful Freedom Writers Program, "Writers Matter" develops students' skills in the context of personal growth, understanding others, and making broader connections to the world. Empowering Young Writers explains and expands on the practical aspects of the "Writers Matter" approach, emphasizing a focus on free expression and establishing connections between the curriculum and students' personal lives. Program creator Robert Vogel, and his co-authors offer proven ways to motivate adolescents to write, work diligently to improve their writing skills, and think more critically about the world. This comprehensive book will help teachers, administrators, and education students apply and reproduce the "Writers Matter" approach more broadly, which can have a profound impact on their students' lives and social development.

Memoir meets craft master class in this “daring, honest, psychologically insightful” exploration of how we think and write about intimate experiences—“a must read for anybody shoving a pen across paper or staring into a screen or a past" (Mary Karr)

In this bold and exhilarating mix of memoir and master class, Melissa Febos tackles the emotional, psychological, and physical work of writing intimately while offering an utterly fresh examination of the storyteller’s life and the questions which run through it.

How might we go about capturing on the page the relationships that have formed us? How do we write about our bodies, their desires and traumas? What does it mean for an author’s way of writing, or living, to be dismissed as “navel-gazing”—or else hailed as “so brave, so raw”? And to whom, in the end, do our most intimate stories belong?

Drawing on her own path from aspiring writer to acclaimed author and writing professor—via addiction and recovery, sex work and academia—Melissa Febos has created a captivating guide to the writing life, and a brilliantly unusual exploration of subjectivity, privacy, and the power of divulgence. Candid and inspiring, Body Work will empower readers and writers alike, offering ideas—and occasional notes of caution—to anyone who has ever hoped to see themselves in a story.

Using clear, readable prose, conceptual artist and poet Kenneth Goldsmith's manifesto shows how our time on the internet is not really wasted but is quite productive and creative as he puts the experience in its proper theoretical and philosophical context. Kenneth Goldsmith wants you to rethink the internet. Many people feel guilty after spending hours watching cat videos or clicking link after link after link. But Goldsmith sees that "wasted" time differently. Unlike old media, the internet demands active engagement-and it's actually making us more social, more creative, even more productive. When Goldsmith, a renowned conceptual artist and poet, introduced a class at the University of Pennsylvania called "Wasting Time on the Internet", he nearly broke the internet. The New Yorker, the Atlantic, the Washington Post, Slate, Vice, Time, CNN, the Telegraph, and many more, ran articles expressing their shock, dismay, and, ultimately, their curiosity. Goldsmith's ideas struck a nerve, because they are brilliantly subversive-and endlessly shareable. In Wasting Time on the Internet, Goldsmith expands upon his provocative insights, contending that our digital lives are remaking human experience. When we're "wasting time," we're actually creating a culture of collaboration. We're reading and writing more-and quite differently. And we're turning concepts of authority and authenticity upside-down. The internet puts us in a state between deep focus and subconscious flow, a state that Goldsmith argues is ideal for creativity. Where that creativity takes us will be one of the stories of the twenty-first century. Wide-ranging, counterintuitive, engrossing, unpredictable-like the internet itself-Wasting Time on the Internet is the manifesto you didn't know you needed.

This is the first book to critically examine the recruitment and working practices of screenwriters. Drawing on interviews with screenwriters and those that employ them, Natalie Wreyford provides a deep and detailed understanding of entrenched gender inequality in the UK film industry and answers the question: what is preventing women from working as screenwriters? She considers how socialised recruitment and gendered taste result in exclusion, and uncovers subtle forms of sexism that cause women's stories and voices to be discounted. Gender Inequality in Screenwriting Work also reveals the hidden labour market of the UK film industry, built on personal connections, homophily and the myth of meritocracy. It is essential reading for students and scholars of gender, creative industries, film and cultural studies, as well as anyone who wants to understand why women remain excluded from many key roles in filmmaking.

If you teach creative writing or facilitate a writing group, you will want to inspire, inform and encourage would-be writers. This book is a unique, practical resource offering guidance, ideas and exercises to help you do just that. It moves from planning and structuring courses to giving ideas and exercises on all the key aspects of creative writing, providing a wealth of really useful advice and tips. It will enable you to pass on your particular expertise and enthusiasm imaginatively and professionally to all your students. * Guidance on teaching all the skills of creative writing * Ideas on lesson content, example exercises and setting homework * Support on dealing with problems and adapting for different abilities * Tips on group management and feedback * A - Z of specific genres with examples of learning activities. This book will ensure that your teaching will be effective, fun and immensely rewarding.

There are so many different graduate creative writing programs out there! How do I find the right one for me? Bringing together data from both Master's and doctoral creative writing programs and interviews with program applicants, students, and faculty, this is a complete practical guide to choosing a graduate creative writing program and putting together a successful application. The Insider's Guide to Graduate Degrees in Creative Writing answers frequently asked questions on such topics as: * Application prerequisites * Program sizes and durations * Funding * Acceptance rates * Cost of living * Program curricula and demographics * Workshopping techniques * Student-faculty ratios * Residency options * Postgraduate fellowship placement * Postgraduate job placement * Programs' reputations and histories The book also includes comprehensive and up-to-date hard data on the hundreds of terminal-degree graduate creative writing programs available throughout the US, UK, and internationally, making this an essential read for anyone planning to pursue a low- or full-residency graduate creative writing degree.

Reading and Writing a Screenplay takes you on a journey through the many possible ways of writing, reading and imagining fiction and documentary projects for cinema, television and new media. It explores the critical role of a script as a document to be written and read with both future readers and the future film it will be giving life to in mind.

