Creative Writing

Writers of memoir and narrative nonfiction are experiencing difficult days with the discovery that some well-known works in the genre contain exaggerations--or are partially fabricated. But what are the parameters of creative nonfiction? Keep It Real begins by defining creative nonfiction. Then it explores the flexibility of the form--the liberties and the boundaries that allow writers to be as truthful, factual, and artful as possible. A succinct but rich compendium of ideas, terms, and techniques, Keep It Real clarifies the ins and outs of writing creative nonfiction. Starting with acknowledgment of sources, running through fact-checking, metaphor, and navel gazing, and ending with writers' responsibilities to their subjects, this book provides all the information you need to write with verve while remaining true to your story.

Written for writers and students of creative writing, this collection brings together perspectives from today's leading writers of creative nonfiction, including Michael Martone, Brenda Miller, Ander Monson, and David Shields. Each writer's innovative essay probes our notions of genre and investigates how creative nonfiction is shaped, modeling the forms of writing being discussed. Like creative nonfiction itself, Bending Genre is an exciting hybrid that breaks new ground.

Contemporary discussions on nonfiction are often riddled with questions about the boundaries between truth and memory, honesty and artifice, facts and lies. Just how much truth is in nonfiction?; How much is a lie? Blurring the Boundaries sets out to answer such questions while simultaneously exploring the limits of the form.

The Fourth Genre offers the most comprehensive, teachable, and current introduction available today to the cutting-edge, evolving genre of creative nonfiction.

Luanne Armstrong and Zoë Landale have put together a thorough survey of the growing body of Canadian creative non-fiction, covering the areas of memoir, personal essay, cultural journalism, lyric essay and nature or place essays.

The Oxford Dictionary of Plays provides essential information on the 1000 best-known, best-loved, and most important plays in world theatre.

Three Genres gives students a basic introduction to fiction/ literary nonfiction, poetry, and drama and helps them to develop their creative skills in each area.

First Published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

This is the first collection of Terry Eagleton's work for the theatre - St Oscar, The White, the Gold and the Gangrene, Disappearances, and Gods Locusts. The first two originally toured Ireland respectively in productions by Field Day of Derry and Dubbeljoint of Belfast. God's Locusts was broadcast on BBC Radio 3.

Journalism of Ideas is a comprehensive field guide for brainstorming, discovering, reporting, digitizing, and pitching news, opinion, and feature stories within journalism 2.0. With on-the-job advice from professional journalists, activities to sharpen your multimedia reporting skills, and dozens of story ideas ripe for adaptation, Dan Reimold helps you develop the journalistic know-how that will set you apart at your campus media outlet and beyond.

Midge Frazell offers an overview of digital storytelling as well as its variations, including e-portfolios, digital photo essays & scrapblogs. It offers directions for preparation, production & presentation, & rounds out with a discussion on creating rubrics & evaluating student work.

This book focuses on creative writing both as a subject in universities and beyond academia, with chapters arranged around three organising sub-themes of practice, research and pedagogy. It explores the 'creative' component of creative writing in the globalised marketplace, making the point that creative writing occurs in and around universities throughout the world. It examines the convergence of education, globalisation and economic discourses at the intersection of the university sector and creative industries, and foregrounds the competing interests at the core of creativity as it appears in the neo-liberal global discourse in which writers are enmeshed. The book offers case studies from the UK, the USA, Canada, Australia and Singapore that are indicative of the challenges faced by academics, postgraduate students and creative industry professionals around the world.

For William Blake, living is creating, conforming is death, and "the imagination . . . is the Human Existence itself." But why are imagination and creation--so vital for Blake--essential for becoming human? And what is imagination? What is creation? How do we create? Blake had answers for these questions, both in word and in deed, answers that serve as potent teachings for aspiring writers and accomplished ones alike. Eric G. Wilson's My Business Is to Create emulates Blake, presenting the great figure's theory of creativity as well as the practices it implies.       In both his life and his art, Blake provided a powerful example of creativity at any cost--in the face of misunderstanding, neglect, loneliness, poverty, even accusations of insanity. Just as Los cries out in Jerusalem: The Emanation of the Giant Albion, "I must Create a System, or be enslav'd by another Man's; / I will not Reason and Compare: my business is to Create," generations of writers and artists as diverse as John Ruskin, William Butler Yeats, Allen Ginsberg, Philip K. Dick, songwriter Patti Smith, the avant-garde filmmaker Jim Jarmusch, and the underground comic-book artist R. Crumb have taken Blake's creed as inspiration.