Myth and Creative Writing is a unique and practical guide to the arts of creative writing. It: Gives a historical perspective on the storyteller's art Takes a wide view of myth, to include: legends, folklore, biblical myth, classical myth, belief myths, balladry and song. Considers all aspects of the creative process, from conception to completion Provides tips on seeking inspiration from classical and mythic sources Shows how myths can be linked to contemporary concerns Enables beginning writers to tap into the deeper resonances of myth Guides students to further critical and creative resources A secret that all writers know is that they are part of a long tradition of storytelling - whether they call it mythic, intertextual, interactive or original. And in the pantheon of storytelling, myths (those stories that tell us, in often magical terms, how the world and the creatures in it came to be) are the bedrock, a source of unending inspiration. One can dress the study of literature in the finest critical clothing - or intellectualise it until the cows come home - but at its heart it is nothing more - and nothing less - than the study of the human instinct to tell stories, to order the world into patterns we can more readily understand. Exploring the mythic nature of writing (by considering where the connections between instinct and art are made, and where the writer is also seen as a mythic adventurer) is a way of finding close links to what it is we demand from literature, which is - again - something to do with the essences of human nature. Further, in the course of examining the nature of myth, Adrian May provides a very practical guide to the aspiring writer - whether in a formal course or working alone - on how to write stories (myths) of their own, from how to begin, how to develop and how to close.
Write Your Own Myths showcases 20 myths, legends, and folktales from many different periods and cultures, and uses them as springboards and prompts to help you write your own versions--or point you in directions you never thought you'd go. You'll learn about all the important aspects of creative writing: * Learn about beginnings from The Sword in the Stone. * Baba Yaga's chicken house will help you get those settings believable. * Odysseus will teach you about dialogue and Loki will help you with plot. Supported with beautiful illustrations that will get your imagination flowing, there are also glossaries, tips and tricks, extra prompts, and more information about each myth or legend. The final section is packed with even more ideas for further reading and discovery. So what are you waiting for? Pick up a pen, and get creative!
Language Arts & Disciplines by Stephanie Vanderslice
Revised and updated throughout, this 10th-anniversary edition of Can Creative Writing Really Be Taught? is a significantly expanded guide to key issues and practices in creative writing teaching today. Challenging the myths of creative writing teaching, experienced and up-and-coming teachers explore what works in the classroom and workshop and what does not. Now brought up-to-date with new issues that have emerged with the explosion of creative writing courses in higher education, the new edition includes: · Guides to and case studies of workshop practice · Discussions on grading and the myth of “the easy A” · Explorations of the relationship between reading and writing · A new chapter on creative writing research · A new chapter on games, fan-fiction and genre writing · New chapters on identity and activism
Growing out of recent pedagogical developments in creative writing studies and perceived barriers to teaching the subject in secondary education schools, this book creates conversations between secondary and post-secondary teachers aimed at introducing and improving creative writing instruction in teaching curricula for young people. Challenging assumptions and lore regarding the teaching of creative writing, this book examines new and engaging techniques for infusing creative writing into all types of language arts instruction, offering inclusive and pedagogically sound alternatives that consider the needs of a diverse range of students. With careful attention given to creative writing within current standards-based educational systems, Imaginative Teaching Through Creative Writing confronts and offers solutions to the perceived difficulty of teaching the subject in such environments. Divided into two sections, section one sees post-secondary instructors address pedagogical techniques and concerns such as workshop, revision, and assessment before section two explores hands-on activities and practical approaches to instruction. Focusing on an invaluable and underrepresented area of creative writing studies, this book begins a much-needed conversation about the future of creative writing instruction at all levels and the benefits of collaboration across the secondary/post-secondary divide.
This book advances creative writing studies as a developing field of inquiry, scholarship, and research. It discusses the practice of creative writing studies, the establishment of a body of professional knowledge, and the goals and future direction of the discipline within the academy.
A practical and motivational guide created for people living in the real world. The culmination of hundreds of hours of conversations and work with writers, entrepreneurs, and creative thinkers, The Writer's Block Myth is described as the best book about what being a writer & creative is. Whether a writer, speaker, entrepreneur, or consultant, The Writer's Block Myth shows how to move through what's got you stuck or holding you back, and delivers a roadmap for writing and creating in a free zone.It sits on the shelves of readers and thought leaders beside Steven Pressfield's 'War of Art," Stephen King's "On Writing," Anne Lamott's "Bird by Bird," and Kenny Werner's "Effortless Mastery."
