Creative writing Books
Taylor & Francis Rhetorical Realism
a huge range and FREE tracked UK delivery on ALL orders.
£39.99
Taylor & Francis Professional Communication and Network Interaction
a huge range and FREE tracked UK delivery on ALL orders.
£39.99
Taylor & Francis Body Language Narrating illness and disability Life Writing
a huge range and FREE tracked UK delivery on ALL orders.
£39.99
Taylor & Francis The Rhetoric of Videogames as Embodied Practice
a huge range and FREE tracked UK delivery on ALL orders.
£39.99
Taylor & Francis Theories and Strategies for Teaching Creative Writing Online Routledge Studies in Creative Writing
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Ltd Creative Writing Analysis
a huge range and FREE tracked UK delivery on ALL orders.
£36.99
Taylor & Francis Ltd Creative Writing Analysis
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Ltd Signs of Writing
a huge range and FREE tracked UK delivery on ALL orders.
£137.75
Taylor & Francis The Routledge Creative Writing Coursebook
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis The Routledge Creative Writing Coursebook
a huge range and FREE tracked UK delivery on ALL orders.
£39.99
Taylor & Francis Original Writing Routledge A Level English Guides
a huge range and FREE tracked UK delivery on ALL orders.
£22.99
Taylor & Francis Writing and Responsibility
a huge range and FREE tracked UK delivery on ALL orders.
£37.99
Taylor & Francis Ltd Doing Creative Writing
a huge range and FREE tracked UK delivery on ALL orders.
£24.51
Taylor & Francis Ltd The Journalistic Imagination
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Ltd The Journalistic Imagination
a huge range and FREE tracked UK delivery on ALL orders.
£36.99
Taylor & Francis Ltd Academic Writing and Publishing A Practical Handbook
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Life Writing
a huge range and FREE tracked UK delivery on ALL orders.
£37.99
Taylor & Francis Writing Poetry
a huge range and FREE tracked UK delivery on ALL orders.
£37.99
Taylor & Francis New Playwriting Strategies
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Ltd Grammar A Pocket Guide
a huge range and FREE tracked UK delivery on ALL orders.
£24.51
Taylor & Francis Ltd Writing Audio Drama
a huge range and FREE tracked UK delivery on ALL orders.
£109.25
Taylor & Francis Ltd Poetry and Autobiography Life Writing
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Ltd Signs of Writing
a huge range and FREE tracked UK delivery on ALL orders.
£47.49
Taylor & Francis Digital Storytelling Applied Theatre Youth Performing Possibility
a huge range and FREE tracked UK delivery on ALL orders.
£128.25
Taylor & Francis Authorship Contested
a huge range and FREE tracked UK delivery on ALL orders.
£45.99
Taylor & Francis Ltd 100 Creative Writing Activities to Promote Positive Thinking
a huge range and FREE tracked UK delivery on ALL orders.
£42.74
Taylor & Francis Ltd Fool
Book SynopsisCombining personal narrative, interviews, and literary analysis, Fool elaborates the potential for fool figures from throughout literary history to reconfigure subject-object relations and point towards new possibilities in creative and critical thought. Drawing on Johanna Skibsrudâs experience in clown classes in France and the US, Fool challenges and extends the correlation Theodor Adorno suggests between thinking and clowning. It considers a diverse range of literary and theoretical sources from Richard Wagnerâs Parsifal to Karen Baradâs Meeting the Universe Halfway. The book also refers to a varied cast of literary and historical clowns and fools, including the early Shakespearean actor Richard Tarlton, Alban Bergâs Wozzeck, and Cirque du Soleilâs Shannan Calcutt.Skibsrud elaborates on the role of the âfoolâ and âfoolishnessâ in literature, not as an element of a particular workâs content, plot, or style but instead as a creative mode of thought activated through the reading and writing of literary texts. This innovative book charts new ground in literature, philosophy, and performance studies, and is an invaluable resource for specialists in all three fields.Trade Review"Novelist and scholar Johanna Skibsrud boldly explores the place and significance of the Fool in literature, performance and, indeed, theory. From her readings of Adorno and musings on Beckett to brutally serious clown training with Philippe Gaulier, Skibsrud offers insights into ways that embracing the Fool (historical and within) can unleash creative thinking and practice." - Louis Patrick Leroux, Professor and Associate Dean of Research Concordia University; co-author of Contemporary Circus and co-editor of Cirque Global Quebec’s Expanding Circus Boundaries."A beautiful account of Skibsrud’s personal journey into the world of clown that documents and interrogates both gentle encounters and harsh realities. Poetically intertwined with critical thought and analysis, Fool is ultimately human, relatable, vulnerable and inspiring." - Paige Allerton, Artistic Director, Manifesto Poetico Table of ContentsSeries PrefacePreface Chapter 1 - Foolish Objects: Between Public and Private SelvesChapter 2 - To the Point of Clowning: Going Astray with Theodor AdornoChapter 3 - Touching the Impossible: A Conversation with Slava PoluninChapter 4 - Becoming Clown: A Conversation with Mike Funt and David BridelChapter 5 - Notes from the Theatre: Fragments and CriticismsChapter 6 - Trompe-l’oeil: A Brief HistoryChapter 7 - Thinking: With David Bridel (October 2021-June 2022)Two photographs Works citedIndex
£47.49
Taylor & Francis Decentered Playwriting
Book SynopsisDecentered Playwriting investigates new and alternative strategies for dramatic writing that incorporate non-Western, Indigenous, and underrepresented storytelling techniques and traditions while deepening a creative practice that decenters hegemonic methods.A collection of short essays and exercises by leading teaching artists, playwrights, and academics in the fields of playwriting and dramaturgy, this book focuses on reimagining pedagogical techniques by introducing playwrights to new storytelling methods, traditions, and ways of studying, and teaching diverse narratological practices.This is a vital and invaluable book for anyone teaching or studying playwriting, dramatic structure, storytelling at advanced undergraduate and graduate levels, or as part of their own professional practice.Trade Review"One of the great challenges for 21st century writers is how one forges one's own poetics to resist the 'realistic', well-made play, and the strictures of Aristotle and Stanislavski. How can we write for our communities and embrace the rich legacies of non-Aristotelian practice? What extraordinary conversations are gathered here in these pages."Paula Vogel, Pulitzer Prize-winning playwright of How I Learned to Drive and Indecent, USA"This is the kind of playwriting education I wish that I would have had. It makes me excited for the next generation of theater makers who will emerge from studying this book."Larissa FastHorse (Sicangu Lakota), MacArthur Fellow and playwright of The Thanksgiving Play, USA"This book offers us a radically hopeful vision of how we might teach playwriting—and think about the well-making of plays—if we wish to disrupt the relationship between systems of oppression and systems of theatre-making."Megan Sandberg-Zakian, Artistic Director, Boston Playwrights’ Theatre and Boston University MFA Playwriting Program, USA"Decentered Playwriting represents an extraordinary gathering of diverse scholars and artists, all posing fundamental questions about how drama might be conceived and created above, beyond, and without the hegemony of Aristotelian thinking. The collection addresses a deeply felt pedagogical need that has been left untended for far too long, and in this respect promises to become an essential text in the teaching of playwriting and dramaturgy."Art Borreca, Associate Professor and Co-Director of Iowa Playwrights Workshop and MFA Programs in Playwriting & Dramaturgy, USA"Decentered Playwriting leaps over the anxiety and reductive thinking swirling around our 'diversity problem' by showing how much we all have to gain by decolonizing our craft. There’s no theater maker or theater educator in this country not wrestling in some way with these issues right now. This book offers a revelatory and practical vision