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Books > Language & Literature > Literary & linguistic reference works > Creative writing & creative writing guides
New edition of the popular screenwriting guide!
"Writing Television Sitcoms" is the ultimate all-in-one guide to
writing a funny script, pitching a new show, and launching a
successful career. AS digital technology reshapes the television
industry, this new and expanded edition explains how today's
writers can get ahead of the curve. Features include:
? A complete description of premise-driven comedy, a proven method
for "writing funny from the ground up"
? Numerous examples from new and classic shows
? Advice from top writer-producers
? A thorough look at how sitcom story models are changing
? Complete script layout guidelines for all three formats
? Tips on how new-media developments can help you break into the
business
Anxious to write that Great American Novel but don't know where to
begin? Help is on the way with our "Writer's Block" This guide to
beating writer's block comes packaged in the shape of an actual
block: 3" x 3" x 3," with 672 pages and more than 200 photographs
throughout. Next time you're stuck, just flip open "The Writer's
Block" to any page to find an idea or exercise that will jump-start
your imagination. Many of these assignments come straight from the
creative writing classes of celebrated novelists like Ethan Canin,
Richard Price, Toni Morrison, and Kurt Vonnegut: Joyce Carol Oates
explains how she uses running to destroy writer's block. Elmore
Leonard describes how he often finds ideas just by reading the
newspaper. E. Annie Proulx discusses finding inspiration at garage
sales. Isabel Allende tells why she always begins a new novel on
January 8th. John Irving explains why he prefers to write the last
sentence first. Fresh, fun, and irreverent, "The Writer's Block"
also features advice from contemporary editors and literary agents,
lessons from the awful novels of Joan Collins and Robert James
Waller, a filmography of movies concerning writer's block (e.g.,
"The Shining, Barton Fink"), and countless other surprises. With
this chunky little book at your side, you may never experience
writer's block again
You've written a book, triumphantly typed 'The End', but now, it seems, no-one wants to publish it. What do you do next?
Author of over thirty novels, stories and screenplays, and tutor on the prestigious creative writing course at Bath Spa, Fay Weldon has a lifetime of wisdom to impart on the art of writing.
Why Will No-One Publish My Novel? will delight and amuse, but it isn't just another how-to-write handbook: it shows you how not to write if you want to get published.
'Weaves literary lore with Weldon's considerable experience as a successful writer' Evening Standard.
'Contains lots of interesting advice' Daily Mail.
'Tips and emotional support for the would-be novelist' Sunday Times.
This is the first book-length study to examine the enduring
popularity of block-buster films based on DC or Marvel superhero
comics properties. It argues that the success of superhero movies
is rooted in aesthetic practices unavailable to other types of
film, and suggests that the multi-dimensional seriality of these
movies, combining practices of serialisation, adaptation, and
transmedia storytelling, endows them with an unmatched potential to
engage audiences over time and to actively intervene in the
discourses of online fandom. The book develops a critical theory of
digital-era popular seriality, examining the narrative strategies
of superhero movies and their evolution, from 1978's Superman to
2018's Avengers: Infinity War and beyond. It discusses textual and
extra-textual practices of fan mobilisation, and considers the
genre's shared political imaginary and its purchase on contemporary
political debates.
From the former U.S. Poet Laureate, Pulitzer Prize and National
Book Award-winner, an illuminating dissection of poetic form for
students, enthusiasts, and newcomers alike A Little Book on Form
brilliantly synthesizes Hass's formidable gifts as both a poet and
essayist. In it he takes up the central tension between poetry as
genre and the poetics of the imagination. A wealth of vocabulary
exists with which to talk about poetry in traditional formal terms.
But the more intuitive, creative parts of a poet's work and
processes are more elusive: if the most interesting aspect of form
is the shaping power of the essential, expressive gestures inside
it, how do we come to a language in which to speak about form as
the search for the radiant shapes- the wholeness or brokenness-we
experience inside powerful works of art? In suggestive, informal
"notes," Haas thinks through the idea of a poem from its barest
building blocks-the one line haiku, the brief epigram or prayer-to
the complex villanelle and sonnet, and beyond them, to the grand
forms of elegy and ode through which poets across human cultures
have investigated the shapes of grieving and desiring. His approach
singularly employs postmodern perspectives on shape, thought,
feeling, content, and movement, calling on Catullus and Allen
Ginsberg, Kobayashi Issa and Czeslaw Milosz. Begunb as a project
for students of poetry, A Little Book on Form is anything but-Hass
investigates the ancient roots of the poetic impulse, taking a
wide-ranging look at the most intense experience of human thought
and feeling in language.
