Creative writing Books
Bloomsbury Publishing PLC Digital Voices
Book SynopsisAs the most popular and fastest growing form of media today, the podcast is a vital tool for creative writing courses in their bid to become more dynamic, interactive, inclusive, and multi-modal. Exploring the benefits of podcasting as both a pedagogical resource and as an important medium of expression for young writers, Digital Voices illuminates how podcasts can help every student forge personal connections to the content of their creative work and instruction they receive, no matter their background or experience. Beginning with the history of the podcast and the opportunities it affords today, this book moves through the benefits of bringing this popular medium into the workshop, demonstrating how it can aid in the creation of Many Voices classrooms and new metacognitive and introspective learning strategies, offer students new methods of evaluating creative products, and enhance inclusive access for a truly intersectional classroom. Other topics examined include the techniTrade ReviewPodcasts have become a major artform in their own right during the past decade and are now, quite rightly, getting the critical attention they deserve. This book, the first of its kind, recognises the idiosyncrasies and breath of this innovative format and explores it in an informative and engaging way. * Glenn Fosbraey, Associate Dean of Humanities and Social Sciences, University of Winchester, UK *Table of ContentsIntroduction by Saul Lemerond Chapter 1: Historical Context-Present (The State of the Podcast) by Saul Lemerond Chapter 2: The many Voices Classroom by Leigh Camacho Rourks Chapter 3: Craft and Metacognition by Leigh Camacho Rourks Chapter 4: Fiction: Multimodality and the Storytelling Podcast by Saul Lemerond Chapter 5: Poetry: From Performance to Analysis by Billie R. Tadros Chapter 6: Creative Nonfiction: The Sound of Truth by Rebecca Hazelwood Chapter 7: Teacher as Podcaster by Kase Johnston Chapter 8: Audience and Publishing by Leigh Camacho Rourks Chapter 9: The Digital Divide and Podcasting by Leigh Camacho Rourks Afterword: Looking to the Future by Leigh Camacho Rourks and Saul Lemerond Bibliography Index
£23.21
Bloomsbury Publishing PLC Teaching Creative Writing
Book SynopsisThe only textbook of its kind, this all-in-one introduction guides you through the history, theories and practices of creative writing you need to know to teach this ever-expanding and infinitely rewarding subject successfully in higher education. Asking you to think reflectively about the discipline throughout, this book offers a bridge between teaching and learning of the subject to help you develop effective and informed methods that will enliven your classroom and help you discover the best practice for you. Based on the author's two decades of teaching and research in creative writing theory and pedagogy, and on feedback from a range of instructors in the field, Stephanie Vanderslice brings forward this essential companion for students and teachers engaging with the study and instruction of creative writing. Written in Vanderslice's trademark cogent, conversational style, Teaching Creative Writing gives you the tools to understand creative writing as a subject and a pracTable of ContentsContents Preface: Stephanie Vanderslice Chapter 1 How We Got Here: The History of Creative Writing in Higher Education Chapter 2 Research and the Teaching of Creative Writing: Why It Matters Chapter 3 Reading and Writing: Helping Students Make the Connection Chapter 4 Processes of Composing: Teaching and Modeling Generative Processes Chapter 5 Creating an Inclusive Creative Writing Classroom Chapter 6 Literary, Genre Writing: Teaching Beyond The False Dichotomy Chapter 7 The Creative Writing Workshop Chapter 8 Revision, Responding, Assessing Chapter 9 Digital Creative Writing Chapter 10 Special Issues in Creative Writing: Trauma Informed Teaching, Mental Health, Disability-Informed Pedagogy82 Chapter 11 Teaching Creative Writing in General Education and Across the Curriculum Chapter 12 Literary Citizenship and Professional Issues Chapter 13 The Sustainable College Teaching-Writing Career Appendix A Further Resources Appendix B Your Teaching Philosophy Appendix C Your Syllabus References Notes on Contributors Index
£21.36
Bloomsbury Publishing PLC Intersecting Genre
Book SynopsisJason Olsen is Associate Professor of English at Utah State University, USA. He received his Ph.D. in English with an emphasis in Creative Writing (poetry) from Western Michigan University, USA. His publications include a book of poetry, Parakeet, which was published by BatCat Press in 2017, Mark Gruenwald and the Star Spangled Symbolism of Captain America, 19851995 (2021) and his poetry and short fiction have been widely published in literary journals. His website is www.jason-olsen.comTrade ReviewIntersecting Genre is a text that treats the beginning elements of creative writing as cross-genre, offering students and faculty the ability to teach skills as they explore genres. * Dr Liz Langemak, Saxbys Experiential Learning Platform *Table of ContentsAcknowledgements Chapter One: Question Everything Chapter Two: The Genres in Brief Chapter Three: Stories and Song - Intersections Between Fiction and Poems Chapter Four: The Stage on Which We Stand - Intersections Between Creative Non-Fiction and Plays Chapter Five: Structure of Action/Action of Structure - Intersections Between Screenplays and Fiction Chapter Six: The Uninvented - Intersections Between Poems and Plays Chapter Seven: The Self and the Screen - Intersections Between Screenplays and Creative Non-Fiction Chapter Eight: Wants and Perspectives - Intersections Between Plays and Fiction Chapter Nine: The Smallest Building Block in the Universe Chapter Ten: Voice and Perspective - Intersections Between Fiction and Creative Non-Fiction Chapter Eleven: Know Your Audience - Intersections Between Plays and Screenplays Chapter Twelve: The Lyrical Self - Intersections Between Creative Non-Fiction and Poetry Chapter Thirteen: Playing Tennis Without a Net - Further Genres Chapter Fourteen: Sixteenth Thought - Revision and Editing Glossary Bibliography Index
£26.96
Bloomsbury Publishing PLC The Invisible Art of Literary Editing
Book SynopsisA field guide to the trade and art of editing, this book pulls back the curtain on the day-to-day responsibilities of a literary magazine editor in their role, and to the specific skills necessary to read, mark-up and transform a piece of writing. Combining a break-down of an editor's tasks including creating a vision, acquisitions, responding to submissions and corresponding with authors with a behind-the-scenes look at manuscripts in progress, the book rounds up with a test editing section that teaches, by way of engaging exercises, the nitty-gritty strategies and techniques for working on all kinds of texts. Generous in its insight and access to practicing editors' annotations and thought processes, The Invisible Art of Literary Editing offers an exclusive look at nonfiction, fiction and poetry manuscripts as they were first submitted, as they were marked up by an editor and how the final piece was presented before featuring an interview with the editor on theTable of ContentsBios Acknowledgments Introduction How this Book is Organized The Focus of this Book 1) Aesthetic: You know it when you see it A Few Words About Mission Exercise: Mission and Aesthetic Vision Exercise: Build a Prototype Journal 2) Acquisition Solicited Subs Unsolicited Work Submission Guidelines Call for Submissions Strategies for Dealing with Submissions Case Study: descant literary magazine Case Study: Rose Metal Press 3) Responding to Submissions Unconditional Acceptance Conditional Acceptance Specific Conditional Acceptance Invitation to Revise and Resubmit Personalized Rejection Warm Form Rejection Form Rejection Best Practices in Rejection Dealing with Blowback 4) Correspondence Initial Contact Sending Edits Confirmation 5) Case Studies Julie Riddle Creative Nonfiction/Personal Essay Valerie Vogrin Creative Nonfiction/Personal Essay Maggie Smith Poetry Mark Doten Fiction Student Example: Grace Dillow Fiction 6) Test Editing Global Editing Editing with a Heavy Hand Editing with the Body Selection and Sequencing Editing with Lenses Scalpel Edit Crafting an Editing Philosophy: A Capstone Assignment Appendix CPR Dummy Stories Dispatch from the Bunker We All Just Pretended To Like it So You Wouldn't Flunk Us Evolution Editing Philosophy Statements: Student Examples Chelsea Yedinak Mackenzie Thompson Lydia Gentry Index
£18.58
Bloomsbury Publishing PLC The Yogic Writer
Book SynopsisFusing the craft of writing with the philosophy of yoga, The Yogic Writer charts a path to the heart of creativity through the practice of yogic breathing, somatic exercises, and meditations. In response to an oftentimes paralyzing focus on outcome and product, Jennifer Sinor summons decades of experience teaching creative writing and yoga to guide our attention back to the body, the place from which all art arises.When invested with deep awareness, writing transforms us as human beings. The Yogic Writer connects the recursive process of writing creating space for intentions, drafting, revision, and sitting in sites of possibility and potential with the four stages of breath. Through brief insightful essays, Sinor meets writers in the present moment, providing craft advice while challenging us to explore how we look, who is really writing, and how to listen to our bodies. Steeped in ideas owed to ancient wisdom as well as creative writing pedagogy and Si
£24.13
Bloomsbury Publishing PLC Crafting the Lyric Essay
Book SynopsisThe first craft guide to the lyric essay form, this book combines hybrid craft essays that embody the key elements discussed, with more traditional craft essays that review relevant lyric theory, craft and history. An orientation to a form that is critical and creative, practical and accessible, Heidi Czerwiec centers the lyric essay on the lyre, on lyric mode, focusing on the resonances of sound, silence and image at the level of language. With topics including sound effects, imagery development, lateral movement, white space, fragmentation, using poetic craft and forms, and pedagogy, this book connects the dots between lyric theory and practice, offering the beginnings of a critical framework for a form that has been vastly undertheorized until now. An essential guide to this exciting and popular hybrid form, Crafting the Lyric Essay will invigorate the study and writing of creative non-fiction.
£50.00
Bloomsbury Publishing PLC DiVERSE
Book SynopsisBringing together interviews with some of the most highly esteemed verse novelists writing for young adults and children today, DiVERSE develops an understanding of the poetics of the verse novel genre. With poignant conversations with 28 verse novelists illuminating how writers combine elements of poetry and narrative to craft poetic stories, this collection provides the means to appreciate the verse novel's diversity in its many variations and attests to recent shifts in the genre towards inclusive storytelling.Getting into the nuts and bolts of process, inspiration, technique, and the verse novel as a form, the writers discuss themes in their best-loved works such as representation of diverse voices, identities and lived experiences; empowering stories of girls and women; stories of LGBTIQ+, Black, First Nations, People of Colour, Asian, Minoritised Ethnic and people self-identifying as having a disability; body-positive messaging and resilience; and characters between
£21.99
Bloomsbury Academic Staying with Writing
Book SynopsisCindy Shearer is the founder and program chair for the writing MFA program at California Institute of Integral Studies, USA. She is the author of Ten Not So Tangible Tools For Writers, a work of text and image developed in the early 2000s and published Mission at Tenth, the MFA writing/arts journal. She has served as co-producer of the podcasts Artifact and Meaning Making.