of the way forward."Lisa Kron, Tony Award-winning lyricist of Fun Home, USA"An invaluable resource for those looking to depart from received ways of play-making, either in pursuit of new collaborative approaches or alternative forms of storytelling. This will be a useful guidebook for those venturing off the beaten path."Alex McLean, Zuppa Theatre, CanadaTable of ContentsPart 1: Decenter(Ed) Playwriting: Alternative Tools, Techniques, and Structures; 1. Playwrights as Architects of Third Space: The Dramaturgy of Japanese Traditional Performing Arts; 2. The Dramaturgy of Nothingness; 3. Poetic Expression in Kānaka Maoli Playwriting Praxis; 4. On Disaesthetics in Hip Hop Dramaturgy: Ruminations on Thinking and Doing; 5. Context/Culture: Using Some of the Complex Dramaturgy of Black Theatre of the 19th Century to Build Contemporary Work; 6. Decentering Humans: Writing Our Way Out of the Apocalypse; 7. Write Where You Are; Part 2: Decenter(Ing) Playwriting: Community Practices, Ritual, and Healing; 8. Horizontal Theatre: Democratic Practices of the New Docudrama; 9. Toward Self-Construction: A Filipinx Dramaturgy in the Diaspora; 10. Writing with Irene: Sustaining the Fornés Playwriting Method; 11. First People First: Community-Based Theatre Praxis in Native American and Indigenous Spaces; 12. "Aruku-Improv," Playwriting and Performance Devising Dramaturgy Part 3: Case Studies in Decentered Processes: Models and Testimonies; 13. Outsider Indian: A Decentered Narrative on the Long Journey of Native Playwriting; 14. Deconstructing and Reconstructing Zimbabwean Ndebele Izaga: A Conversation on Playwriting as Auto-Ethnographic Experiment; 15. Unarcheology: Anticolonial Aesthetics and Putting Things Back in the Ground; 16. Indigenous Placemaking and Storyweaving: An Interview with Murielle Borst-Tarrant (Kuna, Rappahannock)
£34.99
Taylor & Francis Ltd Crafting Autoethnography
Book SynopsisThis collection explores how autoethnography is made. Contributors from sociology, education, counselling, the visual arts, textiles, drama, music, and museum curation uncover and reflect on the processes and practices they engage in as they craft their autoethnographic artefacts. Each chapter explores a different material or media, together creating a rich and stimulating set of demonstrations, with the focus firmly on the practical accomplishment of texts/artefacts. Theoretically, this book seeks to rectify the hierarchical separation of art and craft and of intellectual and practical cultural production, by collapsing distinctions between knowing and making. In relation to connections between personal experience and wider social and cultural phenomena, contributors address a variety of topics such as social class, family relationships and intergenerational transmission, loss, longing and grief, the neoliberal university, gender, sexuality, colonialism, race/ism, natTrade Review"Practices and academic disciplines that are founded on skilled material engagement have lacked methods to bring to light what this engagement involves. From this perspective, the focus on the making of autoethnographies in Crafting Autoethnography provides an essential and welcome addition to the resources available for contemporary research and practice."Tom Fisher, Professor of Art and Design, Nottingham Trent University, UK"This is a wonderful book! The go-to text on theorising, making/doing and reflecting on autoethnography in current times. A richly textured collection that is rooted in the history of the method and the importance of paying attention to the multifaceted ways we can work with personal and professional experience."Maggie O’Neill, Professor in Sociology, University College Cork, Ireland"This fascinating collection of intertwined and evocative autoethnographic creations is a welcome addition to a developing auto-methodological literature. In contrast to existing works, it offers readers grounded and rich insights into the art and crafting of autoethnographic making. It succeeds in drawing us in to the lifeworlds of autoethnographic creators."Jacquelyn Allen-Collinson, Professor Emerita in Sociology & Physical Cultures, University of Lincoln, UKTable of ContentsIntroduction; Section I: This Writing Life 1. Shoring Up the Fragments 2. When the Slave Ships Came; Section II: Making a Drama Out of It Chapter 3. Reflections and Confessions on the Making of a Performative Autoethnography: University Professional Development Reviews and the Academic Self 4. Mi amigo Giovanni: A Digital Engagement of Friendship, Community and Queer Love Through a Zoom Performance; Section III: Crafting Selves 5. Thinking with our Hands while Becoming Autoethnographers 6. Putting Ourselves in the Picture: An Autoethnographic Approach to Photography Criticism 7. Digital Autoethnography: An Approach to Facilitate Reflective Practice in the Making and Performing of Visual Art 8. Stitching as Reflection and Resistance: The Use of a Stitch Journal During Doctoral Study 9. Making The Dreamer: Cut-ups, Découpage and Narrative Assemblages of Interbeing and Becoming; Section IV: Creating Class 10. Hidden Time: An Autoethnographical Narrative on the Creation of Seven Working-Class Time Pieces 11: Coming Back to Class: The Remaking of an Academic Self; Section V: Place and Belonging 12. Walking as Knowing, Healing, and the (Re)making of Self 13. Where the River Flows Out to the Sea: A Story of Place-Making 14. Making Mistakes: Learning Through Embarrassment when Curating Indigenous Collections in UK Museums; Conclusion
£37.99
Taylor & Francis Ltd Publishing Contracts and the Post Negotiation
Book SynopsisMany writers dream of having their work published by a respected publishing house, but don't always understand publishing contract terms what they mean for the contracting parties and how they inform book-publishing practice. In turn, publishers struggle to satisfy authors' creative expectations against the industry's commercial demands. This book challenges our perceptions of these authorpublisher power imbalances by recasting the publishing contract as a cultural artefact capable of adapting to the industry's changing landscape. Based on a three-year study of publishing negotiations, Katherine Day reveals how relational contract theory provides possibilities for future negotiations in what she describes as a post negotiation space'.Drawing on the disciplines of cultural studies, law, publishing studies and cultural sociology, this book reveals a unique perspective from publishing professionals and authors within the post negotiation space, presenting the editor as a fundamTable of Contents1. Introduction 2. A Contextual Discovery of Publishing Agreements 3. Viewing the Artefact: an overview of publishing boilerplates 4. Assessing the Field: what the survey says 5. The Contract in Motion: an in-depth exploration 6. The Post Negotiation Space
£34.19
Taylor & Francis Expressive Therapeutic Writing
Book SynopsisThis book brings engagement and conversation to a crossâpollination of creative and expressive writing and multiâmodal art forms.Through the lens of expressive arts therapy, the authors demonstrate how writing can reveal the unexpected that emerges from art making. The lineage of expressive arts therapy includes artful writing, poetry, associative, creative, and memoir, for example, to engage in selfâdiscovery, growth, and restorative care. Each chapter is grounded in intermodal expressive arts with a central focus on creative and expressive writing, which is informed by movement, visual art, storytelling, music, sound, photography, and physical performance, including response art, and has writing prompts and invitations as well as playful and improvisational integrative arts writing explorations.Creative arts therapists and expressive therapists actively searching for creative playful selfâreflective writing practice will find this book a rewarding resource.Krystal Leah Demaine, PhD, MTâBC, REAT, CTRSâC, RYT, music therapist, expressive arts therapist, and professor of expressive therapies at Endicott College, practices HEARTful healing note by note through song, story, poetry, and creative curiosity.Tamar Reva Einstein, PhD, REAT, expressive arts therapist, poet/artist, and teacher, crosses cultural borders in Jerusalem with the arts as her mother tongue, threading writing and arts like her threaded beads and amulets.