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.
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 collection of essays offers twelve innovative approaches to
contemporary literary criticism. The contributors, women scholars
who range from undergraduate students to contingent faculty to
endowed chairs, stage a critical dialogue that raises vital
questions about the aims and forms of criticism- its discourses and
politics, as well as the personal, institutional, and economic
conditions of its production. Offering compelling feminist and
queer readings of avant-garde twentieth- and twenty-first-century
texts, the essays included here are playful, performative, and
theoretically savvy. Written for students, scholars, and professors
in literature and creative writing, Reading and Writing
Experimental Texts provides examples for doing literary scholarship
in innovative ways. These provocative readings invite conversation
and community, reminding us that if the stakes of critical
innovation are high, so are the pleasures.
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.
William F. Nolan, using the knowledge acquired by writing more than
90 works of fiction, analyzes some of his and others' best work to
help the reader with construction of characters, dramatic
development, and dialogue. The writer will learn how to hook the
reader on the first page, how to develop conflict, the craft of
revision, and more.
'We should write because it is human nature to write' Julia Cameron
For those jumping into the writing life for the first time and for
those already living it, the art of writing will never be the same
after reading this book. Provocative, thoughtful and exciting, The
Right to Write will draw you back again and again as you seek to
liberate and cultivate the writer residing within you. This isn't a
book of rules, which can stifle creativity - it's a book about
using writing to bring clarity and passion to the act of living.
The secret is in breaking loose from the grip of your established
thought process to unleash the wave of creativity which is striving
to express itself. With the techniques and illustrative stories in
The Right to Write, you'll learn how to make writing a natural and
intensely personal part of your life. You'll also discover the
details of Cameron's own writing processes, the ones she uses to
create her poetry, plays, essays, novels and bestselling books,
including the world famous The Artist's Way.
No matter who you are, your story is a part of something big-the
fabric of history and the human experience. Once written and
shared, your story will change someone. And that someone is most
likely you. A Story that Matters offers an accessible and
simplified way to get your stories written. Each chapter is divided
into three sections: the first discusses memoir writing in the
context of themes-motherhood, childhood, relationships,
professional life, and spiritual journey; the second provides basic
writing and editing prescription, with a focus on common beginner
mistakes and roadblocks; and the third provides a sample story
related to the life theme discussed in the first section of the
chapter. Chock full of writing and editing lessons that focus on
how to get a first draft written and how to craft the draft into a
compelling story, A Story That Matters explores our ability to
help, heal, and connect to others through story, reminding us of
the greater need for a broader array of authentic voices in the
story-sharing universe.
This important book defines what investigative reporting is and
what qualities it requires. Drawing on the experience of many
well-known journalists in the field, the author identifies the
skills, common factors and special circumstances involved in a wide
variety of investigations. It examines how opportunities for
investigations can be found and pursued, how informants can be
persuaded to yield needed information and how and where this
information can be checked. It also stresses the dangers and legal
constraints that have to be contended with and shows real life
examples such as the Cook Report formula, the Jonathan Aitken
investigation and the Birmingham Six story.
David Spark, himself a freelance writer of wide experience,
examines how opportunities for investigations can be found and
pursued, how informants can be persuaded to yield needed
information and how and where this information can be checked. He
also stresses the dangers and legal constraints that have to be
contended with and shows investigators at work in two classic
inquiries:
- The mysterious weekend spent in Paris by Jonathan Aitken, then
Minister of Defence Procurement
- The career of masterspy Kim Philby
Investigative Reporting looks at such fields for inquiry as company
frauds (including those of Robert Maxwell), consumer complaints,
crime, police malpractice, the intelligence services, local
government and corruption in Parliament and in overseas and
international bodies.
The author believes that the conclusions that emerge from this
far-reaching survey are of value not only in investigative
journalism, but to practitioners in all branches of reporting.
The most comprehensive book oninvestigative journalism
Learn first hand from real-life examples
Get tips on writing style and where to find ideas
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Paperback
R630
Discovery Miles 6 300
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