£52.25
Bloomsbury Publishing (UK) A Creative Writing Handbook
Book SynopsisDerek Neale is Professor of Creative Writing at the Open University, UK. He is the author of the novel The Book of Guardians (2012) and is a script and short story writer. He taught both script and fiction writing at UEA before joining The Open University. He edited and co-wrote A Creative Writing Handbook: Developing dramatic technique, individual style and voice (A&C Black/Bloomsbury, 2009); co-authored Writing Fiction and Life Writing (2009) and was a principle author in Creative Writing: a workbook with readings (2006). Derek is lead educator on the OU/FutureLearn Start Writing Fiction which attracts thousands of writers. His volume Writing Talk collected interviews with novelists, playwrights, screenwriters and life writers - was published in 2020.Heather Richardson is Senior Lecturer in Creative Writing at the Open University, UK She has published two novels: Magdeburg (2010) and Doubting Thomas (2017). Her poetry, short fiction and creative nonfiction have appeared in journals and anthologies in the UK, Ireland and Australia, and she is a former winner of the Brian Moore Short Story Award. She has a particular interest in multi-modal writing, with recent projects combining textiles, digital art and flash fiction. Her textile art has been exhibited at the International Linen Biennale (Lisburn, 2018) and at the F.E. McWilliam Gallery (Banbridge, 2019).
£25.99
Orion Publishing Co The Writer Within
Book SynopsisJournaling as meditation: Not just for writers, but for anyone wanting to quiet their mind and connect more deeply to themselves and the worldUnlock your inner creativity: The prompts in these cards are all about the process, not the product, and will get your ideas flowingBring ease, structure and clarity to your life: Journal your way to calm and clarity as you connect with your writer within Do you want to feel connected, inspired, calm, free or creative? Pick a card from the ten categories and follow the journaling exercise to evoke that feeling for the day. Feel inspired by writing a letter to yourself now from yourself in 10 years' time. Set yourself free, by writing a confession to yourself, something you've never admitted to anyone before. Remember, you can tear up the paper afterwards, this is all about the journey, not the destination. We have 70,000 thoughts spinning through our heads each day: T
£15.29
Guilford Publications Writing Instruction Across the Disciplines
Book SynopsisThis book translates the best current research on adolescent writing instruction into teacher-friendly practices that are easy to implement in todayâs diverse classrooms. Leading experts present instructional methods that are applicable across the curriculum as well as specific, proven techniques to build writing skills and promote critical thinking in English language arts, social studies, science, and math. Key chapters address multimodal writing and pedagogical uses of generative artificial intelligence (AI). Other essential topics include self-regulated strategy development, culturally sustaining writing practices, writing for college readiness, and teaching argument writing. Guiding Questions, Action Steps, and helpful classroom examples in each chapter enhance the bookâs utility as a teacher resource and course text.
£37.98
John Murray Press Writing Comedy
Book SynopsisLearn how to write comedy that makes people laugh.Masterclass: Writing Comedy will reveal to both beginners and experienced writers the distinctive features that mark out comedy from other forms of creative writing. Having identified these, it will help you then to unlock your inner anarchist, and explore the different elements of comedy, using a combination of practical exercises, insight and creative inspiration. Whatever your preferred comic genre, you will find guidance on everything from wordplay and visual humour to plots, comedy characters and different styles.A section on performance will help you to hone stand-up skills, while chapters on stage and screen will give techniques and tips on how to craft a sitcom or create a sketch show. Finally, there is a uniquely frank but useful section on the realities of the markets, and the actualities of going it alone with self-publishing and self-promotion - or the tools you need to successfully pitch an idea or
£14.24
John Murray Press Masterclass Writing Plays
Book Synopsis LEARN HOW TO WRITE PLAYS AND HAVE THEM PERFORMEDWriting Plays is the invaluable and comprehensive guide to anyone who wants to write plays and get them performed. It covers the basics of the theatre, creating and working with characters, writing realistic speech and dialogue, constructing compelling plots and creating a great ending. There are also separate chapters focused on writing for different genres, including pantomimes, musicals, radio and television. And a final section looks at the practicalities of laying out, submitting and staging your play.ABOUT THE SERIESThe Teach Yourself Creative Writing series helps aspiring authors tell their story. Covering a range of genres from science fiction and romantic novels, to illustrated children''s books and comedy, this series is packed with advice, exercises and tips for unlocking creativity and improving your writing. And because we know how daunting the blank page caTrade ReviewA comprehensive how-to guide that deals with every aspect of the playwriting business. - Writing Magazine
£14.24
John Murray Press Just Write
Book SynopsisAll the authority of the Faber Academy but at a 10th of the price. For the first time you have the chance to learn everything you need to know about writing and getting published in one place, with practical tips, exercises, and expert advice.
£85.00
John Murray Press How to Craft a Great Story
Book SynopsisLEARN HOW TO PLOT AND STRUCTURE YOUR CREATIVE WRITING.How to Craft a Great Story takes you step by step through the process of creating a compelling and coherent plot and structure. It covers such basics as the traditional story arcs, and such advanced information as finding balance and marrying structure and form. Each chapter contains a diagnostic test, case studies, practical exercises and Aide Memoire boxes. Each chapter concludes with a reminder of the key points of the chapter (Focus Points) and a round-up of what to expect in the next (Next Step) will whet your appetite for what''s coming and how it relates to what you''ve just read. Covering some of the most commonly raised questions in creative writing courses, it is perfect for anyone who needs the next step on from the basic ''how to write a novel''.ABOUT THE SERIESThe Teach Yourself Creative Writing series helps aspiring authors tell their story. Covering a range of genres from s
£14.24
John Murray Press Write Great Dialogue
Book SynopsisCommissioning editors say good dialogue is one of the first things that make a book stand out from the crowd - and similarly, that clunky direct speech is one of the first things that will send a book straight from the slushpile to the rejections bin.But while many other aspects of writing are pored over in intense detail, there have been very few books on the art of writing successful dialogue. In this practical guide for aspiring writers of all levels, Irving Weinman, himself a published writer and well-known creative writing tutor, uses case studies to help you explore how to write good dialogue, and gives you a range of fun and challenging exercises that will help you to write great dialogue.Table of Contents : 1 An Overview of Dialogue : 1 An Overview of Dialogue : 2 Character in Dialogue I (dialogue in character) : 2 Character in Dialogue I (dialogue in character) : 3 Narrative in Dialogue : 3 Narrative in Dialogue : 4 Dialogue in Narrative (non 'scene' dialogue) : 4 Dialogue in Narrative (non 'scene' dialogue) : 5 Versions of Dialogue (monologue, thoughts, letters, diaries, voice messages) : 5 Versions of Dialogue (monologue, thoughts, letters, diaries, voice messages) : 6 Dialogue and Indirect Speech : 6 Dialogue and Indirect Speech : 7 Transitions in and out of Dialogue : 7 Transitions in and out of Dialogue : 8 Dialogue Imitations of Reality (crowds, multiple speech, interrupted speech, foreign languages) : 8 Dialogue Imitations of Reality (crowds, multiple speech, interrupted speech, foreign languages) : 9 Character in Dialogue II (using dialogue to learn about your characters: the art of not listening, getting them angry, letting their hair down) : 9 Character in Dialogue II (using dialogue to learn about your characters: the art of not listening, getting them angry, letting their hair down) : 10 The Far Reaches of Dialogue (experimental approaches, shifting dialogue between characters) : 10 The Far Reaches of Dialogue (experimental approaches, shifting dialogue : between characters) : 11 Dialogue in Summary (some exercises, some suggested reading) : 11 Dialogue in Summary (some exercises, some suggested reading) : 11 Dialogue in Summary (some exercises, some suggested reading)
£14.24
Bloomsbury Publishing (UK) Contemporary Plays from Iraq
Book SynopsisJames Al-Shamma is Assistant Professor of Theatre at Belmont University, where he started teaching in 2007. He teaches theatre history and literature, scriptwriting, film, improvisation and other courses. He directs at the university and is an artistic and producing partner for the Five Dollar Recession (FDR) Theatre Company. Dr. Al-Shamma's principal areas of research are contemporary women playwrights and Arabic, and specifically Iraqi, theatre. He has published two books on American playwright Sarah Ruhl and has published articles in the Journal of Dramatic Theory and Criticism and The Eugene O'Neill Review.A. Al-Azraki is an Iraqi playwright.Table of ContentsForeword General introduction Biographies The Takeover by Hoshang Waziri Introduction Text A Cradle by Abdul-Kareem Al-Ameri Introduction Text Ishtar in Baghdad by Rasha Fadhil Introduction Text Summer Rain by Abdel-Nabi Al-Zaidi Introduction Text Romeo and Juliet in Baghdad by Monadhil Daoud Albayati Introduction Text Me, Torture, and Your Love by Awatif Naeem Introduction Text A Strange Bird on Our Roof by Abdul Razaq Al-Rubai Introduction Text Cartoon Dreams by Kareem Sheghaidil Introduction Text The Widow by A. Al-Azraki Introduction Text
£66.50
Globe Pequot Press Notes on the Writing of A Gentlemans Guide to
Book SynopsisThe most frequently asked question about writing musicals is, Which comes first, the music or the lyrics? As anyone on Broadway will tell you, the answer is, The book. Tony-winning book writer Robert L. Freedman takes you through the process of writing a new musical, including story structure, song placement, dialogue, character development, and more that led to the creation of A Gentleman''s Guide to Love and Murder, the 2014 Best Musical Tony winner. With candor and insight, Freedman describes the challenging and rewarding growing pains of what the critics called Hilarious! and Ingenious! and said Ranks among the most inspired and entertaining new musical comedies I''ve seen in years.