£29.99
Taylor & Francis Ltd Writing inBetween
Book SynopsisWriting in-Between lies at intersections: between theory and praxis; between fiction and non-fiction; between author and reader; between the personal and the political. Beginning with a conceptual glossary that prepares readers for their journey through the book, Dinesh offers two central texts to invite readers to become co-creators. The first, F for _____, is written as an academic novella and culminates with an interactive section that is composed of guided invitations for the reader/co-creator. The second text, Julys, takes the form of a dramatic memoir and intersperses invitations for readers/co-creators between each of its chapters. Dinesh brings these threads together in an entirely interactive concluding chapter, where her hopes for collaborative meaning making take centre stage. In all of its unique invitations to engage, Dinesh's readers/co-creators can either choose to craft their creations in personal notebooks or blank spaces in this wTable of ContentsSection 1. Between Writing and Me Section 2. Between the political and the personal: F for _______ Chapter 1. F for (not just about) Food Chapter 2. Interview One Chapter 3. Safar: Part One Chapter 4. F for Fierce Chapter 5. Interview TwoChapter 6. Safar: Part Two Chapter 7. F for Fences Chapter 8. Interview Three Chapter 9. Safar: Part Three Chapter 10. F for Few-and-far-between Chapter 11. Interview Four Chapter 12. Safar: Part Four Chapter 13. F for (so close and yet so) Far Chapter 14. Interview Five Chapter 15. Part Five: Your Safar Chapter 16. F for _____ Section 3. Between the personal and the political: Julys Chapter 1. Apoopa Chapter 2. You: Part One Chapter 3. My Dear Chapter 4. You: Part Two Chapter 5. Maestro Chapter 6. You: Part Three Chapter 7. Amma Chapter 8. You: The Last PartSection 4. Between Writing and UsIndex
£49.99
Taylor & Francis Ltd Prewriting Your Screenplay
Book SynopsisPrewriting Your Screenplay cements all the bricks of a story's foundations together and forms a single, organic story-growing technique, starting with a blank slate. It shows writers how to design each element so that they perfectly interlock together like pieces of a puzzle, creating a stronger story foundation that does not leave gaps and holes for readers to find. This construction process is performed one piece at a time, one character at a time, building and incorporating each element into the whole.The book provides a clear-cut set of lessons that teaches how to construct that story base around concepts as individual as the writer's personal opinions, helping to foster an individual writer's voice. It also features end-of-chapter exercises that offer step-by-step guidance in applying each lesson, providing screenwriters with a concrete approach to building a strong foundation for a screenplay. This is the quintessential book for all writers taking their first sTrade Review"Tabb's book asks you to look deep within yourself and answer a fundamental question: why are you writing this particular story? Why are you even writing in the first place? It gives you some very pragmatic tools to help make your writing more soulful and authentic."—David S. Goyer, WGA Screenwriter/Creator; The Blade and Batman Begins Trilogies, Dark City, Jumper, The Puppet Masters; TV’s Krypton, Da Vinci’s Demons, Constantine, Flash Forward; Video Games Call of Duty: Black Ops I & II"A comprehensive, honest, and heart-felt look at the craft of screenwriting. Writers at all levels will find something in this book to inspire them to do their best work."—Nicole Perlman, WGA Writer, Guardians of the Galaxy, First Man, Captain Marvel, Black Widow, Detective Pikachu, Sherlock Holmes 3"The best way I can think to get yourself writing again if you’re stuck would be to have Michael Tabb come over with a bottle of bourbon and a couple of glasses and talk you through things. The second-best way would be to buy this book and read it. You can supply your own bourbon." —Bill Prady, WGA Writer/Creator, The Big Bang Theory, The Muppets, Gilmore Girls, Dharma & Greg, Caroline in the City, Dream On"Michael Tabb has thought long, hard, and usefully about how to write screenplays with vision and intent. He understands premise, character, conflict, and drama; Far more importantly, he can impart wisdom about all of them without condescending or ‘dumbing down.’ I know of no better guide to the work of writing that happens before we write."—Howard A. Rodman, President, Writers Guild of America (WGA); WGA Writer, August, Saving Grace, Takedown"Are you a writer? Then you’re a fraud, right? Every time you stare at that empty page, you feel it in your bones. The movies I have written have grossed over five billion in the box office, and STILL, I feel like a fraud every time I start a new project. When I read Michael’s book, I felt a lot better. Michael is not only a great screenwriter, but he understands how to explain screenwriting in a way that I never could and in a way that helped me move forward. It is so strange to have a decent man you know help you, through his writing, to become a better writer. I got a free copy of his book on my shelf, but I would’ve paid for it. Writers like Michael who help other writers understand the art or the craft of screenwriting are truly among our best and brightest. Think about it. He is helping his own competition! Only a wise and true class act would ever do that. This book is yours. Consume it!"—Roberto Orci, WGA Writer/Creator, Transformers 1 & 2, Star Trek 1, 2 & 3, The Amazing Spider-Man 2, People Like Us, The Legend of Zorro, Mission: Impossible III; TV’s High School 51, Sleepy Hallow, Hawaii five-0, Fringe, Alias, Matador, Xena, Hercules"Tabb provides an insightful and engaging guide to the process of breaking story and character. Writers looking to set a strong foundation for their first or next script would be well served by reading Prewriting." —Carlton Cuse, WGA Writer/Creator, San Andreas, Rampage; TV’s Tom Clancy’s Jack Ryan, Lost, The Colony, Bates Motel, The Strain, Nash Bridges, Martial Law, Crime Story"It’s vitally important for aspiring writers to understand that a professional screenwriting career is built upon the relentless pursuit of asking the right creative questions and then finding the most satisfying answers. In his new book, Prewriting Your Screenplay, writer and teacher Michael Tabb generously shares his innovative approach to meeting that challenge. His original method of generating story, character, and theme will be valuable to both veterans and novices, and should help any writer get past the fear of writers block."—Jeff Melvoin, Emmy Award-winning Television Writer/Producer, Chair of the Writers Education Committee of the Writers Guild of America, West; Designated Survivor, Army Wives, Alias, Early Edition, Northern Exposure, Hill Street Blues, Remington Steele"I wish I had this book when I was just starting out — but it’s still immensely helpful. An indispensable handbook of the craft written by a seasoned veteran and accomplished writer. A must read for anyone serious about screenwriting."—Marc Guggenheim, WGA Writer/Creator, Percy Jackson: Sea of Monsters, Green Lantern; TV’s Arrow, Legends of Tomorrow, No Ordinary Family, Eli Stone, CSI: Miami, Law & Order; Video Games Singularity, X-Men Origins: Wolverine, Call of Duty 3, Perfect Dark Zero"The book every writer has been waiting for -- a step by step guide to nourish and develop your idea for a screenplay, book or story. Invaluable and vital."