Creative Writing (CRWR) 1
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Part One: 'Science Fiction Versus Mundane Culture', 'The Overlap Between Science Fiction and Other Genres' and 'Horror Motifs' Transcript
Part One: 'Science Fiction versus Mundane Culture', 'The overlap between Science Fiction and other genres' and 'Horror Motifs' Transcript Date: Thursday, 8 May 2008 - 11:00AM Location: Royal College of Surgeons SCIENCE FICTION VERSUS MUNDANE CULTURE Neal Stephenson When the Gresham Professors Michael Mainelli and Tim Connell did me the honour of inviting me to this Symposium, I cautioned them that I would have to attend as a sort of Idiot Savant: an idiot because I am not a scholar or even a particularly accomplished reader of SF, and a Savant because I get paid to write it. So if this were a lecture, the purpose of which is to impart erudition, I would have to decline. Instead though, it is a seminar, which feels more like a conversation, and all I suppose I need to do is to get people talking, which is almost easier for an idiot than for a Savant. I am going to come back to this Idiot Savant theme in part three of this four-part, forty minute talk, when I speak about the distinction between vegging out and geeking out, two quintessentially modern ways of spending ones time. 1. The Standard Model If you don't run with this crowd, you might assume that when I say 'SF', I am using an abbreviation of 'Science Fiction', but here, it means Speculative Fiction. The coinage is a way to cope with the problem that Science Fiction is mysteriously and inextricably joined with the seemingly unrelated literature of Fantasy. Many who are fond of one are fond of the other, to the point where they perceive them as the same thing, in spite of the fact that they seem quite different to non-fans. -
Bridging the Voices of Hard-Boiled Detective and Noir Crime Fiction
Christopher Mallon TEXT Vol 19 No 2 Swinburne University of Technology Christopher Mallon Crossing shadows: Bridging the voices of hard-boiled detective and noir crime fiction Abstract This paper discusses the notion of Voice. It attempts to articulate the nature of voice in hard-boiled detective fiction and noir crime fiction. In doing so, it examines discusses how these narrative styles, particularly found within private eye novels, explores aspects of the subjectivity as the narrator- investigator; and, thus crossing and bridging a cynical, hard-boiled style and an alienated, reflective voice within a noir world. Keywords: hard-boiled detective fiction, noir fiction, voice, authenticity Introduction In crime fiction, voice is an integral aspect of the narrative. While plot, characters, and setting are, of course, also instrumental in providing a sense of authenticity to the text, voice brings a sense of verisimilitude and truth to the fiction the author employs. Thus, this paper discusses the nature of voice within the tradition of the crime fiction subgenres of noir and hard-boiled detective literature. In doing so, it examines how voice positions the protagonist; his subjectivity as the narrator-investigator; and, the nature of the hardboiled voice within a noir world. Establishing authenticity The artistic, literary, and aesthetic movement of Modernism, during the late 19th and early 20th Centuries, describes a consciousness of despair, disorder, and anarchy, through ‘the intellectual conventions of plight, alienation, and nihilism’ -
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English 1 ENGL 2020 Introduction to Creative Writing: 3 semester hours English Prerequisites: ENGL 1100 or equivalent. This course is a creative writing survey and workshop focusing on the study of three genres-short fiction, Courses poetry, and creative nonfiction. Students learn primary concepts and techniques of craft, including narrative, voice, character, setting, imagery, ENGL 1030 Beginning Creative Writing: 3 semester hours metaphor, point-of-view. Students will explore literary conventions specific This course introduces students to the building blocks of creative writing to each genre, as well as universal qualities that make all writing effective and the writing workshop classroom. Students will explore how creative for an audience. The course requires three different kinds of writing: brief writers decide what material is best suited for a story, an essay, or a analytic essays, open-ended exploratory exercises, and carefully-revised poem. Pairing creativity with critical thinking, the course offers basic writing original work. This course fulfills the core requirement in Creative Writing practice and familiarizes students with primary concepts and techniques of and counts toward the Certificate in Writing. craft (e.g. narrative, point-of-view, voice and style, character development, ENGL 2030 Poetry Writing Jumpstart: 3 semester hours setting, imagery, and figurative language). Prerequisites: ENGL 1100 or equivalent. This course provides new poets, ENGL 1100 First-Year Writing (MOTR ENGL 200): 3 semester hours would-be poets, and curious non-poets with exercises, experiments, and Integrates critical reading, writing, and thinking skills and studies actual activities to explore two questions: what is a poem, and how does one writing practices. -