£9.49
Hal Leonard Corporation 25 10Minute Plays for Kids The Applause Acting
Book SynopsisMORE 10-MINUTE PLAYS FOR TEENS PLAYS
£8.99
Hal Leonard Corporation 5Minute Plays for Teens
Book SynopsisÊ5-Minute Plays for TeensÊ is the latest collection from veteran editor Lawrence Harbison a man who has...We know - we''re already losing your attention. And that''s okay! In keeping with the spirit of this book we''ll give it to you in five.ÞÞ1.On any given day the average teen spends nine hours engaging with digital media. A fair chunk of that time is spent watching viral videos which run on average for about five minutes.ÞÞ2. Needless to say an average play runs far longer (and costs much more). Accordingly teens don''t have the time (or money) for theater.ÞÞ3. Adolescence is an emotional roller coaster rife with laughs and melodrama reality and fantasy. Whatever a teen''s mood bite-sized bits of online entertainment keep him/her covered.ÞÞ4. At long last the world of theater has caught up with the digital realm. Five-minute plays and festivals abound äÿyou can now plow through a full-fledged performance before your kids loses interestÞÞ5. Seems your children/students/kid
£12.34
Bloomsbury Publishing Plc Bending Genre
Book SynopsisEver since the term creative nonfiction first came into widespread use, memoirists and journalists, essayists and fiction writers have faced off over where the border between fact and fiction lies. An early and influential book on questions of form in creative nonfiction, Bending Genre asks not where the boundaries between the genres should be drawn, but what happens when you push the line. The expanded second edition doubles the first edition with 23 new essays that broaden the exploration of hybridity, structure, unconventionality, and resistance in creative nonfiction, pushing the conversation forward in diverse and exciting ways.Written for writers and students of creative writing, this collection brings together perspectives from leading writers of creative nonfiction, including Michael Martone, Brenda Miller, Ander Monson, David Shields, Kazim Ali--and in the new edition--Catina Bacote, Ira Sukrungruang, Ingrid Horrocks, Elena Passarello, and Aviya Kushner. Each writer''s Trade ReviewCome for talk of the essay in all its formal wildness. Stay for a consideration of the form’s power and politics of resistance. Even deeper and more expansive than its first edition, Bending Genre 2.0 is essential reading for serious students, teachers, and writers of nonfiction. * Julija Šukys, Associate Professor of Creative Writing, University of Missouri, USA, and author of Siberian Exile: Blood, War, and a Granddaughter’s Reckoning (2017) *As creative nonfiction continues to break new ground, Bending Genre gives writers and readers a marvelous map to new literary terrain, as charted by some of the form’s most interesting cartographers and practitioners. By turns earnest, argumentative, lyric, playful, and provocative, the authors of these pieces explore nonfiction forms as refuge, as rebellion, as intellectual practice, as erotics and aesthetics, as mode of making, and as liberating community. Encouraging exploration and seeded with compelling readings of familiar and less familiar texts, Bending Genre is suggestive rather than scholarly, offering a mode of making and a gloss on the meanings made by this rich, shifting, wonderfully hard to define literary playground that we call creative nonfiction. * E. J. Levy, Associate Professor, Colorado State University, USA *Bending Genre is published into a landscape that has changed so much in the past ten years and will change even more in the next decades, and the essays that are the most convincing are those advocating that we cross, bend and break genre open in more disruptive ways – as writers and readers – and use our creative-critical powers to undo systems that have not been serving us. This book provides a solid anchor for thinking into genre-bending writing, and if readers supplement this text with the reading of many and diverse contemporary hybrid texts, they will experience first-hand how hot genre-bending writing can make their brains, how spacious it can make a heart. * Elizabeth Reeder, Senior Lecturer in Creative Writing, University of Glasgow, UK, and author of microbursts (2021) *Bending Genre is an exciting anthology of contemporary nonfiction that shifts the focus from ethical questions about ‘truthtelling’ to aesthetic questions about form. The contributors make up a who’s-who of distinguished and new writers who have been enlivening the conversation about formal range in nonfiction for the past decade. What happens when writers ‘push the line,’ the editors ask, in terms of what defines genre? Oddball and exploratory, reflective and transgressive, musical and mindful, these essays brilliantly lay out the trail. * Alison Hawthorne Deming, Professor and Director of Creative Writing Program, University of Arizona, US [about the 1st edition] *What a wonderful and needed anthology! The essay has always created itself by doing battle with its adjectives: formal, informal, personal, genteel, modern(ist). Now, just as we were getting comfortable—too comfortable—with lyrical, this anthology arrives to unsettle us again with a slew of new adjectives: queer, bent, bending, monstrous, hybrid, impertinent, fluid, transgressive, anarchic, faked, diabolic, mis-shelved, Dionysian, blissful, puzzling, vertiginous, saturated, unboxed. And then, when our heads are beginning to explode with the centrifugal force of these adjectives, Bending Genre pulls us back with an equally wondrous and innovative set of formal possibilities – creative nonfiction as video game, false document, encyclopedia, autogeography, murder mystery, sepia-tone picture, Play-Doh construction, train trip, user of white space, questionnaire, or the genre that dare not speak its name. I will adopt this book for my classes. It’s time to shake things up. * Ned Stuckey-French, Director, Program in Publishing & Editing, Florida State University, USA, and Book Review Editor for Fourth Genre [about the 1st edition] *Opens up via several essays by some of the best current practitioners and theorists of the essay-writing craft...The essays of Part II, 'Structures', offer numerous examples and ideas of shaping organizational frameworks for the essay...an excellent job discussing the uses of story, elements,montage, white spaces, lack of closure, etymology, and metaphor...I would recommend this collection to all serious writers. * Heidi Czerwiec, Rain Taxi [about the 1st edition] *A wonderfully queer enterprise. Collectively, it is not entirely criticism; not entirely creative writing. Singer and Walker collate the essays to destabilize the reader's assumptions and expectations of the text--and they do so successfully...Perplexing and intellectually stimulating, Bending Genre and all the questions it raises continues the discussion outside of the text. What is particularly noteworthy of Singer and Walker is that their project--much in vein of "queer" and of the notion that writing, like critical thinking, is interminable--remains alive online. They have harnessed the powers of new media to keep the discussion going, both on Facebook as well as the project's website. * Marcie Bianco, LambdaLiterary.org [about the 1st edition] *Table of ContentsIntroduction to the Second Edition I. Hybrids 1. Why Some Hybrids Work and Others Don’t, Lia Purpura 2. Queering the Essay, David Lazar 3. The Everbent Genre, Patrick Madden 4. Don’t Let Those Damn Genres Cross You Ever Again!, Lawrence Sutin 5. Genre-Queer: Notes Against Generic Binaries, Kazim Ali 6. On the EEO Genre Sheet, Jenny Boully 7. Reading Samuel R. Delany, T Clutch Fleischmann 8. Beautiful Muddied Waters: On Genre and Veracity, Sean Prentiss 9. Listening for the Sound, Sejal Shah 10. Split Tone, Lee Martin 11. Lyrebirds in the Impasse, David Carlin 12. Headiness, Karen Brennan 13. What's in Your Purse?: Essays Through the Eyes of a Character Actor, Elaine Passarello 14. Propositions; Provocations: Inventions, Mary Capello II. Structures 15. On Scaffolding, Hermit Crabs, and the Real False Document, Margot Singer 16. Text Adventure, Ander Monson 17. Adventures in the Reference Section, Kevin Haworth 18. Meeting the Ancestor on the Road, Tina Makereti 19. Autogeographies, Barrie Jean Borich 20. Dissolving Genre: Writ with Water, Ingrid Horrocks 21. “Lions and Tigers and Bears, Oh My!”: Courage and Creative Nonfiction, Brenda Miller 22. Traumatized Time, David McGlynn 23. Escapology, Justin Hocking 24. Play-Doh Fun Factory Poetics, Wayne Koestenbaum 25. A Sequence of Thoughts Without Any Kind of Order, Ira Sukrungruang 26. My Mistake, Nicole Walker III. Unconventions 27. On Convention, Margot Singer 28. Losing Language, Camille Dungy 29. What the Bottles Know, Lina Ferreira Cabeza-Vanegas 30. 44 Tattoos, David Shields 31. Creative Exposition—Anther Way that Nonfiction Writing Can Be Good, Dave Madden 32. This Photograph is Evidence of You, Lawrence Lacambra Ypil 33. Ostrakons at Amphipolis, Postcards from Chicago: Thucydides and the Invention and Deployment of Lyric History, Michael Martone 34. On Fragmentation, Steve Fellner 35. Single Mindedness and Whole Heartedness in the Essay Writing Workshop: An Essay in Many Parts, Jenn Ashworth 36. Positively Negative, Dinty W. Moore 37. Study Questions for the Essay at Hand: A Speculative Essay, Robin Hemley 38. A Brief History of Disquiet, Deficit & Disbelief by FeiMan, Xu Xi 39. The Inclusivity of Metaphor, Nicole Walker IV. Resistances 40. The Funk of Defiance, the Freedom of Refusal, Catina Bacote 41. The Essay as Resistance, Aviya Kushner 42. Prepositioning Resistance, Queerly Francesca Rendle-Short 43. Exposition as Resistance: Tell Me the Moon Is Shining, Matthew Batt 44. The Lyric Essay as a Mode of Resistance, LaTanya McQueen 45. It Is What It Is, Eula Biss 46. How It Is: Writing Towards Wonder, Jessica Hendry Nelson 47. On Not Being Able to Write It, Wendy Rawlings 48. Hermes Goes to College, Michael Martone 49. The Convex View, Karen Lloyd 50. The Moral Map, Stephanie Elizondo Griest
£29.70
John Murray Press Novelista: Anyone can write a novel. Yes, even
Book SynopsisNOVELISTA is a friendly, straight-talking writing guide for people who want to write a novel but don't know how to begin. It asks all the important questions and gives a host of reassuring answers that demonstrate that anyone can write a novel - even you!To begin with, what the hell is a novel? It's basically a tiny world, where characters are born, live, and (sometimes) die. To write one all you need is a notebook and a pen - but along the way you'll want to learn about good writing habits, planning, mastering descriptions and dialogue and how to pull it all together. This book will guide you through the process and orient you towards the goal of publication.From absolute beginner to novelista, this book will change the way you write and think about writing.