—Evan Spiliotopoulos, WGA Writer, Beauty and the Beast, The Huntsman: Winter’s War, Hercules, Tinker Bell and the Lost Treasure"Michael understands the nuts and bolts of storytelling like no one else — Whether you’re penning your first script or your thirtieth, this book will make you a better writer." —Damon Lindelof, WGA Writer/Producer/Creator, Star Trek (2009), Star Trek: Into Darkness, World War Z, Prometheus; TV’s Lost, The Watchmen, The Leftovers, Nash Bridges, Crossing Jordon"Michael Tabb's book will challenge writers to do the hard work in polishing that rough idea into a clear artistic vision. I wish this book was around when I was writing my first screenplay, or even my forth screenplay."—Edward Ricourt, WGA Writer, Now You See Me 1 & 2, Jessica Jones, Wayward Pines"Teachers of screenwriting often miss the most basic truth that writing should be fun and that writers should work from their gut, not from their fear of rejection. In Prewriting Your Screenplay: A Step-by-Step Guide to Generating Stories, Mike Tabb simplifies the process of story writing and character development to its most essential elements, in the process inviting the reader to embark on the joyful journey of self-discovery that is screenwriting."—Douglas Day Stewart, WGA Screenwriter/DGA Director, An Officer and a Gentleman, The Blue Lagoon, The Boy in the Plastic Bubble, Thief of Hearts, Listen to Me"Writing for television means you cannot afford to have writer’s block, and coming up with new ideas is the hardest part of the job. I wish I’d read this book years ago! Prewriting has an original premise, which is only fitting for a book about original premises."—Brannon Braga, WGA Writer/Executive Producer, Star Trek: First Contact; TV’s The Orville, Salem, Terra Nova, Flash Forward, 24, Star Trek: Enterprise, Star Trek: Voyager, Star Trek: The Next Generation"Great advice for budding screenwriters and those more established. A rich resource to find the creative code and original strengths within yourself, and most importantly, tips on how to sustain passion for a project through the trial-by-fire of re-writes on the writer’s journey to getting it produced and onto the screen."—Alex Proyas, DGA Director / WGA Writer, I Robot, Gods of Egypt, Dark City, Knowing, The Crow"Michael Tabb is a powerhouse. He’s one of those writers that I envy – he is ALWAYS writing. Ever since I’ve known him he has constantly pumped out quality work at a steady pace. He’s a machine! And, after reading Prewriting Your Screenplay: A Step-by-Step Guide to Generating Stories, I now know his secret. There are a lot of ‘how to’ books on writing, but Tabb’s book is the first one I’ve come across that gets to the heart of the matter: how do we find a consistent method of digging out our deepest authentic feelings and ideas? If you have ever stared at your blinking cursor on a blank page, this is the book for you. Michael Tabb proves that we all have our own stories that need to be told. We think manifesting them is hard work, but Tabb shows us it is effortless."—John Lehr, WGA Writer/Creator, 10 Items or Less, Quick Draw"All too often, screenwriters, eager to start writing, will be tempted to skip the hard work that needs to be done before typing the words ‘FADE IN.’ That’s why so many screenplays, even by talented writers, are doomed from the start. Now, screenwriter and screenwriting teacher Michael Tabb comes to the rescue with a book centered on the all-important work the writer must do beforehand, the most neglected, challenging, and rewarding part of the process. Grounded in Michael Tabb’s deep understanding of how a premise is created and how characters come to life, Prewriting identifies each step of what for many is a chaotic, or even subconscious, process. This invaluable book combines those insights with down-to-earth, practical observations on the influence of genre, the varied functions the characters could fulfill, and how screenwriters can approach the story building process more systematically and more creatively at the same time. Prewriting offers thoughtful, practical and creative advice on all aspects of building a successful screen story. This should be on every screenwriter’s bookshelf." —Daniel Petrie, Jr., WGA Writer, Beverly Hills Cop, Turner & Hooch, Shoot to Kill, Toy Soldiers; TV’s Combat Hospital"All professional screenwriters know that screenwriting is half art and half science. Master teacher and accomplished screenwriter, Michael Tabb, knows a lot about both. In this important new contribution to the art and science of screenwriting, Tabb guides the novice and the professional through the absolute essentials of the screenwriting craft. He understands that the science side (the rules that all screenwriters must follow) are not an impediment to the art side (creative inspiration), but a requirement to it. Everyone who is currently making their living screenwriting and everyone who intends to should read this book. Immediately."—Allen Estrin, Senior Lecturer, Screenwriting, American Film Institute (AFI)"Prewriting is amazing! What I love is that this book is clearly written by a working writer. Prewriting does a fantastic job of breaking down the key elements and building blocks of screenwriting into simple terms. It provides a clear, step-by-step guide that is practical as well as creatively stimulating. As a working writer, I plan to rely on Prewriting as one of my new, go-to toolboxes. As an educator, I will make Prewriting required reading for all the courses I teach."—Donald H. Hewitt, Screenwriting Lecturer, School of Theater, Film & Television, University of California, Los Angeles (UCLA)"It’s taken me many, many years to learn what Michael has distilled into this book. I wish I knew all these things when I first embarked on my career. I’ve been to USC film school, I teach at USC film school, and I’ve had stellar jobs working for ICM, Tom Cruise and Paramount Pictures just to name a few. But I can tell you that I would have gone further and faster had Michael’s advice and guidance been available to me when I first started. He is knowledgeable, insightful, and he is right about what it takes to succeed as a writer."—Sebastian Twardosz, Screenwriting Lecturer, School of Cinematic Arts, University of Southern California (USC) "No sane person would attempt to run a marathon without training, would they? In my years of teaching screenwriting, I was amazed at how many of my students would balk at the idea of pre-writing, which includes premise building, character developing, structure plotting, and script outlining. What Michael Tabb's book does is give every student who loves writing a practical way to do all of that. He lays out each of the steps a writer needs to take before writing FADE IN, which are essential to creating a winning screenplay. This book gives the intellectual nutrition screenwriters need in order for them to start this screenwriting race. It helps guide writers to the choices they need to make in order to create a screenplay that works on all levels. I give Prewriting my highest recommendation.—Kenneth Cosby, MFA, USC Screenwriting; Professor, NYU, Writing for Television"Michael Tabb. Screenwriting is a labor of love for him -- and so is this book. The knowledge and experience he's gathered over the years has compelled him to document it and share it with others. My passion is and always has been television, but the same rules, structures, and hurdles apply. It's how I design the workshops I teach at UCLA. This is a scholarly, beautifully written (and illustrated) tome. It can apply to all forms of writing. Anything that needs an 'idea'. It's about process, which is what writing is. Not formula. Process. And Mr. Tabb has processed it well!"—Bill Taub, WGA Writer-Producer, UCLA Extension Writing Instructor"Filmmaking, unlike other arts, is a collaborative form. No film can get made and profit (key phrase ‘profit’), after the script is approved, without a producer, a director, a financier and a Distributor who understand story. Michael’s tome is a necessary read for all creatives to be able to thoroughly understand the story, its spine, its premise, its genre and how all characters within the story fit together in order to make & sell a successful movie. A must-read."