Book Review: Reading Style: a Life in Sentences, 24 Perspectives: Teaching Legal Res
Perspectives: Teaching Legal Research and Writing | Vol. 24 | No. 1 & 2 | Summer 2016 32 Cite as: Deborah L. Borman, Book Review: Reading Style: A Life in Sentences, 24 Perspectives: Teaching Legal Res. & Writing 32 (2016). Book Review: Reading Style: A Life in Sentences “To become better writers, By Deborah L. Borman Davidson defines the concept of transcendent students need 2 Deborah L. Borman is Clinical Assistant Professor of Law reading as the “high glimmer factor.” to read great at Northwestern Pritzker School of Law in Chicago, Ill. Davidson’s book consists of a series of lectures authors. Set the scene: you are hunkered down to grade a set on literature she gave in 2009. Each chapter ” of student briefs. Before long before your eyes glaze stands alone as a unique lesson students can over, your lids grow heavy and you start to doze glean from literature to better inform their because of the dull, uninspired writing. Suddenly you legal writing. While Davidson’s book analyzes find yourself going micro and writing this sentence fiction writing (and a little bit of nonfiction in in the margin: “make the subject more compelling.” the last chapter), and some concepts are more Legal writers, especially novices, are often so focused relevant to crafting good legal communication on technical details that they forget good written than others, she offers many writing techniques communication begins with sentences that engage, that are adaptable to legal communication, “glimmer,” and at their best transport the reader. particularly when it comes to advocacy. To become better writers, students need to read The first step to crafting better sentences great authors. -
Terms: Definitions
Broken Arrow Public Schools 3rd Grade Literary Terms Alliteration- The repetition of the same sounds or the same kinds of sounds at the beginning of words or in stressed syllables. Autobiography- the story of a person’s life written by that person, telling the story of your own life is an autobiography. Beat- a sound or similar sounds, recurring at regular intervals, and produced to help musicians keep rhythm or give a pattern of rhythm to a poem as it is read Biography- the story of a person’s life. Cadence- balanced; rhythmic flow, as of poetry or speeches. A falling inflection of the voice, as at the end of a sentence. People who do not have any cadence to their voice speak in a dry, boring monotone. Cause and Effect- the reason (cause) something happened and what happened (effect) to it. (example: The Titanic hit an iceberg and sank, with the loss of over 1,000 lives. Cause—hitting an iceberg; Effect—Titanic sank and people died) Character- any of the people, animals, or creatures who are involved with the story. Compare and Contrast- to look at two events, time periods, people or almost any two things and tell how they are alike and different. Conflict- A struggle or problems between opposing forces which is the main force of a story and its plot. It is what keeps the reader reading. Conflicts can exist between characters (called man vs. man), between a character and society (called man vs. society), between a character and any aspect of nature (called man vs. -
The Media Assemblage: the Twentieth-Century Novel in Dialogue with Film, Television, and New Media
THE MEDIA ASSEMBLAGE: THE TWENTIETH-CENTURY NOVEL IN DIALOGUE WITH FILM, TELEVISION, AND NEW MEDIA BY PAUL STEWART HACKMAN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctoral Committee: Professor Michael Rothberg, Chair Professor Robert Markley Associate Professor Jim Hansen Associate Professor Ramona Curry ABSTRACT At several moments during the twentieth-century, novelists have been made acutely aware of the novel as a medium due to declarations of the death of the novel. Novelists, at these moments, have found it necessary to define what differentiates the novel from other media and what makes the novel a viable form of art and communication in the age of images. At the same time, writers have expanded the novel form by borrowing conventions from these newer media. I describe this process of differentiation and interaction between the novel and other media as a “media assemblage” and argue that our understanding of the development of the novel in the twentieth century is incomplete if we isolate literature from the other media forms that compete with and influence it. The concept of an assemblage describes a historical situation in which two or more autonomous fields interact and influence one another. On the one hand, an assemblage is composed of physical objects such as TV sets, film cameras, personal computers, and publishing companies, while, on the other hand, it contains enunciations about those objects such as claims about the artistic merit of television, beliefs about the typical audience of a Hollywood blockbuster, or academic discussions about canonicity. -
Discovery Writing and Genre