£14.24
Theatre Communications Group Inc.,U.S. The Cherry Orchard
Book Synopsis
£17.99
Seven Stories Press,U.S. Pity The Reader: On Writing with Style
Book SynopsisThe art and craft of writing by one of the few grandmasters of American literature.
£22.49
Chicken Soup for the Soul Publishing, LLC Chicken Soup for the Soul: Inspiration for
Book SynopsisFrom budding bloggers to bestselling novelists, your fellow writers share their best advice, writing tips, time management strategies, and personal ups and downs in the business of writing. These stories will motivate you, entertain you, and keep those words flowing!Bestselling novelist J.A. Jance explains how her next book rights a wrong done to a friend killed in Vietnam. Award-winning Young Adult novelist Sarah Darer Littman talks about her “second book blues.” Read how bestselling author Hank Phillippi Ryan was mentored in the writing world by someone she had first mentored in the TV world, and how Jenna Glatzer overcame her agoraphobia to ghostwrite Celine Dion’s biography. Marc Tyler Nobleman explains how he unmasked the true creator of the Batman series. With chapters on overcoming your fears, beating writer’s block, accepting rejection, and making time to write, you’ll feel like you’re at a first-class writers’ conference. Additional chapters cover how to use writers’ groups and mentors effectively, tried and true methods to find new inspiration, and how writing can change your own life and others.
£14.47
Bloomsbury Publishing Plc Why Write?: A Master Class on the Art of Writing
Book SynopsisFrom one of America's great professors, author of Why Teach? and Why Read?--an inspiring exploration of the importance of writing well, for creators, educators, students, and anyone who writes.Why write when it sometimes feels that so few people really read--read as if their lives might be changed by what they're reading? Why write, when the world wants to be informed, not enlightened; to be entertained, not inspired? Writing is backbreaking, mindbreaking, lonely work. So why?Because writing, as celebrated professor Mark Edmundson explains, is one of the greatest human goods. Real writing can do what critic R. P. Blackmur said it could: add to the stock of available reality. Writing teaches us to think; it can bring our minds to birth. And once we're at home with words, there are few more pleasurable human activities than writing. Because this is something he believes everyone ought to know, Edmundson offers us Why Write?, essential reading--both practical and inspiring--for anyone who yearns to be a writer, anyone who simply needs to know how to get an idea across, and anyone in between--in short, everyone.
£15.29
John Wilkes Publishing Writing Well for Work and Pleasure: The New
Book SynopsisThe New Writer’s Guide to Producing Great Content Everyone has that fabled “book in them” but not everyone has the talent to write it. Right? Wrong. Great writing’s not a talent. It’s a craft. It can be taught and learnt, affording everyone the confidence to express themselves in words. Writing Well for Work & Pleasure teaches you how to start your writing project and how to keep going. It deconstructs the elements of writing – creating a step-by-step process for generating content that’s ready for publication. With tips on style, eloquence and finding your voice, it also teaches you how to write for different audiences, including professionals, the public, students, customers and even your opponents. And it helps writers talk to editors, publishers and other industry insiders. This book is for professionals and academics wanting to write that book; ambitious executives needing to write a white paper to accelerate their careers; managers being asked to write articles for publication; artisans and hobbyists with skills to convey; idealists and polemicists wanting to inspire and agitate; and anyone wanting to write well in order to improve their communications skills. “If you follow Robert Kelsey’s advice you will produce better prose, which will be both easier for readers to understand and more persuasive, whichever audience you are addressing. I strongly recommend it,” Luke Johnson, columnist, author, serial entrepreneur and Chairman of Risk Capital PartnersTable of ContentsTable of contents Preface Chapter One: What to write and why 1. Why write? 2. What to write a. The book b. Short books or pamphlets c. White papers d. Commentary articles e. Blogs f. Promotional material g. Other media 3. Your audience a. Peer professionals b. The wider public c. The “great and the good” d. Adversaries e. Children and students f. Potential customers g. The media 4. Who am I? Chapter Two: The process of writing 1. Angle, content, structure, style a. Angle b. Content c. Structure d. Style 2. Motivation (or getting started) 3. Discipline (or keeping going) 4. Overcoming writer’s block Chapter Three: The elements of non-fiction 1. Body copy 2. Paragraphs 3. Sentences 4. Words 5. Headlines 6. Standfirsts 7. Crossheads 8. Eyebrows 9. Quotes 10. Lists and bullet points Chapter Four: Writing by numbers (or producing a first draft) Step One: Confirm the angle Step Two: Format the page Step Three: Write block one, and two Step Four: Write the tougher blocks Step Five: Stitch the blocks together Step Six: Add an opening paragraph Step Seven: Add an ending Step Eight: Add the headline Step Nine: Add the standfirsts, bylines and picture captions Step Ten: Check your facts Chapter Five: Views on style 1. Developing your voice 2. Corporate and marketing speak 3. Making it eloquent and compelling i. Alliteration ii. Tricolon iii. Epizeuxis iv. Segue v. Proverbs, idioms, similes etc. vi. Antithesis 4. A brief word on punctuation 5. Considering SEO Chapter Six: Preparing for publication 1. Proofing and editing 2. Graphs and tables 3. Images, illustrations and maps 4. Cover image 5. Pull quotes 6. Boxed text 7. Appendices 8. Forewords, prefaces, glossaries etc. 9. The introduction 10. A conclusion 11. Jacket and cover copy 12. Biography 13. Footnotes, endnotes and references 14. Killer titles Appendix: some books worth reading (or not) on English usage, style and writing 1. Usage and style guides 2. Books on writing Index
£9.99
Rethink Press Limited Book Magic
Book Synopsis
£14.39
Jessica Kingsley Publishers Freefall into Fiction: Finding Form
Book SynopsisBarbara Turner-Vesselago's first book, Writing Without a Parachute, showed writers how to fall in love with writing. This new book builds on this experience and encourages writers to pursue their work with intention and without inhibition.Freefall into Fiction: Finding Form is designed to help writers, step-by-step, to create publishable short stories, novels and memoirs by finding their own unique balance between the exploration offered by Freefall Writing and the requirements of each particular genre. This book penetrates deep inside the writing process where that balancing act takes place.Trade ReviewBarbara maps the dangerous journey from intuitive 'free-fall' writing to consciously created fiction, making it exhilarating; a lucid, well researched and clearly illustrated guide we can safely follow. A fitting companion to her strongly recommended Writing Without a Parachute. -- Dr Gillie Bolton, author of 12 books on writing including The Writer’s Key: Introducing Creative Solutions for Life.Not so much dipping the toe into writing as taking the plunge, in this book, Barbara Turner-Vesselago guides us through the heart of the creative process, using experiential exercises and practical tips to enable the aspiring writer to develop a 'first draft' into a more expanded and refined piece of work. I have wanted to write for years...this book made me feel that I can't wait to start! -- Debra Penman, co-author of Writing Well: Creative Writing and Mental HealthTable of ContentsPreface. 1. Taking it Forward. 2. The Precepts Revisited. 3. Finding the Essence. 4. Character, Conflict and Trouble. 5. Inhibiting Character. 6. Discovering Plot. 7. Devices. 8. Dialogue in Fiction. 9. Drama. 10. The Genre of Memoir. 11. The Genre of Fiction. 12. Revision.
£19.81
Straightforward Publishing A Straightforward Guide To The Crime Writers
Book Synopsis
£11.39
Straightforward Publishing A Straightforward Guide To Creative Writing:
Book Synopsis
£9.49
Titan Books Ltd Writing Science Fiction and Fantasy Television
Book SynopsisWhat's it like putting words in Buffy's mouth? How do you go about inventing your own X-File, or coming up with a mission for the crew of the Enterprise? And most importantly, how do you get into the business, so you can leave being a mere fan behind, and actually write for your favourite show? Journalist Joe Nazzaro answers all these questions and more in this must-have collection of exclusive, in-depth interviews with writers and producers from TV's hottest SF and fantasy shows. Some of the biggest names in the business talk candidly about how they started out, their inspirations and influences, and what it's really like to create the incredible and impossible on a daily basis. A must for any fan of SF and fantasy TV.
£13.49
The Lilliput Press Ltd Part-Time Writer: Notes and Reflections
Book SynopsisPart-time Writer guides the reader through all aspects of writing – from the embryonic stages of researching and planning, to the hard slog of the writing and editing, through to the presentation of the manuscript, and finally, approaching agents and publishers. At each stage, the author explains how she did it – and how the reader can do it too. * How can I write engaging dialogue? * What can I do to make my characters ‘live’ on the page? * Must I always ‘show and not tell’? * How can I transform a hobby into a book? * When is the right time to show my work to others? * How should I present my manuscript? * Do I need an agent? * Should I self-publish? * Where can I find the time to write a novel? In her inimitable style, Marjorie Quarton merges literary memoir, anecdotes and straight talking to provide invaluable insights into the realities of being a writer, while offering indispensable advice on the trade, making this book a must-have for any aspiring author.
£10.99
Little, Brown Book Group Writing For Children, 4th Edition
Book SynopsisThis new edition combines Pamela Cleaver's bestselling Writing a Children's Book with her Ideas for Children's Writers. In it you will learn about plotting and planning, beginnings, middles and endings, how to research and how to revise and how to find a publisher. There are: * Lists of attributes to help you create interesting and believable characters * Lists of plots and themes * Genres - what's hot and what's not * Locations and how much description to use * List of do's and don'ts regarding submitting manuscripts * Symbols for correcting your proofs * Tips on how to publicise your book. There is no one right way to write a children's book but if you are armed with a knowledge of certain techniques that have worked for other writers you will be more likely to succeed.Contents: Acknowledgements; Introduction; 1. Limbering Up; 2. Plotting; 3. Story People: the Characters in Your Book; 4. Genres; 5. Where and When?; 6. Starting the Story; 7. Telling the Tale; 8. Writing for the Younger Set; 9. Happy Ever After?; 10. Research and Revision; 11. Writing a Non-Fiction Book; 12. Getting Published; 13. If Your Book is Accepted; 14. If Your Book is Rejected; Useful Information for Writing Children's Book; Index.Trade Review'A classic in its field ... excellent advice on writing non-fiction for children, and solid guidance on finding yourself a publisher. Arguably the best book on its subject.' Writing Magazine 'Rarely have I seen such well laid-out advice and information - don't take my word for it, buy a copy and see for yourself...Highly recommended.' Writer's Bulletin. 'A totally comprehensive and professional book...It is the must-have-guide for anyone aiming to write for the children's market.' Writing Magazine.Table of ContentsAcknowledgements; Introduction; 1. Limbering Up; 2. Plotting; 3. Story People: the Characters in Your Book; 4. Genres; 5. Where and When?; 6. Starting the Story; 7. Telling the Tale; 8. Writing for the Younger Set; 9. Happy Ever After?; 10. Research and Revision; 11. Writing a Non-Fiction Book; 12. Getting Published; 13. If Your Book is Accepted; 14. If Your Book is Rejected; Useful Information for Writing Children's Book; Index.
