Elements of Creative Writing
(2 reviews)
J.D. Schraffenberger, University of Northern Iowa
Rachel Morgan, University of Northern Iowa
Grant Tracey, University of Northern Iowa
Copyright Year: 2023
ISBN 13: 9780915996179
Publisher: University of Northern Iowa
Language: English
Formats Available
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Reviewed by Jeanne Cosmos, Adjunct Faculty, Massachusetts Bay Community College on 7/7/24
Direct language and concrete examples & Case Studies. read more
Comprehensiveness rating: 5 see less
Direct language and concrete examples & Case Studies.
Content Accuracy rating: 5
References to literature and writers- on track.
Relevance/Longevity rating: 5
On point for support to assist writers and creative process.
Clarity rating: 5
Direct language and easy to read.
Consistency rating: 4
First person to third person. Too informal in many areas of the text.
Modularity rating: 5
Units are readily accessible.
Organization/Structure/Flow rating: 5
Process of creative writing and prompts- scaffold areas of learning for students.
Interface rating: 5
No issues found.
Grammatical Errors rating: 5
The book is accurate in this regard.
Cultural Relevance rating: 4
Always could be revised and better.
Yes. Textbook font is not academic and spacing - also not academic. A bit too primary. Suggest- Times New Roman 12- point font & a space plus - Some of the language and examples too informal and the tone of lst person would be more effective if - direct and not so 'chummy' as author references his personal recollections. Not effective.
Reviewed by Robert Moreira, Lecturer III, University of Texas Rio Grande Valley on 3/21/24
Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama. read more
Comprehensiveness rating: 4 see less
Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama.
As far as I can tell, content is accurate, error free and unbiased.
The book is relevant and up-to-date.
The text is clear and easy to understand.
Consistency rating: 5
I would agree that the text is consistent in terms of terminology and framework.
Text is modular, yes, but I would like to see the addition of a section on dramatic writing.
Topics are presented in logical, clear fashion.
Navigation is good.
No grammatical issues that I could see.
Cultural Relevance rating: 3
I'd like to see more diverse creative writing examples.
As I stated above, textbook is good except that it does not include a section on dramatic writing.
Table of Contents
- Introduction
- Chapter One: One Great Way to Write a Short Story
- Chapter Two: Plotting
- Chapter Three: Counterpointed Plotting
- Chapter Four: Show and Tell
- Chapter Five: Characterization and Method Writing
- Chapter Six: Character and Dialouge
- Chapter Seven: Setting, Stillness, and Voice
- Chapter Eight: Point of View
- Chapter Nine: Learning the Unwritten Rules
- Chapter One: A Poetry State of Mind
- Chapter Two: The Architecture of a Poem
- Chapter Three: Sound
- Chapter Four: Inspiration and Risk
- Chapter Five: Endings and Beginnings
- Chapter Six: Figurative Language
- Chapter Seven: Forms, Forms, Forms
- Chapter Eight: Go to the Image
- Chapter Nine: The Difficult Simplicity of Short Poems and Killing Darlings
Creative Nonfiction
- Chapter One: Creative Nonfiction and the Essay
- Chapter Two: Truth and Memory, Truth in Memory
- Chapter Three: Research and History
- Chapter Four: Writing Environments
- Chapter Five: Notes on Style
- Chapter Seven: Imagery and the Senses
- Chapter Eight: Writing the Body
- Chapter Nine: Forms
Back Matter
- Contributors
- North American Review Staff
Ancillary Material
- University of Northern Iowa
About the Book
This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They’ve selected nearly all of the readings and examples (more than 60) from writing that has appeared in NAR pages over the years. Because they had a hand in publishing these pieces originally, their perspective as editors permeates this book. As such, they hope that even seasoned writers might gain insight into the aesthetics of the magazine as they analyze and discuss some reasons this work is so remarkable—and therefore teachable. This project was supported by NAR staff and funded via the UNI Textbook Equity Mini-Grant Program.
About the Contributors
J.D. Schraffenberger is a professor of English at the University of Northern Iowa. He is the author of two books of poems, Saint Joe's Passion and The Waxen Poor , and co-author with Martín Espada and Lauren Schmidt of The Necessary Poetics of Atheism . His other work has appeared in Best of Brevity , Best Creative Nonfiction , Notre Dame Review , Poetry East , Prairie Schooner , and elsewhere.