Discovery Writing and Genre Submitted by Richard James Heeks, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Education, December 2012. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ……………………………………………………………………………… 1 Abstract This study approaches ‘discovery writing’ in relation to genre, investigating whether different genres of writing might be associated with different kinds of writing processes. Discovery writing can be thought of as writing to find out what you think, and represents a reversal of the more usual sense that ideas precede writing, or that planning should precede writing. Discovery writing has previously been approached in terms of writers’ orientations, such as whether writers are Planners or Discoverers. This study engages with these previous theories, but places an emphasis on genres of writing, and on textual features, such as how writers write fictional characters, or how writers generate arguments when writing essays. The two main types of writing investigated are fiction writing and academic writing. Particular genres include short stories, crime novels, academic articles, and student essays. 11 writers were interviewed, ranging from professional fiction authors to undergraduate students. Interviews were based on a recent piece of a writer’s own writing. Most of the writers came from a literary background, being either fiction writers or Literature students. -
Grade Literary Terms
Broken Arrow Public Schools 4th Grade Literary Terms Alliteration- The repetition of the same sounds or the same kinds of sounds at the beginning of words or in stressed syllables. Autobiography- the story of a person’s life written by that person, telling the story of your own life is an autobiography. Beat- a sound or similar sounds, recurring at regular intervals, and produced to help musicians keep rhythm or give a pattern of rhythm to a poem as it is read Biography- the story of a person’s life. Cadence- balanced; rhythmic flow, as of poetry or speeches. A falling inflection of the voice, as at the end of a sentence. People who do not have any cadence to their voice speak in a dry, boring monotone. Cause and Effect- the reason (cause) something happened and what happened (effect) to it. (example: The Titanic hit an iceberg and sank, with the loss of over 1,000 lives. Cause—hitting an iceberg; Effect—Titanic sank and people died) Character- any of the people, animals, or creatures who are involved with the story. Climax- the point of the story that has the greatest suspense—the moment before the crime is solved or killer revealed in a mystery story. The story parts are exposition, rising action, climax, and resolution. Compare and Contrast- to look at two events, time periods, people or almost any two things and tell how they are alike and different. Conflict- A struggle or problems between opposing forces which is the main force of a story and its plot. -
Cumulative List of Literary Terms for Middle School
Reference list of Literary Terms for Middle School students. 1st person point of view - the events are told by a character in the story. 3rd person point of view - the events are told by someone outside the story. alliteration - the repetition of similar initial consonant sounds in order to create a musical or rhythmic effect, to emphasize key words or to imitate sounds. Example: “He was reluctant to return to the room he called home.” allusion - a reference to a well-known person, place, event, literary work, or work of art, often used to help make a comparison. biography - a form of non-fiction in which a writer tells the life story of another person. character trait – the quality of a character; what a character is like. climax – the highest point of action in a story, often the turning point. direct characterization – the writer directly states the character’s traits or characteristics. dynamic character – a character who changes over the course of a story external conflict – a problem or struggle between a character and an outside force: character vs. character character vs. group character vs. nature character vs. society character vs. fate fable - a brief story, usually with animal characters, that teaches a lesson or a moral. fiction – writing that tells about imaginary characters and events. flashback - a section in a literary piece that interrupts the sequence of events in order to relate an earlier incident or set of events. foreshadowing – an author’s use of hints or clues to give a reader an idea of what may happen next. -
Creating Fictional Characters: the Role of Experience, Personality, and Social Processes