£10.44
Little, Brown Book Group Get Writing Children's Fiction: Ideas, Tips and
Book SynopsisThe aim of this book is to get you writing. It's full of inspiration, tips and writing exercises for anyone who wants to write children's fiction. Included are tips from other published writers, useful links and answers to questions you've always wanted to ask.Includes chapters on:Know-how: the difference between writing for children and writing for adults.How to get ideas for your stories from your family, your work and your life - and how to expand those ideas.Creating believable characters children will love reading about.Writing by the seat of your pants, or plotting? Basic things you need to know for either approach.Writing realistic dialogue.Writing the first draftHow to create 'reel them in' beginnings, sustain the pace in the middle, and write satisfying endings. How to write page-turning chapter endings; keeping continuity when writing series. Writing for the educational market.Writing a synopsis and a proposal.Submitting your work to a publisher or agent.Dealing with rejects and rewrites.Publicity and marketing. Publishing your own work.
£10.99
Little, Brown Book Group How To Write Crime Fiction
Book SynopsisThis book provides a comprehensive overview of all the different kinds of crime fiction, with examples from successful contemporary writers in each of the different genres, and clear explanations and exercises to help the beginning writer hone their craft, and discover the kind of crime fiction, the plots, the themes, the language, that work best for them.
£10.99
Nick Hern Books So You Want To Do A Solo Show?
Book SynopsisA unique guide to every aspect of putting on your own solo show: choosing the subject, raising the finance, booking the venue - and performing it! More and more actors – faced with ever longer periods of unemployment – are turning to the solo show as a way of keeping active, keeping visible, and keeping the wolf from the door! This book is essential reading for anyone contemplating such a move, and comprehensively covers every aspect of putting on your own one-person show. Being a veteran of the solo-show circuit, as a writer, performer and director, Gareth Armstrong is the ideal guide. He takes you step by step through each stage of the process: • Choosing the right material – or devising your own • Raising the finance • Finding the venues • Hiring a bookings manager and other personnel • Arranging publicity • Winning an audience There is a special section on that mecca for solo shows, the Edinburgh Fringe, and an extensive appendix covering funding bodies, venues, festivals and more. Throughout the book, Armstrong illustrates his points with case studies of actual solo shows by performers such as Miriam Margolyes, Linda Marlowe and Guy Masterson. 'So You Want To Do A Solo Show? is a thorough, meticulous, hands-on, "how-to-do" manual, covering everything from the germination of an idea right through to the costing of the flyers. It is, I think, the most valuable read for any performer who has ever thought "If only I could have some control over the way my career is going"' Maureen Lipman, from her ForewordTrade Review'This book does exactly what it says on the front cover... Armstrong specialises in clear explanations and common sense... it may prevent many nervous breakdowns' * British Theatre Guide *'Eminently readable and very useful... a fantastic resource' * Teaching Drama *'A timely and essential companion' * The Stage *
£12.34
Jessica Kingsley Publishers Writing Routes: A Resource Handbook of
Book SynopsisThe use of creative writing as a route to personal or professional development is a powerful therapeutic tool, yet often the most difficult part is knowing how and where to begin. The experiences of others, and the strategies and approaches they have used in their own writing, can provide tried-and-tested models for practice, and 'ways in' that facilitators might wish to recommend to others. Writing Routes is an essential roadmap for anybody setting out on the journey of self-discovery through words. This diverse collection of short pieces introduce and demonstrate many different ways of getting into and thinking about creative writing for personal or professional development. Seventy contributors from a variety of different backgrounds and circumstances explain how they came to write a particular piece and why, how they found ways of transforming their experience into writing, and how it was beneficial to them. Their writing ranges widely, from journal entries and stream of consciousness to autobiography, poetry, fiction and drama, and the pieces are organised by theme and genre for ease of navigation, designed to be 'dipped into' as and when they are needed. This rich and varied collection will provide writing practitioners, counsellors and other related professionals with ideas and techniques to share with their clients, and is a useful resource that individuals who write for their own personal and professional development will return to again and again.Trade ReviewThis very readable anthology collects together over 70 contributors who offer a diverse and rich array of personal experience of using creative writing.. I read the writers' words and pieces over a long Bank Holiday weekend by dipping into different parts as the mood took me, and was variously heartened, confounded, warmed and amused. At times, I was stopped in my tracks with the pain and distress of some of the work... a truly wonderful collection of views and writings which I recommend to any reader, and especially to those who might feel the beginnings of a need to put themselves on paper. -- Therapeutic Communities JournalWriting Routes is a book many of us have been waiting for, filling a gap in my bookshelf which I had vaguely discerned but not put shape to. Although the book builds on previous resource JKP handbooks, such as Writing Works (2006), Writing Routes is more than a collection of reflections on therapeutic experience. This is a well-designed navigation tool for exploring the field of therapeutic writing... I would recommend Writing Routes not just to those working in the field, but to any individual embarking on their owntherapeutic writing. -- Lapidus JournalWriting Routes is a diverse collection of personal journeys, which introduces and demonstrates many different ways of beginning and deepening creative writing for personal or professional development. -- The Independent PractitionerDetailed maps are needed for where to start in creative writing and how to proceed. Writing Routes provides just such an atlas, essential information for anybody setting out on the adventure of self-discovery through words. -- from the Foreword by Gwyneth LewisTable of ContentsForeword by Gwyneth Lewis. Preface by Gillie Bolton, Victoria Field, Kate Thompson. Postscript by Fiona Hamilton. 1. Getting into Writing. Edited by Victoria Field. 'Writing a Journal: A Way to My Soul', Satu Nieminen. 'Natalie's Golden Mantras', Alexandra Boyle. 'Writing Yourself Forward', Debbie McCulliss. 'Writing 'Kingfisher', Abi Curtis. 'Poems Invite Us to Write Them', Kate Compston. 'Relaxing into Writing', Ray Russell. 'Happily Ever After...And Then What?', Sarah Salway. 2. Forging Identities. Edited by Kate Thompson. 'Writing Dreams', Juhani Ihanus. 'The Whole Picture', Angela Stoner. 'Letter to a Stranger - Processing the Momentary', Cheryl Moskowitz. 'The Mincer Character', Myra Schneider. 'A Rose by any Other Name Might not Smell as Sweet', Shelley McAlister. 'Lucy', Andrew Rudd. 'Dodging Rednecks with a Grudge', Tim Metcalf. 'Writing Barefoot', Shirley A. Serviss. 3. Writing the Self. Edited by Victoria Field. 'Black Sheep in the Family', Larry Butler. 'People on my Bus', Fran Creffield. 'Midnight Robber', Dominique De-Light. 'Writing as a Process of Coming-to-knowing', Rosie Alexander. 'Writing Inspired', Sue Glover Frykman. 'AlphaWrites: 26 Days to Transformation', Kay Adams. 'Writing Loops', Briony Goffin. 'Finding Your Racket Voice', Sandy Hutchinson Nunns. 4. Writing the Body. Edited by Victoria Field. 'Finding Beauty in an Ugly Situation', Beverly Kirkhart. 'Listening to Body Signals: Triggers from the Past', Jane Pace. 'Straight from the Hip', Sue Ashby. 'Dealing with Chronic Pain', Miriam Halahmy. 'Broken Face - A Poem', Bryony Doran. 'In Watching You I See Myself', Jay Carpenter. 'Creating a Legacy Out of Everyday Living', Claire Willis. 5. Writing the Troubled Self. Edited by Victoria Field. 'Cracks', Rebecca Atherton. 'The Blue Gate', Rose Flint. 'Giving Perspective', Yona McGinnis. 'The Year the Wall Came Down', Maggie Sawkins. 'Stories from the Silk Tent', Lucy O'Hagan, Gilly Pugh and Lizzi Yates. 6. Our Families, Ourselves. Edited by Gillie Bolton. 'Time Capsule', Linda Sliwoski. 'When Melancholia Strikes, Poetry Steps In', Glynis Charlton. 'The Legacy of Mothers', Marliss Weber. 'For Those Who Wish to Sing, There is Always a Song', Margot Van Sluytman. 'The Clock and Me', Nigel Gibbons. 'Come In - to the Life of the Poem', Graham Hartill. 'Never Rub Out, Never Throw Away', Jonathan Knight. 7. Relationships. Edited by Gillie Bolton. 'The Healing Fountain', Penelope Shuttle. 'Burning Want', Les Murray. 'Leaving Tortilla, My Cat', Claire Williamson. 'Wall Writing', Monica Suswin. 'Invoking the Ancestors', Reinekke Lengelle. 'A Heart-shadow Fell at Our Feet: Writing a Sequence of Love Sonnets', Robert Hamberger. 8. Personal Loss. Edited by Gillie Bolton. 'To a Gold Ear-ring, Head of Nefertiti', Wendy French. 'The Final "Good Bye"', Sarah Birnbach. 'Something We Need to Learn to Live Alongside', Yvonne Watson. 'Close up, From a Distance', Deborah Buchan. 'Writing My Mother's Obituary', Leone Ridsdale. 'I'll Never Forget', Joanne Robinson. 9. Managing Transitions. Edited by Kate Thompson. 'Writing, Waiting, Rocks', Mary Lee Moser. 'The Door', Gillie Jenkinson. 'Do the Work: A Writing Exercise that Turns You Around', Reinekke Lengelle. 'Using Dialogue to Move On with My Life', Lynda Heines. 'Writing a Sketchbook', Angie Butler. 'When I Get Old', Judy Clinton. 10. Developing Mindfulness. Edited by Kate Thompson. 'Mindful Moments', David Oldham. 'Writing a Haiku', Carolyn Henson. 'Lost Heart', Elaine Trevitt. 'Loneliness', Julie Sanders. 'I Have a Dream...', Ronna Jevne. 'Conversation with a Ponderosa Pine', Susan Wirth Fusco. 'Frustration and Me', Janice Putrino. 'Searching My Soul through Cyberspace', Christine Nutt. 11. Signals, Lines, and Reflections: Writing on Trains, Fiona Hamilton. Appendix 1. Writing Routes Map: Themes. Appendix 2. Writing Routes Map: Types of Writing. Appendix 3. Contributor Biographies. Bibliography.
