Mooring Against the Tide: Writing Fiction and Poetry / Edition 1

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Overview

This creative writing text will serve as a guide to steer through sometimes rough and unsure waters until the writer is safely moored against the tide.

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Product Details

  • ISBN-13: 9780130260116
  • Publisher: Prentice Hall
  • Publication date: 7/6/2000
  • Edition description: Older Edition
  • Edition number: 1
  • Pages: 320
  • Product dimensions: 6.00 (w) x 8.99 (h) x 0.59 (d)

Read an Excerpt

PREFACE:

PREFACE

When we first talked about writing a creative writing textbook comprised of the two genres of poetry and fiction, it occurred to us that most books on the market today use classic stories and poems as models of excellence for the aspiring writer to emulate. Certainly there is nothing wrong with this. In fact, both of us make allusions to such work in our respective sections of the book. However, we thought it might be more useful for the aspiring writer to have a book more closely modeled after the creative writing workshop wherein the students read and critique work of their peers in an effort to discover what is working in a story or in a poem and what is not working, and thereby apply these lessons to their own work.

The book is organized by genre with each respective genre organized by chapters defining the elements of fiction and poetry, followed by the workshop sections wherein student stories and poems are presented.

In the chapters covering the elements of fiction and poetry, we have presented utilitarian definitions for the reader followed by essays by guest writers. For example, in the chapter on Sound in Poetry, we present a definition of that element followed by an essay on sound by Alberto Rios who addresses the quality of sound in his own students' work. In the fiction section of this book, we define the various uses of setting in the chapter so-named. Following this definition is an essay by the novelist Valerie Miner who writes about the role of setting in her own student's story.

In the workshop sections of the book, we present first the student poem and student story without marginalia, followed byquestions the reader is asked to consider. Following this is the same story and the same poem, this time with our marginalia and then our critiques of the student work. Finally, student revisions are presented with critiques.

It is our hope that the structure of this book will allow the readers to witness the creative evolution of poems and stories, and that they will see the process of writing as inherently dynamic as the writers go through draft after draft in the effort of crafting the finest fiction and poetry they are capable of. Whether used by a student-writer in a creative writing class or by a student-writer at home alone, this book will serve as a guide to steer through sometimes rough and unsure waters until the writer is safely moored against the tide.

Acknowledgements

I would like to thank my wife Sachiko, and my daughter, Maya, for their patience and support during the writing of this book. I would also like to thank my friend and colleague, Jeff Knorr, who, as ever, was a pleasure to work with.

Tim Schell

Great thanks is due my wife Diane and my son, Gabriel for giving me time, support, and patience while writing this book. Also, thanks to Tim Schell, colleague and friend, who is great to work with and always an inspiration.

Jeff Knorr

From both of us, special thanks is due our editor, Carrie Brandon for her belief in the project, unending patience, and energy. Also, thanks to Sandy Hrazdira and Stacy Prock at Prentice Hall for their support and dedication to the project. And to Joseph Lennon, University of Connecticut; Brenda A. Flanagan, Davidson College; Ron Carlson, Arizona State University; and Maria Fitzgerald, University of Minnesota, Twin Cities for their helpful comments.

Jeff Knorr,
Tim Schell

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Table of Contents

I. POETRY.

1. Getting Started.
2. Imagery.
3. Lines & Stanzas.
4. Sound and the Poem.
5. Rhyme & Meter, the Music of Poems.
6. Voice and How We Create It in Poems.
7. Point of View in Poems.
8. Fixed Forms: Creating Our Poetic World.
9. Putting It All Together: The Whole Poem.
10. Revision.
11. The Poetry Workshop.
12. Workshopping a Free Verse Poem.
13. Workshopping a Fixed Form Poem.

II. FICTION.

1. Surrounded by Stories: Where our Stories Come From.
2. Point of View.
3. Plot.
4. Character.
5. Setting.
6. Dialogue.
7. Style, Tone, and Voice.
8. Credible Surprise on the Path to Resonance.
9. Theme.
10. Revision.
11. Participating in the Workshop.
12. Workshopping a Story in the First Person.
13. Workshopping a Story in the Third Person.
Glossary
Contributor's Biographies
Index
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Preface

PREFACE:

PREFACE

When we first talked about writing a creative writing textbook comprised of the two genres of poetry and fiction, it occurred to us that most books on the market today use classic stories and poems as models of excellence for the aspiring writer to emulate. Certainly there is nothing wrong with this. In fact, both of us make allusions to such work in our respective sections of the book. However, we thought it might be more useful for the aspiring writer to have a book more closely modeled after the creative writing workshop wherein the students read and critique work of their peers in an effort to discover what is working in a story or in a poem and what is not working, and thereby apply these lessons to their own work.

The book is organized by genre with each respective genre organized by chapters defining the elements of fiction and poetry, followed by the workshop sections wherein student stories and poems are presented.

In the chapters covering the elements of fiction and poetry, we have presented utilitarian definitions for the reader followed by essays by guest writers. For example, in the chapter on Sound in Poetry, we present a definition of that element followed by an essay on sound by Alberto Rios who addresses the quality of sound in his own students' work. In the fiction section of this book, we define the various uses of setting in the chapter so-named. Following this definition is an essay by the novelist Valerie Miner who writes about the role of setting in her own student's story.

In the workshop sections of the book, we present first the student poem and student story without marginalia, followedbyquestions the reader is asked to consider. Following this is the same story and the same poem, this time with our marginalia and then our critiques of the student work. Finally, student revisions are presented with critiques.

It is our hope that the structure of this book will allow the readers to witness the creative evolution of poems and stories, and that they will see the process of writing as inherently dynamic as the writers go through draft after draft in the effort of crafting the finest fiction and poetry they are capable of. Whether used by a student-writer in a creative writing class or by a student-writer at home alone, this book will serve as a guide to steer through sometimes rough and unsure waters until the writer is safely moored against the tide.

Acknowledgements

I would like to thank my wife Sachiko, and my daughter, Maya, for their patience and support during the writing of this book. I would also like to thank my friend and colleague, Jeff Knorr, who, as ever, was a pleasure to work with.

Tim Schell

Great thanks is due my wife Diane and my son, Gabriel for giving me time, support, and patience while writing this book. Also, thanks to Tim Schell, colleague and friend, who is great to work with and always an inspiration.

Jeff Knorr

From both of us, special thanks is due our editor, Carrie Brandon for her belief in the project, unending patience, and energy. Also, thanks to Sandy Hrazdira and Stacy Prock at Prentice Hall for their support and dedication to the project. And to Joseph Lennon, University of Connecticut; Brenda A. Flanagan, Davidson College; Ron Carlson, Arizona State University; and Maria Fitzgerald, University of Minnesota, Twin Cities for their helpful comments.

Jeff Knorr,
Tim Schell

Read More Show Less

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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted December 20, 2000

    A new approach

    Mooring against the Tide is a new approach to teaching creative writing. I like how the editors chose different writer\instuctors and allowed them to write about an element of fiction. It was also interesting to watch a 'workshop' of the poems and fiction.

    Was this review helpful? Yes  No   Report this review
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