—Dov S-S Simens, Dean, Hollywood Film Institute"As a professional writer for Disney Animation and having written for Dreamworks, The Weinstein Company and other major studios, I plan to use Prewriting to make my work even better. Mr. Tabb has distilled his story creating process into the most comprehensive and meaningful writing aid I've had the pleasure of reading to date. As an educator for Young Storytellers, I do and will recommend this book to writers of any age who want to be a professional storyteller in any medium. It explains how to develop a story with meaning, how to design characters to serve that meaning, and gives its readers a series of exercises to help them create their own strong story foundations from scratch over and over again. It is accessible for beginners and will even push experienced writers to improve their craft. In short: Michael Tabb has written the newest, must-read textbook for all would-be writers in the entertainment industry."—Ricky Roxburgh, Screenwriting Educator, Young Storytellers"I’m a working film producer who’s sold projects to all the majors, and began my teaching career at UCLA. I’ve taught at Pixar, DreamWorks Animation, and Blizzard, and conferences including Great American PitchFest, Screenwriters Expo, and Screenwriters World. I have devoted much of my career to persuading screenwriters, both the pros and my students, of the importance of pre-writing. It is far more effective than rewriting. Screenwriter and author, Michael Tabb, has not only persuasively made this case in his book, Prewriting, he offers up a comprehensive set of powerful tools to completely craft a successful script before you type ‘Fade in.’While there is a universal acceptance that ‘Concept is King,’ there are few answers offered on how to come up with a great idea. This is the first book I’ve read that teaches you how to brainstorm in search of inspiration. Tabb lays his own process bare so you can learn from him. I love Tabb's discussion of genre – pertinent, penetrating, and insightful, and to a story geek like me, downright sexy.Prewriting takes you through discovering your story’s thematic premise, to choosing the most impactful genre, crafting compelling characters, and ultimately incorporating these elements into a powerful story. Tabb motivates you to progress through the steps with invaluable information, enlightening examples, and skill building exercises, until you have created the foundation for a truly a successful story."—Barri Evins, Producer and Story Consultant"What do you want to say with your story? If you want to have a clearer understanding of how to define this in your writing, you will want to read Michael Tabb’s book, Prewriting. Michael dives deeply into the WHY, creating a compelling debate with your story, genre, writing characters with purpose and intention and so much more. I devoured this book. It is in direct alignment with a lot of what I teach. Michael’s approach is totally accessible. You will hit many ‘aha’ moments that will elevate your writing to the next level. I very highly recommend this book."—Jen Grisanti, Story/Career Consultant, Writing Instructor at NBC, Author, International Speaker"With Prewriting, experienced screenwriter Michael Tabb is your intense and passionate guide through the step-by-step process of designing a story from the inside out. Challenging many of the assumptions of conventional screenwriting theory, he shows you how a pro really lays out the internal wiring diagram of a story. With batteries of probing questions to ask yourself about your characters and premise, he defines the advance groundwork that allows you to start the script with confidence that your story will be coherent and meaningful. An important contribution to our body of knowledge about screenwriting and story development." —Christopher Vogler, Author, The Writer’s Journey"At last, solid guidance on what to do and the decisions to make before you start writing your screenplay. Just as a movie has a preproduction stage, so a screenplay has a prewriting stage."—Dave Trottier, Author, The Screenwriter’s Bible, Dr. Format Tells All, Host of keepwriting.com"A great screenplay begins with a great plan. With Michael Tabb's fantastic new book, writers now have the tools to do what is so difficult for many: face the blank page with confidence and conviction, armed with the knowledge and guidance required to lay down the sound, thoughtful foundation required to produce a great screenplay, and never get writer's block again."—Lee Jessup, Career Coach for Professional and Emerging Screenwriters; Author, Getting It Write: An Insider's Guide To A Screenwriting Career"The consummate writer's writer, Michael Tabb will forever change the way you look at story, premises and character through his insightful approach to Prewriting, screenwriting and brainstorming. Michael gets inside the thought process of story and premise development in a fun way no one else has. With a nod to the masters, Michael's on-point analyses, exercises, and advice is a game-changer for writers at every level looking to defeat writer's block and create compelling stories. I cannot recommend this book highly enough."—Danny Manus, CEO/Script Consultant, No BullScript Consulting; Director of Development, Clifford Werber Productions; Development Consultant, Eclectic Pictures; Director of Development, Sandstorm Films"Michael Tabb brings not only his industry experience but also insightful, inspiring, and engaging educator to the pages of Prewriting your Screenplay. Tabb engages the reader with a conversational approach to understanding the narrative components of screenplay construction. This is a master class in the art and the craft of screenwriting taught by a working screenwriter. Prewriting your Screenplay belongs on the same shelf as Egri's Art of Dramatic Writing and McKee’s Story: Substance, Structure, Style, and the Principles of Screenwriting."—Christopher Ramsey, Department Chair and Educator, Creative Writing Program, Full Sail University"Michael Tabb takes readers and writers on a fun and inspiring journey where the ideas pop out and the words flow freely. Prewriting Your Screenplay: A Step-by-Step Guide to Generating Stories is a must read for anyone who struggles with or has ever struggled with writer’s block. The advice and expertise that Tabb so generously shares with the reading public are invaluable for aspiring writers or seasoned writers who know what it’s like to stare endlessly at that blank page on the computer screen. I feel like I've been let in on a secret that only a select few, elite writers knew-- until now. As an educator, I can’t wait to refer my students to this book when they complain, and they always do, of the most severe cases of writer’s block."—Stephanie Fleming, Faculty, Los Angeles Film School"Michael Tabb might be the only film instructor to get me teary-eyed in class... and it was during his twenty minute practice lecture! Prewriting combines Michael's encyclopedic knowledge of film & writing and his love for the possibilities of art. Michael speaks to the reader plainly, honestly and with a real connection to the material. As a guide for a writer, it offers encouragement, concrete advice and sagely caution about the pleasures and potential pitfalls of creating any type of story. He provides sharp ideas for readers looking to develop their structure, genre, style and character, making this a valuable asset for experienced writers and newbies alike. Any screenwriting book equally adept at quoting Shakespeare and ‘Real Genius’ warrants your attention!"