£22.99
Jessica Kingsley Publishers Writing in Bereavement: A Creative Handbook
Book SynopsisWriting in Bereavement is a practical creative handbook that will assist counsellors, volunteers and others in their work with bereaved adults. Writing is a powerful outlet for the emotions that accompany grief and it is therefore a valuable therapeutic tool to help those who are bereaved communicate their experiences and adjust to life after their loss.Jane Moss provides imaginative creative writing exercises for groups and individuals, using a variety of genres and literary forms and techniques. She offers advice on how to plan and run successful workshops with the bereaved, and how to evaluate their effectiveness. Using the techniques in this book, counsellors can help grieving individuals find a voice to cope with profound changes in their life, complete unfinished conversations, write for remembrance, use creativity as a respite from sadness, and finally begin to move forward from grief and imagine the future.Trade ReviewJane Moss's Writing in bereavement is a breath of fresh air... At every stage she reflects back on the theory of bereavement support, whilst giving examples of work that might be produced, and how the facilitator may respond. Creating space to reflect by both the facilitator and the participants is the key word, and Moss gives plenty of support and advice on how to approach this. -- Bereavement CareThis book is a useful addition to the literature and will be of great interest to therapeutic practitioners and creative writers alike... Readers who are not already familiar with the literature of therapeutic writing will find themselves gently guided through the principles and practices. -- Therapy Today, Kate Thompson, existential psychoterapists, journal therapist and authorWhen someone we love dies we lose, not only a person "out there", but an organising principle of our assumptive world, the world that, up to that moment, we had taken for granted. Grief is not about forgetting the dead, it is about discovering a new narrative, a new source of meaning to our lives. Jane Moss here shows us a way of helping bereaved people to do just that. It gives us a choice of techniques and suggestions, exercises and insights, that are well supported by research and which we can adapt to the particular needs of individuals at this turning point in their lives. -- Colin Murray Parkes, OBE, MD, FRCPsych, psychiatrist, author and Life President of Cruse Bereavement Care, UKHere is a wealth of ideas and inspiration for those of us aspiring to work creatively with bereaved people using the written word. I found my creative juices begin to flow as I read the ideas for the exercises and how to use them. These will be of enormous benefit for those wanting to start working in this way and will provide added incentive and encouragement for those who already use creative tools. I could use the ideas not only with the bereaved person but also with volunteer supporters in their supervision. The example of the fictional Greenbank writing group will be of special interest to those who want to offer support groups for bereaved people and there is much practical help offered for setting up such a group. I am sure this will prove to be a truly useful volume to have for reference and advice for those of us working in the field of bereavement support and counselling. -- Dodie Graves, counsellor, bereavement service co-ordinator and author of Talking with Bereaved People and Setting Up and Facilitating Bereavement Support GroupsMoss helps mourners reach deeply into the wordless silence at the heart of grief, and render what they discover in language that is resonant with meaning and emotion. From acrostics to villanelles, and from the opening group warm-up to the final wind-down, she scaffolds a structure for Writing in Bereavement that fosters continuity and connection in life narratives rewritten by the experience of loss. Whether you work with bereavement support groups or in the intimate crucible of grief therapy, you will find in this book an indispensable muse to your clinical creativity. -- Robert A. Neimeyer, PhD, editor of Techniques of Grief Therapy: Creative Practices for Counseling the BereavedBereavement can be a dark and lonely place. This book shows how writing in groups can help bereaved people to find companionship and to begin to map out their own paths through this alien landscape. The book is thoroughly researched and offers a clear and systematic toolkit for professionals. On top of this, it is an engaging read that should leave readers feeling inspired to try this approach within their own work. -- Anne Cullen, Manager of Psychosocial and Spiritual Care, Princess Alice Hospice, Esher, UKTable of ContentsAbout the Author. Acknowledgements. Preface. Introduction. 1. An Overview of Writing in Bereavement. 2. Starting to Write. 3. Keeping a Journal. 4. Working with Form. 5. Writing Through Grief. 6. Life Writing in Bereavement. 7. Reflecting on Change. 8. Writing for Memorial. 9. Endings. 10. Reflection and Feedback. 11. A Facilitator's Journal. 12. Resources for Establishing a Writing Group. 13. Useful Terms. 14. Sample Writing Sessions for Groups. Writing Exercises and Prompts. Postscript. References. Further Reading. Index.
£26.24
Jessica Kingsley Publishers The Writer's Key: Introducing Creative Solutions
Book SynopsisThe Writer's Key is a complete beginner's guide to writing for self-reflection and personal development. Creative writing can deepen our understanding of ourselves and our lives. This book unlocks the potential for gaining these insights, widening perspectives, finding new positivity, increasing confidence and reducing stress through writing. It:- introduces creative writing as a very enjoyable process for enabling reflective personal and professional development - provides strategies and inspiration for getting started, continuing despite hesitations and getting the most out of writing- features uplifting accounts of individuals' successful use of the Key for self-exploration and development through creative writing.The Writer's Key assumes no prior writing experience and will inspire and encourage anyone who wants to tell and explore their story, whether they feel trapped by issues at work or home because of loss, trauma or relationships, or simply want to make more of life.Trade Reviewher practical and stimulating style not only carries the reader along on an enthusiastic journey, byt her adroit use of examples and exercises (particularly the WRITE section at the end of each chapter) positivel encourages active participation. -- Nurturing PotentialThis book provides a gentle invitation to writing as a form of self-discovery, and quietly leads the user into some powerful moments of personal reflection. Highly recommended to anyone who is interested in learning more about the transformative potential of creative writing. -- John McLeod, Emeritus Professor of Counselling, Abertay University and Adjunct Professor of Psychology, Oslo UniversityWhat a gift - Gillie Bolton's writing wisdom, creativity and humanity presented in a fresh and utterly accessible way. If you are interested in opening a door and crossing thresholds into creative adventure or personal discovery, here's a sensitive and learned guide. Bolton knows how writing can provide ways into and out of life's terrains, smooth or bumpy, shady or bright. With a light touch, she shares insights and learning. The Writer's Key offers practical writing exercises, mapped out carefully and enriched with reflections from other writers navigating diverse experience. For novices, this book will provide support with first steps. For the experienced, it's a re-energising reminder of how and why we write. For everyone, it's a clear message that we each have a key and, if we choose, we can take this author's ample encouragement to trust the process and "Write!" -- Fiona Hamilton, writer and Director of Orchard Foundation, UKGillie's book is an extraordinarily good read. Some of the keys are simple and easy to use, others are jewelled and more demanding to turn. It is a book which promotes the mysterious and irreducible, and is for times when spoken words aren't deep, wide or strong enough. -- Jeannie Wright, Director of Counselling & Psychotherapy Programmes, Warwick UniversityThe Writer's Key is a necessary and inspirational book. It unlocks the secrets to the therapeutic potential of creative writing in all its forms. Gillie Bolton is a trustworthy, enthusiastic and invaluable guide for therapists and for those who know, instinctively, that writing may become a source of exploration, understanding and solace. Through her lucid chapters, examples and exercises, Gillie proves that there's no greater opportunity than that offered by a blank page and an itch to bring it alive with words. -- Robert Hamberger, poetGillie Bolton has furnished a meeting and finding place for surprisingly new words and freshly understood old words. Reading this work of explorative exercises, observations, reflections and insights can make a difference. With The Writer's Key you can open hidden doors into your memories, dreams, and relations, unpack and repack your life stories. "Ask your writing!" she advises. Write your senses, chances and changes, sharing your expressive words with others. -- Juhani Ihanus, Professor of Psychology, University of Helsinki, FinlandThe Writer's Key is an exciting and accessible way into creative writing for personal development; the many anecdotes and creative examples feed the reader, and the many ideas and imaginative exercises nourish the writer. This book shows the foundational ways in which writing can transform, release and motivate individuals as they travel through the sunlit and shadowed passages of life. -- Claire Williamson, Programme Leader, MSc in Creative Writing for Therapeutic Purposes, Metanoia InstituteGillie Bolton's Writer's Key is a supremely hopeful book, one that reveals in every page its author's belief in the resilience, wisdom and creativity of us all. In this book, the author opens up so many doors for us as readers, with her encouraging words and gentle tone, her expertise as a personal writing specialist, and the generous treasure trove of writing prompts and illustrations she provides.Gillie Bolton brings years of personal and professional experience to fruition in this practical and inspirational guide to writing. Gently and with clarity and conviction, the author inspires us all to express our writer's voice, explore our unique selves, recognize our inner wisdom figures and realize the power we have to transform our lives. The Writer's Key is a multi-faceted guide to writing for healing, meaning-making and enhanced self-development. In vivid detailed ways, Bolton drives home the power of the writing process and inspires its readers to get out their favourite notebook and pen and proceed on their own creative journeys of discovery. -- Geri Chavis, Licensed Psychologist, Certified Poetry Therapist & SupervisorGillie Bolton holds the keys to healthier, happier, more robust living. In this delightful book, she unlocks doors, crates, and mystery chests of experience and emotion, expertly guiding us to our own hidden rooms, forgotten resources and undiscovered treasures. -- Kathleen Adams, Director, Center for Journal Therapy, USAThe book is aimed at an audience who is willing to give self-writing a try, and no previous experience of personal writing for self-knowledge and discovery is assumed. The writing activities at the end of each chapter are always imaginative and suggest strategic ways to students, practitioners, and supervisees who are seeking to explore personal and professional blocks, and especially those who enjoy words. For those who are experience in self-writing, the book offers a fresh look at the therapeutic potential of creative writing. It's an exciting reminder of how writing works and, unlike some of the art therapies, the only equipment needed is pencil and paper an somewhere to write. This is an exhilarating read and I found myself putting off what I was going to do and stating to write there and then. -- Jeannie Wright, Director of Counselling and Psychotherapy Programmes at Warwick Unversity * Therapy Today.net *Table of ContentsPreface. 1. The Writer's Key, An Introduction. 2. Beginning. 3. The Journal: An Everyday Ally. 4. Place, People, Things. 5. Tell Me a Story. 6. Poetry. 7. Pictures in the Mind: images. 8. Letters. 9. Conversation with Myself. 10. Mentors and Terrorists. 11. Dreams. 12. Once upon a Time… 13. Opening Doors. 14. Ever After.