The combined experience of authors throughout the ages offers a wealth of valuable information about the practice of creative writing. However, such lore can also be problematic for students and practitioners as it can be inherently additive, making it difficult to abandon processes that do not work. This adherence to lore also tends to be a US-centric endeavor. In order to take a nuanced approach to the uses and limitations of lore, The Place and the Writer offers a global perspective on creative writing pedagogy that has yet to be fully explored. Featuring a diverse array of cultural viewpoints from Brazil to Hong Kong, Finland to South Africa, this book explores the ongoing international debate about the best approaches for teaching and practicing creative writing. Marshall Moore and Sam Meekings challenge areas of perceived wisdom that persist in the field of creative writing, including aesthetics and politics in institutionalized creative writing; the process of workshopping; tuition and talent; anxiety in the classroom; unifying theory and lore; and teaching creative writing in languages other than English.
Myth, Magic, & Metaphor, attempts to put together a fairly simple creative writing classroom scenario. The idea is to awaken the aesthetic sense, the creative muse who lurks within us all. The method is multisensory, interdisciplinary, and holistic. Philosophy, art, music, and linguistics are some of the disciplines used. The goal is to have the reader recognize and enjoy the process. It asks for the students of writing to experience the sense of wonder they knew as children, to use their imagination, to feel and absorb the world around them, to listen, not just to hear, to see, not just to look, in sum, to become intoxicated with life. The tool is the heart: the medium is words. “They say that the human mind, once stretched to a new idea, never returns to its original shape.” (Georgi Lozanov). Our hope is that this little tome will reshape a few minds. “Myth, Magic, & Metaphor” is luminous with oracular wisdom about the nature and sources of creativity. From first page to last, this book will inspire you to be inspired.” Richard Lederer, author of The Miracle of Language, Crazy English, The Play of Words, and many other “Linguistic Treasures”
"Other than just provide an argument for the value of the reactive and the improvised, the pieces in this book aspire to perform something else, something quite specific: as the title piece announces, mythology and writing are intimately intertwined things, so much so that the former is really the loftiest that the latter can ever wish to become. In other words, all fiction finally aspires to turn into myth, for myth is nothing if not narration wielding powerful and transfigurative magic over the communal psyche that invents it, providing not so much explanations as experiences of its innermost depths, its uppermost visions, its intuition of the transcendental, without which it would be quite impossible for any of us to grieve, to love, and be fully a person in this world."--Page 4 of cover.
Power and Identity In the Creative Writing Classroom remaps theories and practices for teaching creative writing at university and college level. This collection critiques well-established approaches for teaching creative writing in all genres and builds a comprehensive and adaptable pedagogy based on issues of authority, power, and identity. A long-needed reflection, this book shapes creative writing pedagogy for the 21st century.
A collection of poems centered around the dissolution of a marriage probes the territory of recovery, loss, and healing in the aftermath of failed relationships, probing jealousy, romance, and lust, among other pertinent topics. Reprint.
The success and popularity of creative writing courses at universities across the country belies the myth that writing can't be taught. The Creative Writing Coursebook, edited by Julia Bell and Paul Magrs, takes aspiring writers through three stages of essential practice: 'Gathering' – getting started, learning how to keep notes, making observations and using memory; 'Shaping' – looking at structure, point of view, character and setting; and 'Finishing' – being your own critic, joining workshops and finding publishers. Fully updated and including a foreword by Marina Warner and contributions from forty-five authors such as Kit de Waal and Amy Liptrot, this is the perfect book for people who are just starting to write as well as for those who want some help honing work already completed. Filled with a wealth of exercises and activities, it will inspire budding writers to develop and hone their skills. Whether writing for publication, in a group or just for pleasure this comprehensive guide is for anyone who is ready to put pen to paper.
Riting Myth, Mythic Writing: Plotting Your Personal Story is a both a theoretical as well as interactive book on the nature of personal myth. Its intention is to offer participants who wish to explore further the terms and structure of their personal myth over 80 writing meditations that are spread throughout 9 chapters in order to guide the readers-writers on a pilgrimage into the deepest layers of their personal myth.
This book explores the way in which language is used in fiction, poetry and science. It examines the role of metaphor in structuring our thought, and questions any simplistic notion of creativity. There is an enquiry into the significance of myth for the modern writer. Why do our earliest narratives return to haunt us at the end of history? The final essays ask what it means to attempt scientific descriptions of reality in words. Can language here ever be anything more than a clumsy approximation of mathematics. The book ends with a paper written jointly by the particle physicist Goronwy Tudor Jones and Alan Wall, exploring the meaning of complementarity in modern physics, by describing in detail the double-slit experiment.
Creative writing is a relatively new phenomenon in African universities, as the influence of the American higher education system gains ground on the continent. Whilst there are many creative writing course books that focus on American/European audiences, there are almost no books with an African literary emphasis in mind, placing African literature and writing into a wider literary context and tradition, and targeting African writers, students and teachers of creative writing. Intending to fill this gap, this book is meant for teachers and students of creative writing, poetry and African literature on the African continent and beyond, especially young African writers.