—Eric Conner, Former Screenwriting Department Chair, New York Film Academy (NYFA); Former Dean of Students, NYFA; Current Screenwriting Instructor, NYFA "In regards of Michael Tabb, I consider him one of the top authorities in this field due to his wealth of knowledge on screenwriting and cinema history based on the professionalism and passion with which he shares them in this book, Prewriting Your Screenplay: A Step-by-Step Guide to Generating Stories. Michael shows us the basic tricks of storytelling necessary to craft a clear and concise tome. He does this with examples, anecdotes, and exercises that provide the reader an understanding of the steps required for proper story development, including character archetypes, genre selection, conflict, and structure building. As a screenwriting teacher, I would present this book to my students with confidence that they will receive a wealth of information, insight, and experience from a great teacher and screenwriter. Michael Tabb’s Prewriting is absolutely a must read!"—Edward Santiago, Screenwriting Lecturer, Austin School of Film"I have been using Michael’s articles in Script Magazine to help my students with many aspects of screenwriting, most notably to understand the concept of thematic premise and its importance and usefulness in both idea creation as well as overall script development. Now that he has combined all of his writings (and much more) in one book my students will have a single source that offers both concrete and theoretical tools that encompass the entire process of writing a screenplay, teleplay and live performance theater from concept to completion."—Patrick Mulvihill, Guest Lecturer, Screenwriting I & II, Writing for TV, and Dramatic Writing Communications Department, Film & Media, Georgia State University"Michael Tabb's extensive experience as a writer shows in this book. Even seasoned veterans will find nuggets of wisdom to help keep their writing moving forward. This alone is worth the price of admission."—Isaac Ho, Assistant Professor, Writing for the Stage and Screen, Point Park University"In Prewriting Your Screenplay: A Step-by-Step Guide to Generating Stories, Michael Tabb raises critical questions that have long concerned writers and educators. Who’s the hero when our main character does not fit the traditional stereotype? How do we avoid writer’s block? What does a premise need to do? Why is genre relevant? How do character flaws make our protagonist stronger and clearer? What does love have to do with our protagonist and the story? And, how do genre trends affect a writer’s decision-making? Tabb’s book also includes many other thought-provoking questions, measurement exercises, and specific film references to challenge the reader to look at their work from a new perspective. Anyone involved in screenwriting or the development of film will treasure this book because it provides another avenue to help filmmakers become more observant, reflective, and introspective. Prewriting helps us all create more professional screenplays." —DR Fraley, Transmedia Storytelling Producer, Department of Communications, Media & Culture, Bryan College"As a published author, I look forward to using Prewriting Your Screenplay: A Step-by-Step Guide to Generating Stories as a great step-by-step process when in the first stages of new idea and story creation. Michael Tabb provides logical, progressive explanations to what many people perceive as a subjective and intangible endeavor. Even seasoned writers will appreciate the connections he draws from conceptualizing a premise to the pivotal roles characters and genre play within a story’s development.As an educator, Prewriting Your Screenplay: A Step-by-Step Guide to Generating Stories will be my go-to resource for young writers in my creative writing elective classes. It provides examples, exercises, and thoughtful reflections for writers that will assist in understanding the critical components of story writing. The organization of topics will help even my youngest writers develop their imagination before putting pen to paper or hands to keyboards so they will not struggle with writer’s block."—Tess Votto Haranda, Educator, Author, www.tessvotto.com"This book is excellently organized and covers every essential technique and knowledge-set needed for creating a story. Authors of all experience levels can benefit from the wisdom Mike sets forth in his writings. As an educator, I can easily see this book being put to use in my creative writing courses. The exercises at the end of each chapter expertly allow students to apply the new concepts immediately. I would most definitely recommend this to my students and fellow writers alike."—Jared Loper, Idaho Falls High School, Creative Writing Class; Christel House Academy, 11th and 12 English Language Arts "I am so pleased and excited that Michael Tabb has finally put his worldly wisdom in readable format. Prewriting is a uniquely riveting how to book that’s written from the heart. I laughed. I cried. I was inspired yet again. Michael’s love for screenwriting shines through with each and every word as he proves John Steinbeck wrong--writing is indeed not magic but can be quickly learned even from a zero baseline. As both a student and a teacher, I highly recommend this soon-to-be screenwriter’s bible prequel, which should be required reading for any student of the craft. Thank you, Mike, for always giving back!"—Constance Younger, MS, MFA, California Certified Educator, Platt College"In the ever-burgeoning catalogue of books treating screenwriting, Prewriting is an authentic standout. In fresh, accessible language, Michael Tabb posits provocative insights into the art, craft, and business of creating compelling dramatic narratives. The book is surely useful for screenwriters both new and experienced, but also for novelists and playwrights and, indeed, anyone interested in writing or reading or seeing on the screen well turned, engaging stories."—Prof. Richard Walter, Screenwriting Area Head; Associate Dean, UCLA School of Theater, Film and TelevisionTable of ContentsForeword/PrefaceAct One – The SetupChapter 1: Premise (the Big Bang for your script)Chapter 2: Genre (getting in the right mood)Chapter 3: The Brainstorm (the storm of ideas)Act Two – Character DrivenChapter 4: Character IntroductionChapter 5: Protagonist (with details on anti-heroes and failed protagonists)Chapter 6: Antagonist (and the mentor gone wrong)Chapter 7: Can the Protagonist be the Antagonist?Chapter 8: Love Interest (the motivator of inner journey and the lust interest)Chapter 9: Mentor (the model for success in the physical goal or outer journey)Chapter 10: Dual Mentors (mind versus mission)Chapter 11: The Protagonist’s Reflection characters (a look in the mirror)Chapter 12: A Final Reflection (character concept summation)Act Three – The Big IdeaChapter 13: Culmination (assembly of the puzzle pieces)Chapter 14: The Story (everything into a single story)Chapter 15: The Logline (how you’d sell it – from story to high concept)Appendix - Bonus Material/Final Exercise
£35.99
Taylor & Francis Ltd Digital Storytelling