£26.24
Jessica Kingsley Publishers The Self on the Page: Theory and Practice of
Book SynopsisExamining the potential of creative writing as a therapeutic tool, particularly in terms of its influence on the self and personal development, The Self on the Page is divided into two parts. In Part One representative practitioners provide an overview of current work in the field, based on their experience of conducting courses, workshops and research projects with creative writing students, and clients as diverse as people with learning disabilities or dementia and people in hospices, using various genres of creative writing from poetry to autobiography and literary fiction. This section also contains many practical suggestions for writing techniques that can be used for personal development, whether working with writers' groups or with client groups in health care and the social services.Part Two explores the theoretical background to the therapeutic uses of creative writing, with particular reference to psychoanalysis, philosophy of language, and literary and social theory. Illustrating a wide range of different approaches, the contributors provide an introduction to thinking about creative writing in a personal development context with suggestions for further reading, and look at the potential evolution of therapeutic creative writing in the future.Academics with an interest in textual practice, language and cultural theory; practitioners and theorists of psychotherapy and psychoanalysis; arts therapists and their educators; arts providers.Trade ReviewAn absolute pleasure to read. I now have a broader understanding of the issues involved in creative writing, and look forward to the development of this exciting area both in research, and my own practice. -- The Journal of Critical Psychology, Counselling & Pschotherapy.The Self on the Page embraces a highly complex issue and is important and exemplary in many ways: it is compellingly written, useful, lucid and inspiring. Unequivocally, it provides an engaging entry into the topic of creative writing and personal development. This is a book for immediate reading and constant reference. -- Auto/Biography University of Sussex publicationThe seven projects the editors have chosen to present are deeply engaging, intriguing, thought provoking. -- Therapeutic Communities.This book is divided into two sections: in part one practitioners from a variety of settings say how they use writing to help personal development, and part two puts forward theories linked to using autobiography as a form of psychoanalysis. Targeted at anyone working with people, whether as a group or individual, in any setting, this interesting and unusual book benefits from a wide range of viewpoints. -- Therapy WeeklyI would certainly urge drama-therapists to read this. I found it stimulating and often moving. Once or twice I discovered things in it which led me to revise assumptions I habitually make about the importance of the written word, and the sources and nature of its power to heal. Much of the text is informative and helpful, particularly the final chapter, in which the two editors draw conclusions about the potential for future development of writing as a psychotherapeutic resource. -- DramatherapyThis collection of essays will surely be welcome in all kinds of contexts. The editors have collected a fascinating range of material, all complementing each other, and providing an overview of the current thinking about how creative writing is a form of therapy or at least, a tool for self-knowledge. The essays cover general formal concepts such as the wonderful Peter Abbs on autobiography to the applications of writing in workshop and therapeutic sessions. The book introduces a subject that ought to take centre stage in writing courses: creativity as a satisfying end in itself, rather than something that leads to huge advances and reading tours. In other words, the writers here are aware that we live in a society in which emotional and spiritual communication are being increasingly marginalised rather than being a focal part of our ways of living together. Gillie Bolton's work with GPs, for instance, is partly about the nature of doctors as family members, listeners and friends ... I can't recall the last time I read such a positive, life-affirming book on what is often called "arts in society" as if it were a concept grafted onto "reality" in some way. Some of the work here uses literary theory and some keeps the focus firmly on the practical and immediate; but what all the essays offer is a selection of fresh approaches to areas we all seem to be aware of in conversation, but rarely have the chance to develop or satisfy our curiosity. The lines of thought here are so thought-provoking that some of the investigations and enquiries should lead to more substantial work in the future. This is a timely statement of intent from all of us involved in proving that writing is not simply a kitchen table hobby for would-be novelists, but something deep and integral to the personality. It is a need and professionals in classrooms and in clinics are recognising this. I know that I shall be using some of the ideas here to add to my resources for teaching, particularly in courses on writing for community and writing autobiography, largely because the spirit of the book is about transformations. -- Writing in EducationTable of ContentsIntroduction, Celia Hunt and Fiona Sampson. Part 1 Current Practice of Creative Writing in Personal Development. 1.Writing and the Voice of the Child: Fictional Autobiography and Personal Development, Celia Hunt 2.The Self as Source: Creative Writing Generated from Personal Reflection, Cheryl Moskowitz, creative writer 3. The Web of Words: Collaborative Writing and Mental Health, Graham Hartill, Newport and Abergavenny MIND 4.`Men Wearing Pyjamas': Using Creative Writing with People with Learning Disabilities. Fiona Sampson. 5.Writing or Pills? Therapeutic Writing in Primary Health Care. Gillie Bolton, Sheffield University. 6. Final Fictions? Creative Writing and Terminally Ill People. Colin Archer, freelance writer. 7. A Matter of Life and Death of the Mind: Creative Writing and Dementia Sufferers, John Killick, Dementia Services Development Centre, University of Stirling Part 2: Theoretical Contexts for Creative Writing in Personal Development. 8.The Creative Word and the Created Life: The Cultural Context for Deep Autobiography, Peter Abbs, University of Sussex. 9. Thinking about Language as Our Way through the World: Some Sources for a Model, Fiona Sampson. 10. Writing, the Self and the Social Process. Mary Stuart, University of Sussex. 11. The Empty Word and the Full Word: The Emergence of Truth in Writing, Trevor Pateman, University of Sussex. 12.The Transformative Effect of Reading, Janet Campbell, University of Sussex. 13. Autobiography and the Psychotherapeutic Process, Celia Hunt. 14.Towards a Writing Therapy? The Implications of Existing Practice and Theory, Fiona Sampson and Celia Hunt.
£31.87
Jessica Kingsley Publishers The Therapeutic Potential of Creative Writing:
Book SynopsisWriting is a means of making sense of experience, and of arriving at a deeper understanding of the self. The use of creative writing therapeutically can complement verbal discussions, and offers a cost- and time-effective way of extending support to depressed or psychologically distressed patients. Suitable both for health-care professionals who wish to implement therapeutic writing with their patients, and for those wishing to start writing creatively in order to help themselves, The Therapeutic Potential of Creative Writing provides practical, well tried and tested suggestions for beginning to write and for developing writing further. It includes ideas for writing individually and for directing groups, and explores journal writing, poetry, fiction, autobiography and writing out trauma, with established writers and those who have taken up writing for private enjoyment.Trade ReviewOccasionally I have suggested to parents that they write down some of their thoughts and feelings in the form of a journal or a letter. Nearly always the act of writing seems to have a curious therapeutic effect. Thanks to Gillie Bolton's book, I shall be doing this more often. Gillie believes that while it is good to talk, it is even better to write. She teaches therapeutic writing to doctors, nurses, clients, prisoners, just about anybody who is interested…I am certainly going to do some therapeutic writing myself now and then, when I am ready, I shall suggest it to some of my troubled patients. If you read this book (and I think you should), you will want to be doing it too. -- Family PracticeThis is a bubbling cauldron of a book. I doubt if I have ever felt so driven to follow an author's enthusiasm to try out her ideas. Just take a sheet of paper and a favourite pen, she says, and for six minutes write whatever comes to mind. So I did, and what happened surprised me, because I hadn't really thought much of the notion. Gillie Bolton runs creative writing courses, and counsels and works as a therapist. She is convinced that writing is a true, gentle and accessible way for anyone to express themselves and that this can lead on to new understanding through rereading and perhaps revising the writing. She shows how the slowing down of thoughts to the pace of a pencil is an editing process that helps order ideas out of the internal chaos, but not one that stultifies subconscious experience from leaking out…We are shown how to get started and allow people to feel that it is not only safe but that it might also be fun, to let their pens flow across the page. Examples are given of therapeutic writing groups in prisons, hospices, among demented patients and the mentally ill, for such groups can thrive in surprising settings. Gillie Bolton runs writing groups for GP's and makes the case that, instead of a prescription, doctors could offer certain patients a pen and a blank sheet of paper and then be willing to read whatever they might write. -- The British Journal of General PracticeGillie Bolton states that she has aimed this book at those of us, including therapists, who are interested in using creative writing as a way in which we can get to know ourselves better. The author says that the book is a `straight-forward how-to guide to therapeutic writing' and that it `offers endlessly creative questions and tantalising paths to follow'…for those therapists interested in using creative writing for themselves or with their clients, this book may provide inspiration. -- British Journal of Occupational PsychologyThe book offers explicit guidance on how to engage in, and how to help others engage in, therapeutic writing. But it also offers insight into why such writing is effective as a healing agent…Bolton's books will be invaluable to a wide range of mental health workers and human potential practitioners and to people seeking a means of addressing their own suffering and aspirations for self-understanding and self-expression…an excellent addition to the reading lists of counsellor training courses, especially in connection with personal development components. Not to be missed, either, is the potential for this kind of therapy to be added to the creative repertoire of practitioners needing to maximise therapeutic benefits in a short time by stimulating client ownership of the therapeutic process. -- British Journal of Guidance and CounsellingCreative writing may seem at first glance to be a long way from nurse education, but this would be a mistaken judgement. Gillie Bolton is a published poet who has worked with a range of those who work in health care - clients, students and experienced practitioners - to develop their skills in writing for themselves. Creative writing offers a process of self-exploration which is under the control of the writer and which promotes self-healing. Her book offers ideas and inspiration whichever hat you choose to wear. All of us have sore places in personal and professional lives which are easy to ignore much of the time, but which can pop up unexpectedly and cause trouble. Nurse educators may need to revisit difficult times in their own career, and creative writing offers an easily accessible and confidential way to do this. Those wishing to find new ways of encouraging students to write diaries which are reflective in reality as well as in name will find new approaches in this book. Educators may also be stimulated to consider the ethics of the assessment of reflective diaries by comparison with the standards of a different discipline. Finally there are specific areas of health care in which creative writing can be of particular help to clients - palliative care, care of the elderly and mental health are three which feature in this book. Gillie Bolton emphasises that creative writing can not take people any further than they wish to go - unlike therapeutic talk which can sometimes result in both client and nurse getting out of their depth. Nurses who use this tool to help their patients heal themselves should therefore be careful how they discuss what has been written. Above all, those who encourage others to write creatively should first try it. So buy this book- but be warned, it can be addictive! -- Elizabeth R Perkins MA PhD Cert EdMany people find that writing their thoughts down is therapeutic. It can clarify the vague ideas and feelings wandering around in one's head and illuminate them. I can highly recommend a new book that helps with this process: The Therapeutic Potential of Creative Writing: Writing Myself. The author, Gillie Bolton, is research fellow in medical humanities at Sheffield University Institute of General Practice and an award-winning poet. She works with groups, which include health professionals, as a faclilitator. Members of the groups have found it life enhancing, healing and nurturing to express themselves in this way. Many have introduced patients, clients and students to it. Her book explores the potential of writing as therapy in a straightforward `how to' guide. It explores the use of journal writing, fiction and poetry and is full of practical ideas. -- Dr Moira Brimacombe, SheffieldThe book is eminently practical. It provides a wide range of valuable suggestions for working with clients, with groups, and for working on one's own. It is also clearly written…I would highly recommend this book as being useful, accessible and above all, written with compassion. -- Dr Christina Mason, St Josephs Hospice, LondonTable of Contents1. Introduction. 2. Therapeutic writing: How and why: The healing pen 3. Keeping a journal: `The diamonds of the dustheap'. 4. Writing openers: Unbuttoning, opening the box. 5. Images: How to find, create and use them - Echoes. 6. Dreams which put us in touch with ourselves: `The royal road'. 7. The power of poetry, fiction, autobiography: `Something hatches'. 8. Waiting to help you take control of your own life: This is my decision! 9. Writing and groups: Laugh and cry with each other. 10. Writing out trauma: A bobble hat, a pair of jeans, and Grandad. 11. Writing at the doctor's, the hospital, the hospice: Writing on prescription. 12. Writing in prison, the old people's home: `Reach for the stars'. 13. Approaches to therapeutic writing: `But who are you?' 14. Conclusions: `Thought made flesh'. Appendix: Useful contact addresses. Bibliography. Index.