The book explores the screenplay and the screenwriting process by approaching the film script in three different ways: how it is written, how it is read and how it can be rewritten. Combining contemporary screenwriting practices with historical and academic context, Isabelle Raynauld provides key analytical tools and reading strategies for conceptualizing and scripting projects based on the impact different writing styles can have on readers, with various examples ranging from early cinema to new media and new platforms throughout.

This title offers an alternative, thought-provoking and inspiring approach to reading and writing a screenplay that is ideal for directors, producers, actors, students, aspiring screenwriters and readers interested in understanding how an effective screenplay is created.

Table of Contents

Acknowledgements

Introduction: The screenplay as text

1. What constitutes a "good" screenplay?

2. The screenplay as text

3. Ideas, writing in stages and types of documents

4. What does screenwriting share with editing principles?

5. Structures

6. Point of view: telling a story from a certain perspective

7. The scene

8. The character

9. Writing sound

10. Writing for documentary

11. New media, new forms of writing: towards expanded screenwriting practices

12. Reading a screenplay: reading modes from analysis to writing

Conclusion

Bibliography

Index

Based on the author's teaching methods and experience, the book presents an examination and analysis of the creative process of playwriting through the insight of the very foundations of drama and theatre-the ritual process. Using the playwright as a ritual quester, it attempts to concretize the playwright's creative experience from the gestation of a dramatic idea, through the development of that idea, to its expression as a scripted and theatrical expression. To give the concept a wider scope, parallels and/or contrasts are often made with similar creative experiences, especially performative. The first part of the book visually crystallizes the ritual-creative concept in the psychical emanations of the questing playwright; the second part locates the concept in the dramatic structure, a result of the physical engagement, struggle and expression of the playwright. Various established dramatic works, classical and contemporary, are used to illustrate this creative concept.

Language * Literacy * Content Reach Higher guides students to learn English, learn about the world, and learn about themselves through authentic content with a global perspective. Primary students develop the academic language skills and content knowledge they need to get an education in English. * Cross-curricular, six-level program showcases original fiction, science, and social studies content to develop English literacy skills * Academic skill-building with phonics support develops students' understanding of different cultures while fostering independent learning * All-in-one Classroom Presentation Tool provides the resources teachers need to prepare for, address, and assess a comprehensive range of instructional priorities and requirements * Read on Your Own phonics readers use fiction and non-fiction texts to reinforce the phonics and high-frequency words in Reach High through science and social studies content

Sometimes you want to write, but you don't know what to write about. Sometimes you know what to write about, but not how to make it work. This book will bring you a year's advice and inspiration to move your writing forward. Each two-page spread opens with learning points and advice, followed by interesting exercises to help you put this into practice. In 365 days you'll learn to: - create believable characters - write realistic dialogue - let your reading improve your writing - use personal experience to inspire fiction find the factors that get a story going - choose the right tense and person for your stories - show, rather than tell - work out which writing rules really matter - and follow them

Named a Best Book of 2018 by New York Magazine, the Washington Post, Publisher's Weekly, NPR, and Time, among many others, this essay collection from the author of The Queen of the Night explores how we form identities in life and in art. As a novelist, Alexander Chee has been described as "masterful" by Roxane Gay, "incendiary" by the New York Times, and "brilliant" by the Washington Post. With his first collection of nonfiction, he's sure to secure his place as one of the finest essayists of his generation as well. How to Write an Autobiographical Novel is the author's manifesto on the entangling of life, literature, and politics, and how the lessons learned from a life spent reading and writing fiction have changed him. In these essays, he grows from student to teacher, reader to writer, and reckons with his identities as a son, a gay man, a Korean American, an artist, an activist, a lover, and a friend. He examines some of the most formative experiences of his life and the nation's history, including his father's death, the AIDS crisis, 9/11, the jobs that supported his writing -- Tarot-reading, bookselling, cater-waiting for William F. Buckley -- the writing of his first novel, Edinburgh, and the election of Donald Trump. By turns commanding, heartbreaking, and wry, How to Write an Autobiographical Novel asks questions about how we create ourselves in life and in art, and how to fight when our dearest truths are under attack. Named a Best Book by: Time, Washington Post, Entertainment Weekly, NPR, Wired, Esquire, Buzzfeed, New York Public Library, Boston Globe, Paris Review, Mother Jones, The A.V. Club, Out Magazine, Book Riot, Electric Literature, PopSugar, The Rumpus, My Republica, Paste, Bitch, Library Journal, Flavorwire, Bustle, Christian Science Monitor, Shelf Awareness, Tor.com, Entertainment Cheat Sheet, Roads and Kingdoms, Chicago Public Library, Hyphen Magazine, Entropy Magazine, Chicago Review of Books, The Coil, iBooks, and Washington Independent Review of Books Winner of the Publishing Triangle's Randy Shilts Award for Gay Nonfiction * Recipient of the Lambda Literary Trustees' Award * Finalist for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay * Finalist for a Lambda Literary Award for Gay Memoir/Biography

'Moving and inspiring, courageous and true: real art. Just reading her is pleasure' Amy Liptrot, author of The Outrun Just days into motherhood, a woman begins dying. Fast and without warning. On return from near-death, Tanya Shadrick vows to stop sleepwalking through life. To take more risks, like the characters in the fairy tales she loved as a small girl, before loss and fear had her retreat into routine and daydreams. Around the care of young children, she starts to play with the shape and scale of her days: to stray from the path, get lost in the woods, make bargains with strangers. As she moves beyond her respectable roles as worker, wife and mother in a small town, Tanya learns what it takes - and costs - to break the spell of longing for love, approval, safety, rescue.

* The first book to connect place branding and travel writing, building on the increased emphasis on storytelling in tourism marketing. * Adopts a reflective approach, encouraging the reader to apply and experiment with different ideas and techniques. * Makes a significant contribution to mapping and defining the subject, drawing together a range of methodological approaches