Book SynopsisIn this revised and updated edition of the StoryCenter''s popular guide to digital storytelling, StoryCenter founder Joe Lambert offers budding storytellers the skills and tools they need to craft compelling digital stories. Using a Seven Steps approach, Lambert helps storytellers identify the fundamentals of dynamic digital storytelling from conceiving a story, to seeing, assembling, and sharing it. Readers will also find new explorations of the global applications of digital storytelling in education and other fields, as well as additional information about copyright, ethics, and distribution. The book is filled with resources about past and present projects on the grassroots and institutional level, including new chapters specifically for students and a discussion of the latest tools and projects in mobile device-based media. This accessible guide's meaningful examples and inviting tone makes this an essential for any student learning the steps toward digital storytelling.Trade Review"Our innermost and deepest stories often lie buried inside of us. Digital Storytelling is an artistic and technical guide to learning how to find those stories and tell them in the digital age. Hundreds of my students have used this deeply beautiful book to guide their own search and then assist community storytellers in creating stories of their own." -Nina Shapiro-Perl, American University"Digital Storytelling is not your typical text for writing courses—it is a truly engaging history about storytelling that helps students connect to why we even tell stories. Storytelling is an art, and Lambert’s text reflects this. I enjoy using Digital Storytelling to not only teach my students how to become comfortable with telling stories, but to also inspire me on how I approach my storytelling instruction. The text covers the essential elements of storytelling via a storytelling circle that creates a safe environment for the most timid of students to participate in class. There are also plenty of astute examples and references for the students. For a book that averages about 200 pages, this is quite a feat. My students tell me this is a text they enjoy reading and applying the techniques the text offers them in order to help them craft stories with a enhanced sense of creativity and a can-do spirit. This is one of a small collection of texts that students typically do not sell back, instead they share and re-read their text when they need to rejuvenate future stories—some of which have gone on to win awards or shaped capstone texts and films at UHCL. This text is a must for any storytelling course. Your students will thank you for making this their primary text for your course. This new edition updates some of the content to ensure the text remains contextually relevant to the field of storytelling and its related topics in the dynamic academic landscape of digital media communication.Since 2002, Lambert has paid attention to our field and I now consider Lambert a formative researcher and instructor whose text is the go-to text to use when one wants to instruct an engaging course that promotes storytelling in a proactive and humanist manner. Additionally, students take note that the text has been in print since before the advent of digital media and has adapted to remain a text that stays true to the essential aspects of excellent storytelling instruction. Just read the interviews and examples and you will be hooked!" -Debra E. Menconi Clark, University of Houston Clear LakeTable of ContentsChapter 1 – The Work of StoryChapter 2 – Stories of Our LivesInterlude 1: The Legacy of TanyaChapter 3 – A Road Traveled: The Evolution of the Digital Storytelling PracticeChapter 4 – The World of Digital StorytellingInterlude 2: Wynne's StoryChapter 5 – Seven Steps of Digital StorytellingChapter 6 – The Story CircleChapter 7 – To Students: Getting Started in Digital Story Work: Mindsets and MethodsInterlude 3: İlmiye’s Story by Burcu ŞimşekChapter 8 – Approaches to the Scripting Process: Prompts and ProcessesChapter 9 – The Walking Story Circle: Rethinking Digital Storytelling in the Era of Mobile DevicesInterlude 4: Areej's Story by Nikoline LohmannChapter 10 – StoryboardingChapter 11 – Designing in Digital: Working With Digital Imaging, Audio, and VideoInterlude 5: Nellie's Story by Rani SandersonChapter 12 – Distribution, Ethics, and the Politics of EngagementChapter 13 – Applications of Digital StorytellingInterlude 6: Zahid's StoryChapter 14 – Silence Speaks: Interview With Amy HillChapter 15 – Listening To Change: Stories From Alaska’s Native Health Communities: Interview With Laura Revels Chapter 16 – Humanizing Healthcare: A Conversation With Dr. Pip Hardy and Tony SumnerChapter 17 – Transforming Education Through Story Work: A Conversation With Dr. Brooke Hessler Addendum: Silence Speaks: Guidelines for Ethical Practice
£39.99
Taylor & Francis Ltd Errol Johns Moon on a Rainbow Shawl
Book SynopsisErrol John wrote Moon on a Rainbow Shawl (1958) after becoming disillusioned about the lack of good roles for black actors on the British theatre scene. While this situation has only slightly improved since, his response has become the most revived black play in Britain, from its original production at the Royal Court in 1958, to the National Theatre in 2012. It depicts the lives of a black community living in poverty in a shared tenement yard in Port of Spain, Trinidad, in the mid-1940s, showing how each of the characters carries dreams of escaping to create better lives for themselves and their families. Lynette Goddard focuses on how the play articulates the narratives of migration that prompted many Caribbean people to uproot from their homes on the islands and move to the England in the post-war era. For some of them, these dreams of a new life became a reality, but they were experienced differently across genders and generations.&nTable of Contents1. Frontlines and Backyards: The Post-War Caribbean Yard Play 2. Migration Stories: Island Lives, Hopes, Dreams, and Escapes 3. Text and Character: Gender and Generation 4. Production Histories: Staging, Directing and Reviewing 5. A Caribbean Classic? Bibliography
£14.99
Cambridge University Press Writing Successful Academic Books
a huge range and FREE tracked UK delivery on ALL orders.
£37.99
Cambridge University Press The Writers Reader Understanding Journalism and NonFiction
a huge range and FREE tracked UK delivery on ALL orders.
£42.74
Cambridge University Press Writing Successful Academic Books
a huge range and FREE tracked UK delivery on ALL orders.
£21.99
Cambridge University Press The Cambridge Companion to Creative Writing
a huge range and FREE tracked UK delivery on ALL orders.
£71.24
Cambridge University Press The Cambridge Introduction to Creative Writing
a huge range and FREE tracked UK delivery on ALL orders.
£85.49
Cambridge University Press Writing the Detectives
a huge range and FREE tracked UK delivery on ALL orders.
£47.49
Cambridge University Press Charting Transfiction
a huge range and FREE tracked UK delivery on ALL orders.
£52.25
Cambridge University Press The Cambridge Companion to Prose
Book SynopsisThis Companion provides an introduction to the craft of prose. It considers the technical aspects of style that contribute to the art of prose, examining the constituent parts of prose through a widening lens, from the smallest details of punctuation and wording to style more broadly conceived. The book is concerned not only with prose fiction but with creative non-fiction, a growing area of interest for readers and aspiring writers. Written by internationally-renowned critics, novelists and biographers, the essays provide readers and writers with ways of understanding the workings of prose. They are exemplary of good critical practice, pleasurable reading for their own sake, and both informative and inspirational for practising writers. The Cambridge Companion to Prose will serve as a key resource for students of English literature and of creative writing.Trade Review'… this volume proves that prose is as fascinating an art form as poetry.' Karl van Heijster, De Leesclub van AllesTable of ContentsIntroduction: Daniel Tyler; Part I. Parts of Prose: 1. Punctuation Bharat Tandon; 2. Words Garrett Stewart; 3. Sentences Daniel Tyler; 4. Paragraphs Jenny Davidson; 5. Chapters James Williams; 6. Perspective Ruth Bernard Yeazell; 7. Style Michael Hurley; Part II. Prose Genres: 8. Realist Prose James Wood; 9. Comic Prose Jonathan Greenberg and David Galef; 10. Gothic Prose Alison Milbank; 11. Science Fiction Adam Roberts; 12. Travel Writing Roslyn Jolly; 13. Nature Writing Richard Kerridge; 14. Life Writing Jay Parini; Further Reading; Index.