£27.85
Jessica Kingsley Publishers Therapeutic Dimensions of Autobiography in
Book SynopsisIt was the author's own experience of fictional autobiography that led Celia Hunt serendipiditously to appreciate that such writing could be therapeutic. She noticed, for example, and this was subsequently echoed in many of her students' experiences, a beneficial psychological change - and increased inner freedom, greater psychic flexability (perhaps the key to creativity and psychological health), a stronger sense of personal identity. This book tells us about the hows and whys of such therapeutic change.'- AutoBiographyJournal.com'A critical examination of the therapeutic possibilities of autobiographical fiction that draws on perspectives from both psychoanalytic and literary studies.'- The Journal Of Critical Psychology, Counselling and PsychotherapyTherapeutic Dimensions of Autobiography in Creative Writing brings together theory and practice from psychoanalysis, literary and cultural studies and the growing field of creative writing studies. It highlights the importance of autobiographical writing not only as an opening into fiction writing, but also as a powerful therapeutic tool.Celia Hunt discusses how autobiographical fiction can be used in therapeutic work by art therapists, psychotherapists and creative writing tutors, as well as in personal development by writers of any kind. She draws up guidelines for a successful course on autobiography and creative writing, and presents case studies and practical ideas for writing about the self.She shows how writing autobiographical fiction can help people to explore significant events and relationships in their lives. Finding a writing voice in this way clarifies and strengthens the writer's sense of identity, leading to a fuller realisation of his or her potential in life.Table of ContentsPart I: Finding a Writing Voice. 1. The notion of `writing voice'. 2. My creative writing course - `Autobiography and the imagination'. 3. Therapeutic dimensions of finding a writing voice. 4. The dual role of the creative writing course. Part II: Fictionalising Ourselves 5. Writing and self-exposure. 6. Using oneself as a first person narrator - Sarah's story. 7. Karen Horney's theory of inner conflicts. 8. Sarah's story from the Horneyan point of view. 9. Using oneself as a fictional character - Jane's story. 10. Problems of shelving the critical faculty: A Horneyan understanding. 11. Therapeutic dimensions of fictionalising ourselves. Part III: Fictionalising Significant People in Our Lives. 12. The voices of others in our personal narratives. 13. Finding a voice for our parents and siblings. - Jennifer's story. 14. Therapeutic dimensions of the `dual voice'. 15. Finding a form for a fragmented identity - Jessica's story. 16. Becoming authors of our personal narratives. 17. Fictional autobiography and narrative therapy. Part IV: Fictional Autobiography in Self-therapy and Psychotherapy. 18. Fictions of the self in autobiography and psychotherapy. 19. The possibilities of a psychoanalytic autobiography. 20. The question of transference: Writers as readers of their own texts. 21. Writing versus speaking in therapy. 22. Fictional autobiography in self-therapy and psychotherapy. Conclusions: Tensions between `Writing as Art' and `Writing as Therapy'? Appendix: Reflections on the Research. References. Index.
£27.38
John Murray Press Your Writing Coach: From Concept to Character,
Book SynopsisHave you always wanted to write a book, short story or screenplay but never quite known where to start? Do you worry you won't be able to think of a plot, or create vivid characters, or find the time? Whatever is stopping you from becoming a writer, Your Writing Coach has the answers. It will guide you ever after you've finished your writing project by showing you how to get an agent and how to market what you ve written. Jurgen Wolff is highly qualified to be your writing coach. He is a successful author with experience in feature films, television, radio, books, newspapers, plays and credits from Hollywood to the BBC. The book covers not only the craft of writing, but also how to overcome procrastination, get and stay motivated, and banish writer's block by transforming your harsh inner critic into a constructive inner guide. This new edition includes up-to-date information and guidance on social media and e-books, as well as Getting Started guides for a range of projects.Trade ReviewFull of encouraging examples and practical tips, many of them more far-reaching than they seem at first glance. * Financial Times *With compassion, wit and the wisdom gleaned from a long and successful writing career, Jurgen Wolff guides you, step by step, on the inner and outer journey to writing success. An invaluable tool for the aspiring writer.' -- Robert Cochran, co-creator and executive producer, 24'Your Writing Coach pays as much attention to writers as to what they write and should help seasoned pros as much as it will help beginners. Jurgen Wolff is wise and constructive when it comes to such issues as fear of failure, your inner critic, and rejection, as well as brainstorming and finding the conditions in which to work. Highly recommended. -- Julian Friedmann, writer's agent, Blake Friedmann, and editor, ScriptWriter magazineThis book is the real deal--no fluff or padding, just concentrated insider knowledge. By far the best book on writing I have read. -- Rupert Widdicombe, writer and journalistThis book is an antidote to the bad advice aspiring writers are often given. There are only two books on writing I recommend--Stephen King's and this one. -- William F. Owen, author of Blackfoot Is MissingThis book will help you find the insights of the writing craft. Pick it up and let it guide you to success. -- Xavier Koller, Academy Award-winning director, Journey of HopeJurgen Wolff demystifies the writing process in a series of easy-to-understand steps guaranteed to make you a better writer. -- Phil Doran, author of the bestselling The Reluctant TuscanAbsorbing and inspiring, Your Writing Coach is destined to become an instant classic. Jurgen Wolff's treasure trove of advice and insider secrets will prove to be an indispensable friend to all those who aspire to the writing life. -- Amanda Barry Hirst, author of PR PowerRight through your career, from early ambitions to success as a published novelist, here is a book that will always be of help. * Writing Magazine *
£14.24
Dragon Moon Press The Complete Guide to Writing Fantasy, Volume Two~The Opus Magus
£18.71
Oldcastle Books Ltd Arts Reviews
Book SynopsisThe most wanted, the most feared, the most hated, the most powerful job in journalism: being a reviewer means writing about something you love and getting paid for it. So for a lot of people it's the No 1 dream job in the media. Whether your passion is film, music, books, visual arts or the stage, you can get closer to it as a reviewer and establish a career in one of the most influential roles open to a writer. Get the edge on the competition with a book that's a treasure trove of wisdom, experience and downright cunning, passed on by the best critics writing today. A great review will be read by millions, and writing it calls for a high degree of skill. Based on a lifelong passion, packed into a few hundred words and often written in less than an hour, a review makes heavy demands on writer's technique and experience. This book explains how to seize your readers' attention and how to be witty always, fascinating most of the time and bitchy when you need to be. Reviews from classic writers like Pauline Kael or Kenneth Tynan are contrasted with today's hot names including Mark Kermode and Stewart Maconie. We look back at the history of the critic and some of the groundbreaking groups who have shaped our culture, including Dorothy Parker and the Algonquin Round Table, the French New Wave directors who founded Les Cahiers du Cinema and London's celebrated Modern Review, founded by Julie Burchill, Toby Young and Cosmo Landesman.Trade ReviewCertainly, Brayfield's book has made me refine my approach to writing reviews - which is perhaps the most important test of any how-to book -- Charles Harris * How to write a riveting review *
£17.09
Dedalus Press The Portable Creative Writing Workshop
Book Synopsis
£999.99
Luath Press Ltd Robert McLellan, Playing Scotland's Story:
Book SynopsisWith a strong, vibrant use of Scots, McLellan intermingles comedy with serious moral and political content. McLellan's collected works brings together previously unpublished plays like Jeddart Justice with acknowledged classics such as Jamie the Saxt and a selection of his prize-winning poems. Also included are a Foreword by playwright and poet Donald Campbell and an Epilogue by drama producer Alastair Cording.
£21.25
