The Cambridge Introduction to Creative Writing
Cambridge University Press, 2007 M05 10
This pioneering book introduces students to the practice and art of creative writing and creative reading. It offers a fresh, distinctive and beautifully written synthesis of the discipline. David Morley discusses where creative writing comes from, the various forms and camouflages it has taken, and why we teach and learn the arts of fiction, poetry and creative nonfiction. He looks at creative writing in performance; as public art, as visual art, as e-literature and as an act of community. As a leading poet, critic and award-winning teacher of the subject, Morley finds new engagements for creative writing in the creative academy and within science. Accessible, entertaining and groundbreaking, The Cambridge Introduction to Creative Writing is not only a useful textbook for students and teachers of writing, but also an inspiring read in its own right. Aspiring authors and teachers of writing will find much to discover and enjoy.
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academy allows aloud anthologies art forms artistic audience authors Barry Lopez become begin Cambridge Introduction challenge Chapter character choose create creative nonfiction creative writing criticism discipline of creative drafting enemies of promise especially essays example exercise experience explore feel flash fiction free verse genre George Orwell ideas imagination imitation John Gardner Kenneth Koch language Les Murray literary literature lives look Margaret Atwood means metaphor mind narrative natural notebook novel novelist offers open space OuLiPo performance person phrase play poem or story poetic poetry poets point of view practice precision prose publishing reader reading rewriting rhyme rhythm Richard Hugo shape short story sometimes speech style T. S. Eliot teachers teaching technique Ted Hughes tell thing translation voice wish words write a poem Writing Game writing workshops
Página 65 - To bend with apples the moss'd cottage-trees, And fill all fruit with ripeness to the core ; To swell the gourd, and plump the hazel shells With a sweet kernel ; to set budding more, And still more, later flowers for the bees, Until they think warm days will never cease, For Summer...
Página 102 - I returned, and saw under the sun, that the race is not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill ; but time and chance happeneth to them all.
Página 263 - Dilke on various subjects; several things dove-tailed in my mind, and at once it struck me what quality went to form a Man of Achievement, especially in Literature, and which Shakespeare possessed so enormously — I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason...
Página 272 - Trying to learn to use words, and every attempt Is a wholly new start, and a different kind of failure Because one has only learnt to get the better of words For the thing one no longer has to say, or the way in which One is no longer disposed to say it.
Página 114 - A Poet is the most unpoetical of any thing in existence; because he has no Identity — he is continually in for [informing?] and filling some other Body...
Página 101 - Never use a foreign phrase, a scientific word or a jargon word if you can think of an everyday English equivalent, vi.
Página 66 - And fill all fruit with ripeness to the core; To swell the gourd, and plump the hazel shells With a sweet kernel; to set budding more, And still more, later flowers for the bees, Until they think warm days will never cease, For summer has o'er-brimmed their clammy cells.
Página 102 - Objective consideration of contemporary phenomena compels the conclusion that success or failure in competitive activities exhibits no tendency to be commensurate with innate capacity, but that a considerable element of the unpredictable must invariably be taken into account.
Página 53 - The indifference of the world which Keats and Flaubert and other men of genius have found so hard to bear was in her case not indifference but hostility. The world did not say to her as it said to them, Write if you choose; it makes no difference to me. The world said with a guffaw, Write? What's the good of your writing?
Página 77 - ... absolutely to make ropes out of sea-sand any longer, it sets to work on statuehewing, and you have a Pluto or a Jove, a Tisiphone or a Psyche, a Mermaid or a Madonna, as Fate or Inspiration direct. Be the work grim or glorious, dread or divine, you have little choice left but quiescent adoption. As for you — the nominal artist — your share in it has been to work passively under dictates you neither delivered nor could question — that would not be uttered at your prayer, nor suppressed nor...