Creative writing Books

Book SynopsisA practical guide to writing radio drama and getting it produced, by a leading radio dramatist and a hugely experienced radio drama producer who have both created award-winning dramas for the BBC. For writers, radio drama offers a remarkable degree of creative freedom, a unique relationship with an audience listening at home or on the move, and a wealth of opportunities to earn a living. But writing for radio is also a very particular craft, with its own distinctive conventions, techniques and pitfalls. And you need to know how the industry works to stand the best chance of getting your play commissioned. This book, written from the dual perspective of a writer and a radio drama producer, tells you all you need to know about: What works well on radio, and what doesn't How to hook listeners from the start, and how to keep them listening How to format your script How to research and contact the right producer for your play What to expect after you've received a commission What happens when you're in the recording studio Full of practical advice, tips and invaluable inside information about the industry, it also includes extracts from many outstanding radio dramas and a series of writing exercises to help put ideas into practice. So You Want To Write Radio Drama? is an essential guide for anybody who wants to write a radio play, whether you're a first-time writer or one currently working in a different medium. It will also be of help to those already involved in making radio drama, or who simply want an insight into how it is written and made.Trade Review'A useful new addition to NHB's eclectic So You Want series. A radio dramatist and a radio play producer, the authors take you step by step through the process, from defining what radio drama is and how it works, to creating your own and, most importantly, the practicalities of marketing your work. It's an inspiring book which left me thinking that perhaps during this bright, shiny new year I ought to hone my creative skills and have a go myself.' * The Stage *'A hands-on guide, ideal for aspiring radio writers. Representing two books in one, it tackles both the initial process of writing a script and the daunting progression to getting commissioned. The authors' passion for radio effervesces throughout and makes for a motivational read.' * Teaching Drama Magazine *

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Book SynopsisA clear, supportive and comprehensive guide to writing a play - based on the author's long-running playwriting masterclasses, as taught at the UK's National Theatre. This book leads you through everything you need to know, including: The theatrical tools and techniques you can use to bring your play to life on the stage (and how these differ from writing for film and TV); Discovering and trusting your writing process, with a range of approaches for developing your initial idea into a completed script; Understanding your characters, including their goals and central conflicts, and using emotional logic to connect them to your story; Finding the dramatic structure and theatrical setting that best suits your play; The key elements of constructing a great scene, including how to handle exposition, invoke tension, deepen characterisation and create effective transitions; Writing engaging, active dialogue by finding each character's voice, balancing exposition with subtext, and rooting what a character says in their specific context Throughout, you'll find examples from classical and modern plays, plus insights from other contemporary playwrights into their own writing journeys. Each chapter provides a set of exercises to help you practise what you've learnt. There's also advice on what to do once you've finished your script - including redrafting, receiving feedback and taking notes - and how to navigate your play's progress towards production. Whether you're an emerging playwright or embarking on your first-ever play, The Playwright's Journey will help you develop your creativity, strengthen your connection to your material, and transform your idea into a fully formed play that feels alive on the page - and the stage.Trade Review'A very, very smart book which left me nodding in sage agreement with every chapter... [Lays] bare the most complex, convoluted ideas with exquisite lucidity, wit and empathy... A substantial and rare aesthetic achievement which every aspiring playwright, producer and director should read and respect' Joe Penhall; 'Kind, good, sane and useable advice, brilliantly written' Blanche McIntyre