£22.79
HarperCollins Publishers Inc Elmore Leonards 10 Rules of Writing
Book Synopsis
£15.29
HarperCollins Publishers Inc How We Do It
Book Synopsis
£23.19
McGraw-Hill Education - Europe Writers Choice Grade 9 Grammar Practice Workbook
Book Synopsis
£17.77
Pearson Education Writers World The
Book SynopsisLynne Gaetz, a professor of English language and literature, has been teaching at the college level for over 20 years. She obtained a masters degree in English literature, as well as a TESL diploma and a college teaching diploma. In addition to the series, The Writer's World, she has written over 30 successful English second language textbooks for college-level students. Her most recent series, containing a separate skills and grammar component, is Avenues. In her spare time, she loves creating art; her preference is mixed media and oil painting. She is also an avid traveler, who intends to visit every continent. Suneeti Phadke has a graduate degree in Russian language and literature, as well as a bachelor of education degree in teaching English as a second language. She has been teaching English language and literature to college students for more than 20 years. She started her writing career around the same time as her teaching career. Her first writing project was to develop correspondence courses for college-level English for the Quebec Ministry of Education. This experience led her to writing academic textbooks for Pearson. Currently, she is also trying her hand at other types of writing, such as short stories and poetry. Table of ContentsBrief Contents Part I: The Writing Process Exploring Developing Revising and Editing Paragraph Patterns Writing the Essay Part II: The Editing Handbook Nouns, Determiners, and Prepositions Pronouns Identifying Subjects and Verbs in Simple Sentences Present and Past Tenses Past Participles Progressive Tenses Other Verb Forms Subject—Verb Agreement Tense Consistency Compound Sentences Complex Sentences Sentence Variety Fragments Run-Ons Faulty Parallel Structure Adjectives and Adverbs Mistakes with Modifiers Exact Language Spelling Commonly Confused Words Commas The Apostrophe Quotation Marks and Capitalization Editing Practice Part III: Reading Strategies and Selections Reading Strategies and Selections Appendix 1: Grammar Appendix 2: Verb Tenses Appendix 3: Combining Ideas in Sentences Appendix 4: Punctuation and Mechanics Appendix 5: Spelling, Grammar, and Vocabulary Logs
£161.90
Pearson Education (US) Backpack Writing MLA Update Edition
Book SynopsisTable of ContentsPART 1: THE ACADEMIC WRITER 1. Thinking as an Academic Writer Explore Through Writing Understand the Process of Writing Understand the Rhetorical Situation Analyze Your Assignment Think About Your Genre Think About Your Medium Think About Your Topic Think About What Your Readers Expect Think About Your Credibility 2. Reading as an Academic Writer Become a Critical Reader Become a Critical Viewer Annotate Academic Readings Recognize Fallacies Write a Summary Write a Paraphrase Move from Reading to Invention Start an Annotated Bibliography Synthesize Readings and Visuals 3. Planning Move from a General Topic to a Writing Plan Narrow Your Topic Write a Thesis Make a Plan 4. Drafting Draft with Strategies in Mind Write a Zero Draft Draft from a Working Outline Start Fast with an Engaging Title and Opening Paragraph Develop Paragraphs Conclude with Strength Link Within and Across Paragraphs 5. Revising Revising and Editing Evaluate Your Draft Respond to Others Pay Attention to Details Last Revise Using your Instructor’s Comments PART 2: THE PERSUASIVE WRITER Writing to Reflect6. Reflections Writing a Reflection What Makes a Good Reflection? Reflections About Visuals REFLECTIONS Sue Kunitomi Embrey, Some Lines for a Younger Brother . . . Alisa Valdes-Rodriguez, My Hips, My Caceras Amy Tan, Mother Tongue How to Write a Reflection STUDENT EXAMPLE (MLA Style) Janine Carter, The Miracle Quilt Projects Writing to Inform7. Informative Essays and Visuals Reporting Information What Makes Good Informative Writing? Informative Visuals INFORMATIVE ESSAYS AND VISUALS Katherine Mangan, Is Faster Always Better? Shane D. Johnson, Aiden Sitebottom, and Adam Thorpe, Bicycle Theft How to Write to Inform STUDENT EXAMPLE (MLA Style) Lakshmi Kotra, The Life Cycle of Stars Projects Writing to Analyze 8. Rhetorical and Visual Analyses Writing an Analysis Writing a Rhetorical Analysis Writing a Visual Analysis RHETORICAL AND VISUAL ANALYSES Tim Collins, Straight from the Heart Frank Gehry, The Ray and Maria Stata Center, Massachusetts Institute of Technology How to Write an Analysis STUDENT EXAMPLE (MLA Style) Chris Gonzalez, Russell Lee’s Pie Town Photographs Writing Arguments 9. Causal Arguments Writing a Causal Argument What Makes a Good Causal Argument? Visual Causal Arguments CAUSAL ARGUMENTS Laura Fraser, The French Paradox Tom Vanderbilt, Why I Became a Late Merger (and Why You Should Too) How to Write a Causal Argument STUDENT EXAMPLE (MLA Style) Armandi Tansel, Modern Warfare: Video Games’ Link to Real-World Violence Projects 10. Evaluation Arguments Writing an Evaluation Argument What Makes a Good Evaluation Argument? Visual Evaluations EVALUATION ARGUMENTS Bill McKibben, The Only Way to Have a Cow Rachel Laudan, In Praise of Fast Food How to Write an Evaluation STUDENT EXAMPLE (MLA Style) Jenna Picchi, Organic Foods Should Come Clean Projects 11. Position Arguments Writing a Position Argument What Makes a Good Position Argument? Visual Position Arguments POSITION ARGUMENTS Ted Koppel, Take My Privacy, Please! Michael Pollan, Eat Food, Food Defined How to Write a Position Argument STUDENT EXAMPLE (MLA Style) Patrice Conley, Flagrant Foul: The NCAA’s Definition of Student Athletes as Amateurs Projects 12. Proposal Arguments Writing a Proposal Argument What Makes a Good Proposal Argument? Visual Proposals PROPOSAL ARGUMENTS Thomas Jefferson, The Declaration of Independence Glenn Loury, A Nation of Jailers How to Write a Proposal Argument STUDENT EXAMPLE (MLA Style) Kim Lee, Let’s Make It a Real Melting Pot with Presidential Hopes for All PART 3: THE MULTIMEDIA WRITER 13. Composing in Multimedia Understand the Process of Composing in Multimedia Take Pictures That Aren’t Boring Create Graphics Create Audio Create Video Create a Photo Essay 14. Designing for Print and Digital Readers Start With Your Readers Use Headings and Subheadings Effectively Design Pages Understand Typography Evaluate Your Design PART 4: THE WRITER AS RESEARCHER Guide to Research15. Planning Research Analyze the Research Task Ask a Question Draft a Working Thesis 16. Finding Sources Identify the Kinds of Sources That You Need Search Using Keywords Find Sources in Databases Find Sources on the Web Find Multimedia Sources Find Print Sources Create a Working Bibliography 17. Evaluating Sources Determine the Relevance and Quality of Sources Determine the Kind of Source Determine If a Source Is Trustworthy 18. Writing the Research Project Write a Draft Avoid Plagiarism Quote Sources Without Plagiarizing Summarize and Paraphrase Sources Without Plagiarizing Incorporate Quotations Incorporate Visuals Review Your Research Project 19. MLA Documentation Elements of MLA Documentation Entries in the Works-cited List In-text Citations in MLA Style Books in MLA-Style Works Cited Web Sources in MLA-Style Works Cited Other Sources in MLA-Style Works Cited Visual Sources in MLA-Style Works Cited Sample MLA Paper George Abukar It’s Time to Shut Down the Identity Theft Racket
£119.97