Psychology of Aesthetics, Creativity, and the Arts © 2017 American Psychological Association 2017, Vol. 11, No. 4, 487–499 1931-3896/17/$12.00 http://dx.doi.org/10.1037/aca0000094 Creating Fictional Characters: The Role of Experience, Personality, and Social Processes Marta M. Maslej Keith Oatley McMaster University University of Toronto Raymond A. Mar York University Characters are considered central to works of fiction and essential to our enjoyment of them. We conducted an exploratory study to examine whether the ability to sketch engaging fictional characters is influenced by a writer’s attributes. Samples of 93 creative writers and 114 nonwriters generated character descriptions based on a portrait photograph. We measured participants’ experiences with reading and writing in various genres, their trait personality, their self-reported perspective-taking tendencies, and cognitive accessibility of social information. Next, 144 raters read these sketches and assessed the characters for interest, likability, and complexity. Characters produced by creative writers were rated as more interesting and complex, though not more likable, than were those produced by nonwriters. Participants who wrote more fiction and poetry and read more poetry, and those who scored high on Openness to Experience, sketched characters that were more interesting and complex. Moreover, Openness mediated the relationships between fiction-writing and poetry-reading and how Interesting characters were. Participants with higher levels of perspective-taking produced characters that were more complex, however, those for whom social information was cognitively more accessible tended to create characters who were less likable. These findings suggest that there is a measurable influence of individual differences on the ability to develop compelling fictional characters during creative writing. -
Introduction to Fiction and Poetry Form, Genre, and Beyond Section Number: CRWRI-UA.815.003 Schedule: MW: 11AM - 12:15PM
Introduction to Fiction and Poetry Form, Genre, and Beyond Section number: CRWRI-UA.815.003 Schedule: MW: 11AM - 12:15PM Instructor: Charis Caputo Email: [email protected] Phone: (773) 996-4416 Texts: The Making of a Poem: The Norton Anthology of Poetic Forms, Mark Strand and Eaven Boland, eds. Autobiography of Red, Anne Carson There Are More Beautiful Things than Beyoncé, Morgan Parker American Innovations, Rivka Galchen All other reading will be distributed as handouts and/or PDFs Objective and Methods: “Genre is a minimum-security prison” --David Shields “New ideas…often emerge in the process of negotiating the charged space between what is inherited and what is known.” -- Mark Strand and Eaven Boland What is fiction, and how is it different from poetry? How is it different from nonfiction? What is a narrative? What is “realism” and how much does it differ from “genre fiction”? Can a poem be anything and can anything be a poem? Why do poetic “forms” exist, and are they outdated? Some of these might seem like obvious questions, but in fact, they’re all questions worth discussing, questions without straightforward answers. The process of becoming better writers, of exploring the possibilities of our own creativity, involves striving to discern both how and why we write, both as individuals and as participants in a culture with certain demands, assumptions, and inherited traditions. In this class, we will write, edit, and critique each other’s work, and as a necessary part of learning how to do so, we will also have readings and discussions about the craft of poetry and fiction. -
Speculative Poetry Reading and Writing Workshop
Rochester Speculative Literature Association, Inc. Speculative Poetry Reading and Writing Workshop by Alan Vincent Michaels What is Speculative Poetry? Speculative fiction poetry is a subgenre of poetry primarily focused on fantastical, science fictional, and mythological themes. Although speculative poetry is defined by its subject matter, the form selected can play a significant role in shaping the meaning, tone, and quality of the poem. Suzette Haden Elgin, founder of the Science Fiction Poetry Association, defined the subgenre as “about a reality that is in some way different from the existing reality.” Elizabeth Barrette opens her 2008 essay, Appreciating Speculative Poetry, with: When most people hear “science fiction,” they think of fiction and not poetry. Fantasy and horror have a less exclusive phrasing, but still, genre readers are more inclined to forget about poetry. It remains, however, a vital part of speculative literature. A genre is defined more by focus than by form. The speculative field—in all its myriad subdivisions—bases itself on the prime question, “What if?” Speculative poetry is simply exploration of “What if?” in verse. (source: The Internet Review of Science Fiction http://www.irosf.com/q/zine/article/10426) Comparing Poetry and Prose Poetry and prose are two sides of the same speculative literary coin. They are the methods by which speculative ideas are conveyed from the writer's mind to her readers. Although poetry and fiction are related through their subject matter, their forms are indeed different. As Elizabeth Barrette describes in Appreciating Speculative Poetry: • Poetry is more concise than fiction • Poetry is more memorable than prose • Poetry is bound by different rules than fiction • Poetry is intended to call attention to language • Poetry is more suited to describing the indescribable (source: The Internet Review of Science Fiction http://www.irosf.com/q/zine/article/10426) Speculative fiction poetry, contrary to what you may think, is not just genre fiction told in verse.