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Book SynopsisPerfect for playwrights and screenwriters of all levels of experience, The Writer's Toolkit will equip you with everything required to kickstart your creativity, develop your craft, and make your writing the very best that it can be. Written by an experienced playwright, screenwriter and producer, this essential book is packed with almost two hundred practical exercises, techniques and ideas for every part of your process, designed to be used either solo or in a group. It includes: Writing warm-ups to focus your mind and get your creative muscles in gear Dozens of exercises to strengthen fundamental elements of your writing such as developing characters, improving dialogue, layering in subtext, creating a strong setting and constructing a compelling plot Immersive-writing techniques to lift the world of your script off the page and allow you to shape it more effectively A blueprint for writing a ten-minute play – a great way to practise your craft, explore a new idea and add to your portfolio A Submission Surgery with exercises and pointers so you can review and fine-tune your completed work before sending it out 101 quick-fire writing prompts to help you warm up, take a break from your current project, or just keep you feeling productive Also included are mindful meditations to use at the beginning and end of your writing sessions, to help you relax, boost your productivity and maximise your creative output. Whatever you need as a writer – whether that’s to crack a problem in your current script, develop ideas for future projects, build up your skills and experience, or bust through writer’s block – this book will give you the right tools for the job. So get writing! 'A generous and inventive book, packed full of the creativity it is bound to inspire' Anna Jordan, playwright and screenwriter (Succession, Killing Eve, Yen) 'An enthusiastic, encouraging guide with endless tips to make every stage of the writing process not only doable but enjoyable too' Diane Samuels, playwright and author (Kindertransport)Trade Review'A goldmine, honest and down-to-earth… Kalburgi manages to achieve more than a theoretical manual on the art of scriptwriting; he invigorates his creatives, cheers them on, and urges them to dust off their notebooks and start scribbling, stirring his reader's imagination with well-calibrated pointers' * Broadway World *'An easy read… there are many themes that will be of value' * British Theatre Guide *'Very practical... a worthwhile book for anyone wanting to tackle a play or film script' * Ink Pellet *

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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.

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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.

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Book SynopsisHow to write a play and get it produced - a manual for playwrights. Playwright and former literary manager Tim Fountain guides the budding playwright over the many hurdles involved in getting a play on - from finding a story that only you know, through the detailed construction of the play, and on to the strategies you can use to get it on stage. • What kind of play do you want to write? • Where do you get your ideas from? • How much exposition do you need? • Where do you find your characters' voices? • What should you do when you get stuck? • Where should you send your play? The book also deals with the actual production: choosing directors, designers and actors, and coping with rehearsals, previews and press nights. Includes appendixes of vital websites, and contact details for new-writing theatres, agents and publishers. 'A marvellous and invaluable guide... full of wisdom and no-nonsense practical advice on the tricky but thrilling business of making plays' Willy RussellTrade Review'A terrific book. Informative and easy to read' * ReviewsGate.com *'Excellent... very practically geared to those writing for the stage today' * British Theatre Guide *

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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 *

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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 *

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Book SynopsisAn easy-to-use comprehensive guide for writers on preparing and presenting their work to agents, publishers and print media.Regardless of the writer's level or ability, there is something extremely daunting about putting together a submission. It doesn't matter if it is for an article for a magazine, or short story for a competition, a humorous anecdote, a play or TV script, a novel or non-fiction book, The Writer's ABC Checklist will provide answers to questions you didn't even know you should ask. With its A-Z format, references can be found quickly and effortlessly. Unfamiliar terms are explained and bullet points at the end of most sections provide a quick reminder of the main items covered. This unique book is packed with writing tips and is something no aspiring writer can afford to be without.Lorraine Mace is a columnist with Writing Magazine, a writing judge, a tutor for the Writers Bureau and winner of an international poetry award. Maureen Vincent-Northam gained first place in a national children's book competition. An online tutor in genealogical writing, she is also a writing-competition judge.Trade Review"There is advice on every possible question you might ask." Richard Bell - Writing Magazine "It is a great writers' bible which all writers, no matter how well published, should keep at their elbow." Sue Kendrick - Writelink

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Book SynopsisShort Circuit fills a real gap in the text book market. Written by 24 prizewinning writers and teachers of writing, this book is intensely practical. Each expert discusses necessary craft issues: their own writing processes, sharing tried and tested writing exercises and lists of published work they find inspirational. Endorsed by The National Association of Writers in Education, it became recommended or required reading for Creative Writing courses in the UK and beyond, including Goldsmiths, The University of Kent at Canterbury, Glasgow University, John Cabot University in Rome, Stockholm University in Sweden, Sussex University, Brighton University, Edge Hill University, Chichester University, The National University of Ireland in Galway, and University Campus Suffolk, at Ipswich.

