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Creative Writer's Handbook / Edition 3

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Overview

This handbook is the perfect reference for beginning creative writers. It offers abundant illustrations, exercises, and useful techniques in all genres. While emphasizing problem-solving and the mastery of literary conventions, this handbook also takes the apprentice writer on a journey from inspiration to revision. Explores the work of "classic" modern as well as active contemporary writers through examples of effective stories, essays, poems and plays. An extensive look at fundamental creative writing issues includes attitudes, habits, journal-keeping, point of view, language, invention and research, and more. Appropriate for apprentice creative writers.
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Editorial Reviews

Booknews
Teaches beginning writers to tap and shape their creative energies. Introductory chapters discuss a writer's motivations, journal keeping, point of view, language, and the relationship of invention and research. Subsequent sections address individual genres such as poetry, fiction and nonfiction prose, and drama, and discuss the business of writing. Numerous examples in the text include stories by Joyce, Hemingway, and Salman Rushdie, among others, and more than 30 poems. Annotation c. by Book News, Inc., Portland, Or.
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Product Details

  • ISBN-13: 9780137879120
  • Publisher: Prentice Hall
  • Publication date: 7/1/1998
  • Edition description: Older Edition
  • Edition number: 3
  • Pages: 411
  • Product dimensions: 6.01 (w) x 8.95 (h) x 0.78 (d)

Table of Contents

I. A WRITER'S CONCERNS.

1. Working like a Writer.

2. Keeping a Journal.

3. Point of View.

Rhody's Path, William Goyen.


4. Language Is Your Medium.

5. Invention and Research.

Ellis Island: Then and Now, Sharon Spencer.


II. THE CONCERNS OF THE POET.

6. The Elements of Poetry.

7. Practicing Poetry.

8. Poetry Problems.

III. THE CONCERNS OF THE STORYTELLER.

9. The Elements of Fiction.

10. Narration and Its Problems.

11. Creative Nonfiction.

12. Stories and Memoirs.

The Thing with Willie, Karen Sagstetter. A Very Short Story, Ernest Hemingway . The Boarding House, James Joyce. Sunday in the Park, Bel Kaufman. The First Day, Edward Jones. Just Married, Tony Earley. Chinese Medicine, Hilary Tham. Close Encounters of the SneakyKind, Richard Conniff.


IV. THE CONCERNS OF THE PLAYWRIGHT.

13. The Elements of Drama.

14. Dialogue and Its Problems.

The Day They Shot John Lennon, James McLure.


15. Plays and Screen Plays.

Procedure, Joyce Carol Oates. Last Day of Camp, Jeffrey Sweet.


V. THE WRITER'S BUSINESS.

16. From Revision to Submission.

17. Tools and Resources.

Glossary of Key Terms.

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Preface

In this edition we have given more attention to the interrelationships among genres. Though techniques of character development or dialogue may appear irrelevant to writing poetry or nonfiction, they are not. Nor are the techniques of sound patterns beside the point when one comes to write a play or a story. As we tell students in our workshops, what makes writing both fascinating and difficult is the fact that everything counts.

Almost everywhere, we have added and replaced examples, expanded sections, deleted some material and added other material. We have tried to make the book more readable, and we have added tools like the "scam sheet" and "Proofreading Check List" in Chapter 16. Chapter 2 has new material on the journal as a literary form. Chapter 4 includes an enhanced discussion of style. Chapter 5 attends more fully to electronic research. We have added new stories to Chapter 12 as well as a creative nonfiction essay that is not a memoir. In Chapter 15, two ten-minute plays have replaced Trifles because we felt shorter plays would be more helpful models for beginning writers. We have deleted and added exercises. In short, we have tried to do what a revision ought to do.

If you are coming to The Creative Writer's Handbook for the first time, you may be overwhelmed by both the amount of detail and the number of questions we ask you to consider as well as the sizeable number of exercises. Don't be. Our idea was to provide you with a smorgasbord from which to choose what tempts your palate.

We wish to thank the following reviewers for their valuable contribution: Joan Connor, Ohis University, and Juliet W. Kincaid, Johnson CountyCommunity College.

We want to stress again that this book is about useful techniques for the beginner. No book teaches; practice does.

Finally, we want to thank those students, colleagues, and friends who have helped us to improve the work.

ABL

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Introduction

In this edition we have given more attention to the interrelationships among genres. Though techniques of character development or dialogue may appear irrelevant to writing poetry or nonfiction, they are not. Nor are the techniques of sound patterns beside the point when one comes to write a play or a story. As we tell students in our workshops, what makes writing both fascinating and difficult is the fact that everything counts.

Almost everywhere, we have added and replaced examples, expanded sections, deleted some material and added other material. We have tried to make the book more readable, and we have added tools like the "scam sheet" and "Proofreading Check List" in Chapter 16. Chapter 2 has new material on the journal as a literary form. Chapter 4 includes an enhanced discussion of style. Chapter 5 attends more fully to electronic research. We have added new stories to Chapter 12 as well as a creative nonfiction essay that is not a memoir. In Chapter 15, two ten-minute plays have replaced Trifles because we felt shorter plays would be more helpful models for beginning writers. We have deleted and added exercises. In short, we have tried to do what a revision ought to do.

If you are coming to The Creative Writer's Handbook for the first time, you may be overwhelmed by both the amount of detail and the number of questions we ask you to consider as well as the sizeable number of exercises. Don't be. Our idea was to provide you with a smorgasbord from which to choose what tempts your palate.

We wish to thank the following reviewers for their valuable contribution: Joan Connor, Ohis University, and Juliet W. Kincaid, Johnson County CommunityCollege.

We want to stress again that this book is about useful techniques for the beginner. No book teaches; practice does.

Finally, we want to thank those students, colleagues, and friends who have helped us to improve the work.

ABL

Read More Show Less

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  • Anonymous

    Posted May 1, 2001

    Not worth it.

    Not only is this book condescending, it also fails to teach you anything. It has a meandering small town feel, and you begin to wonder if your grandmother could instruct you just as well on the front porch with a nice glass of lemonade. I would try and be more specific about the reasons I didn't like it, but I couldn't make it past page 30 without wanting to jam a pitchfork in my eye. I found it not worth $44.00, not worth $33.00, and most importantly not worth my time.

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