Rachel Morgan is an instructor of English at the University of Northern Iowa. She is the author of the chapbook Honey & Blood , Blood & Honey . Her work is included in the anthology Fracture: Essays, Poems, and Stories on Fracking in American and has appeared in the Journal of American Medical Association , Boulevard , Prairie Schooner , and elsewhere.
Grant Tracey author of three novels in the Hayden Fuller Mysteries ; the chapbook Winsome featuring cab driver Eddie Sands; and the story collection Final Stanzas , is fiction editor of the North American Review and an English professor at the University of Northern Iowa, where he teaches film, modern drama, and creative writing. Nominated four times for a Pushcart Prize, he has published nearly fifty short stories and three previous collections. He has acted in over forty community theater productions and has published critical work on Samuel Fuller and James Cagney. He lives in Cedar Falls, Iowa.
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The creative writing coursebook : forty writers share advice and exercises for poetry and prose
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Clay Thistleton's Creative Writing: Poetry
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Adelphi University
Poetry: Jan-Henry Gray, Maya Marshall Prose: Katherine Hill, René Steinke, Igor Webb
Albertus Magnus College
Poetry: Paul Robichaud Fiction: Sarah Harris Wallman Nonfiction: Eric Schoeck
Alma College
Poetry: Leslie Contreras Schwartz, Jim Daniels, Benjamin Garcia Fiction: Karen E. Bender, Shonda Buchanan, Dhonielle Clayton, S. Kirk Walsh Creative Nonfiction: Anna Clark, Matthew Gavin Frank, Donald Quist, Robert Vivian
American University
Poetry: Kyle Dargan, David Keplinger Fiction: Dolen Perkins-Valdez, Stephanie Grant, Patricia Park Nonfiction: Rachel Louise Snyder
Antioch University
Poetry: Victoria Chang Prose: Lisa Locascio
Arcadia University
Poetry: Genevieve Betts, Michelle Reale Fiction: Stephanie Feldman, Joshua Isard, Tracey Levine, Eric Smith Literature: Matthew Heitzman, Christopher Varlack, Elizabeth Vogel, Jo Ann Weiner
Poetry: Genevieve Betts, Michelle Reale Fiction: Stephanie Feldman, Joshua Isard, Tracey Levine, Eric Smith
Arizona State University
Poetry: Sally Ball, Natalie Diaz, Alberto Álvaro Ríos, Safiya Sinclair Fiction: Matt Bell, Jenny Irish, Tara Ison, Mitchell Jackson, T. M. McNally Creative Nonfiction: Sarah Viren
Ashland University
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Augsburg University
Poetry: Michael Kleber-Diggs Fiction: Stephan Eirik Clark, Lindsay Starck Nonfiction: Anika Fajardo Playwriting: Carson Kreitzer, TyLie Shider, Sarah Myers Screenwriting: Stephan Eirik Clark, Andy Froemke
Ball State University
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Jess Arndt, Shiv Kotecha, Mirene Arsanios, Hannah Black, Trisha Low, Christoper Perez, Julian Talamantez Brolaski, Simone White
Bath Spa University
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Poetry: Lucy English, Tim Liardet, Gerard Woodward Fiction: Gavin James Bower, Celia Brayfield, Anne-Marie Crowhurst, Nathan Filer, Aminatta Forna, Samantha Harvey, Philip Hensher, Claire Kendal, Natasha Pulley, Kate Pullinger, Gerard Woodward Nonfiction: Lily Dunn, Richard Kerridge
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Poetry: Martin Corless-Smith, Sara Nicholson, Taryn Schwilling Fiction: Mitch Wieland (Director), Anna Caritj Creative Nonfiction: Chris Violet Eaton, Clyde Moneyhun
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Poetry: Kimberly Johnson, Lance Larsen, Michael Lavers, John Talbot Fiction: Chris Crowe, Ann Dee Ellis, Spencer Hyde, Stephen Tuttle Nonfiction: Joey Franklin, Patrick Madden
Brooklyn College
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IMAGES
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COMMENTS
This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States.
matter to every genre of creative writing. That means we'll be reading poetry, fiction, and creative non-fiction as we go along. One thing I hope you emerge from this class with is a sense of freedom with respect to genre: a sense that you enjoy the writing you're doing, even if you don't know exactly what to call it.