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Book SynopsisHow do you write a novel?Practising novelists and teachers of creative writing reveal their working methods and offer practical advice. Subjects covered range from magic realism to characterisation, surrealism to historical fiction, via perspective, plot twists and avoiding being boring, among many others.This book is forcreative writing studentswriters and readers of novelsteachers of creative writingWith contributions from Leone Ross, Tom Bromley, Jenn Ashworth, AJ Dalton, Nikesh Shukla, Stella Duffy, Mark Morris, Alison Moore, Nicholas Royle, Alice Thompson, Kerry Hudson, Toby Litt, Livi Michael, Joe Stretch, James Miller, Sarah Butler, Will Wiles, Graeme ShimminFeaturingEighteen specially commissioned essaysCreative writing exercisesTop tipsLists of recommended novelsTrade ReviewSome pairings can be relied upon – literature and life, Steptoe and Son, Lennon and McCartney, Nicholas Royle and a good anthology. -- Andrew O’HaganRoyle’s (excellent) taste means that little explosions of weirdness or transcendence often erupt amid much well-observed everyday life. -- Boyd Tonkin * The Independent *The tips are all good, the exercises useful, and the recommended books will give you quite a reading list! -- Graeme Shimmin

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Book SynopsisAn invaluable, modern guide to great copywriting, Copy. Righter. shows you how to write in a way that is brand-literate, media-savvy, utterly engaging...and irresistibly persuasive. It will show you how to write great copy in every print and digital medium. How to use substance, style and structure. How to win hearts and minds. How to develop brilliant concepts and the psychology of persuasion. Written by Ian Atkinson - multi award-winning copywriter and creative director - it's packed with fascinating examples and compelling content you won't find in any other copywriting book. In fact, whether you're junior or senior, enthusiastic amateur or seasoned pro, it may be the only book on copywriting you'll ever need. And with great copywriting in great demand, there's never been a better time to discover how to influence people using nothing more than the words on a page or screen. Copy. Righter. will show you how.Table of ContentsContents 1.The Fantastic Four: How to write good copy 1.1 How to write purposefully Specific objective, universal objective, clarity & focus 1.2 How to write practically Punctuation, grammar, typography & layout 1.3 How to write pleasingly Aristotle, audience, tone & interest 1.4 How to write persuasively WIIFM, Maslow, motivation & emotional vs rational 2. The Famous Five: How to write great copy 2.1 Content Proposition, interrogation & insight 2.2 Context Brand, audience & medium 2.3 Create Concept, style & structure 2.4 Compel Potent psychological triggers 2.5 Craft Review, edit & polish 3.Quick Wins: 25 tips and techniques 3.1 Start with a short one 3.2 Features tell, benefits sell 3.3 Avoid cliches 3.4 Be unusual 3.5 Metaphors, similes and analogies 3.6 Hardwired words 3.7 Wax lyrical 3.8 Solutions not problems 3.9 Nouns beat adjectives 3.10 Avoid talking about cost 3.11 Quantify 3.12 Be active not passive 3.13 Keep it short (or long) 3.14 Avoid a woolly ramble 3.15 Don't get them disagreeing 3.16 Don't know it, feel it 3.17 Show not tell 3.18 Three's the magic number 3.19 Tell them what you want 3.20 Urgency 3.21 The tease 3.22 Make it flow 3.23 Paint a picture 3.24 Reframe it 3.25 Back to the start 4.The Magnificent Seven: Copy examples, from brief to execution 4.1 Press ad 4.2 Dimensional mailing 4.3 Poster 4.4 Email 4.5 TV 4.6 Mail pack 4.7 Blog 5. Appendices 5.1 How to brief 5.2 How to give feedback 5.3 How to deal with amends 5.4 How to get better

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Book Synopsis A series of personal, curated interviews with the best of the UK's Small Presses. From advice on taking your manuscript to publication, marketing for authors and publishers and a look at contracts, these publishers wish to demystify the publishing process for budding authors, across a wide range of genres.

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Book SynopsisA series of personal, curated interviews with internationally-acclaimed literary editors. This book is the chance to widen your horizons as a writer, discovering new and established literary journals across the world. Sit down with these experienced editors to find out what they really want from a submission, and allow them to demystify the publishing process, across a wide range of genres.; "Accessible and informative, In Conversation with... Literary Journals is an essential tool for emerging and established writers, publishing their work across all genres. Make space for it on your bookshelf." - Dr Jenna Clake, Senior Lecturer in Creative Writing at Teesside University

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Book SynopsisEssential Reference Material For All Family and Social Historians! By the author of The Crime Writers' Casebook.