The creative writing coursebook : forty writers share advice and exercises for poetry and prose Bookreader Item Preview ... Pdf_module_version 0.0.17 Ppi 360 Rcs_key 24143 Republisher_date 20220129101144 Republisher_operator [email protected] ...
2. The Evaluation of Creative Writing at MA Level (UK) Jenny Newman 24 3. The Creative Writing MFA Stephanie Vanderslice 37 4. Creative Writing and Critical Theory Lauri Ramey 42 5.Literary Genres David Rain 54 6. The Writer as Artist Steven Earnshaw 65 7. The Future of Creative Writing Paul Dawson 78 Section Two - The Craft of Writing Prose 8.
creative writing, there is an imperative to articulate the research process in verbal arts and make explicit the artistic and reflective processes within them in terms that the rest of the academic community may recognise. Definitions . It is difficult to start a chapter called writing poetry without first defining what those terms actually mean.
Creative Writing Definition of genre Creative writing, a form of artistic expression, draws on the imagination to convey meaning through the use of imagery, narrative, and drama. This is in contrast to analytic or pragmatic forms of writing. This genre includes poetry, fiction (novels, short stories), scripts, screenplays, and creative non-fiction.
Download Free PDF. View PDF. ADULT EDUCATION SOUTH COAST Your Local Community College 38 Parker Street Bega NSW 2550 Phone: (02) 6492 6273 Web: www.eaec.edu.au f"Clay Thistleton's Creative Writing: Poetry" is a detailed entwining with the art of reading and writing poetry. The poems on the course - to be examined as practical examples ...
The creative writing component of this class consists in the elaboration of a creative writing portfolio based on specific writing exercises that you will be assigned throughout the semester: from imitation of certain poetic forms, to the composition of experimental texts, and the composition of prose, narrative and confessional poems.
Identify the formal qualities of poetry and narrative prose1. Analyze how the formal choices writers make strengthen or undermine their work. Build a vocabulary for discussing poems and prose productively. Use that vocabulary to provide rigorous and compassionate feedback that helps the author or poet write the thing they want to write.
Poetry 125 POETRY Probably the most significant development in American poetry over the past fifty years has been the eruption of writing by women and people of color. "Eruption," "explosion," "outburst"—any of these nouns would be appropriate, suggesting as they do a force long suppressed suddenly finding its way into the open air.
Explore other types of creative writing . Writing poems doesnÕt preven t you from exploring other forms of writing. Supplement your poetry writing with nonfiction essays and short stories in your free time . This will help your writing stay fresh and active and can also be a great way of adding additi onal writing income.
Teaches Fiction and Storytelling. Teaches Storytelling and Writing. Teaches Creating Outside the Lines. Teaches Writing for Social Change. Teaches Fiction, Memory, and Imagination. Teaches Fantasy and Science Fiction Writing. Teaches Poetic Thinking. Teaches Writing and Performing Poetry. Icons and Their Influences.
Creative writing is any form of writing which is written with the creativity of mind: fiction writing, poetry writing, cre-ative non-fiction writing and more. The purpose is to ex-press, whether it be thoughts, experiences or emotions. Rath-er than simply giving information or inciting the reader to
Creative Writing Poetry Assignment About the Assignment: Throughout the semester we have read numerous types of poems from multiple voices and poets. We read political poems and poems that documented the intersection of the personal and the historical. All of the poems we read for our poetry unit bear witness to experience and the life of the mind.
I call them Creative Writing workshops; it sounds more official. The activities are primarily poetry but you can try your hand at short stories, dialogues, plays, songs and even some improvisational theatre. It might help some of the inmates. It could do wonders for you. Ideas are powerful agents of change. You'll end up writing more.
Find details about every creative writing competition—including poetry contests, short story competitions, essay contests, awards for novels, grants for translators, and more—that we've published in the Grants & Awards section of Poets & Writers Magazine during the past year. We carefully review the practices and policies of each contest before including it in the Writing Contests ...
What is Poetry? Poetry is a type of literature wherein words are placed together to form sounds and images and follows strictly the rules of meter and rhyme. Poetry is believed as the oldest form of literature. The oldest written manuscripts we have are poems, mostly epic poems telling the stories of ancient mythology such as the sacred texts of Hinduism - Epic of Gilgamesh and the Vedas.