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Book SynopsisWhat motivates poets in the 21st century? How do they find their voice? What themes and subject matters inspire them? How do they cope with set-backs and deal with success? What keeps them writing? Why I Write Poetry, edited by Ian Humphreys, combines lively and thought-provoking essays, along with individual writing prompts to help you create your own new poetry. In this book, twenty-five contemporary poets reflect with insight, wit and wisdom on the writing life. Each offers their distinctive take on what inspires and spurs them on to write poetry. The essays shine a light on everything from performance, dialect, the body and paying attention, to bearing witness, finding your wings and joining the journey of poetry, and encompass the practical, personal, and political. Within these pages, you’ll discover how a poet’s background and values can fundamentally shape and inform their work. New voices sit alongside poets with many collections under their belts and you’ll find encouragement, creative provocations, advice and, above all, reasons to write. Read on, learn and enjoy.With essays by: Romalyn Ante, Khairani Barokka, Hafsah Aneela Bashir, Leo Boix, Vahni Capildeo, Mary Jean Chan, Jo Clement, Sarah Corbett, Jane Commane, Rishi Dastidar, Jonathan Edwards, Rosie Garland, W. N. Herbert, Ian Humphreys, Keith Jarrett, Zaffar Kunial, Rachel Mann, Andrew McMillan, Kim Moore, Pascale Petit, Jacqueline Saphra, Clare Shaw, Daniel Sluman, Jean Sprackland, and Jennifer Wong.

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Book SynopsisPoetry Projects to Make and Do, edited by Deborah Alma, The Emergency Poet, is a ‘how to’ handbook of essays, prompts, advice, and ideas designed to help both aspiring and established poets find new ways not only to create new poetry, but to share and take it out into the world through collaboration, projects, performances – and more. With an array of real-life examples from experienced poets, Poetry Projects to Make and Do provides imaginative case-studies and inspiration for readers to roll up their sleeves and get stuck in. Each essay encourages experimentation alongside plenty of practical tips and guidance. From projects which poets can try out at home, to ones which take poetry out into the streets; from having a go at making poetry films or podcasts, to hand-crafting a poetry residency; from how to apply for funding, to working in collaboration and involving music, art or photography in your poetry. This indispensable book covers a broad range of topics to empower and encourage poetry as part of everyday creativity. Poetry Projects to Make and Do follows previous popular creative writing handbook titles for Nine Arches Press – including The Craft, Why I Write Poetry and How to be a Poet – and is edited by Deborah Alma, aka The Emergency Poet and founder of the world’s first walk-in Poetry Pharmacy, based in Bishops Castle, Shropshire. Includes 20+ essays by: Deborah Alma; Jean Atkin; Casey Bailey; Roshni Beeharry; Julia Bird; Jo Bell; Jane Burn; Lewis Buxton; Jane Commane; Jonathan Davidson; Helen Dewbery; Pat Edwards; Jasmine Gardosi; Roz Goddard; Daisy Henwood; Sophie Herxheimer; Helen Ivory; Gregory Leadbetter; Arji Manuelpillai; Caleb Parkin; Nina Mingya Powles; Jacqueline Saphra; Clare Shaw; Degna Stone and Tamar Yoseloff.

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Book SynopsisUsed along with Writing with Ease, the workbooks complete the elementary-grade writing curriculum. Level Three is the third of a planned four-volume set to accompany Writing with Ease.

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Book SynopsisDas erste Buch auf dem deutschen Markt, das verständlich und wissenschaftlich fundiert erklärt, wie und warum Schreiben hilft. FÃ"r Fachleute ebenso geeignet wie fÃ"r Laien, fÃ"r Schreibende wie fÃ"r Ãrzte, Therapeuten, Pädagogen, Seelsorger und alle, die es wissen wollen. Gut strukturiert, Ã"bersichtlich und nachvollziehbar erklärt uns die Poesietherapeutin und Medizinerin Silke Heimes, welche Faktoren beim Schreiben eine Rolle spielen und wie es seine heilsame Wirkung entfaltet. Schreiben als Therapie, zur Vorbeugung, aus Erkenntnisinteresse, aus Neugier und weil es Freude macht und das Leben in all seinen Facetten spÃ"rbar werden lässt. Wäre ein Medikament so kostengÃ"nstig und leicht herzustellen, so wirksam und nebenwirkungsarm, so flexibel und universell einsetzbar wie das Schreiben, die Pharmaindustrie wÃ"rde frohlocken. So frohlocken wir, die wir schreiben, um gesund zu bleiben, gesund zu werden und das Leben achtsam und neugierig zu erfahren und zu vertiefen.Die Autorin hat im Verlag Vandenhoeck & Ruprecht bereits die BÃ"cher "Kreatives und therapeutisches Schreiben" und "Schreib es dir von der Seele" veröffentlicht.

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