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Creative Writing: Drafting, Revising and Editing [Kõva köide]

Contributions by , Contributions by , Contributions by , Contributions by (Central Queensland University, Australia), Contributions by , Edited by , Contributions by (Edge Hill University, Ormskirk), Edited by (Oakland University, USA), Contributions by , Contributions by
  • Formaat: Hardback, 262 pages, kõrgus x laius: 210x148 mm, kaal: 490 g
  • Ilmumisaeg: 29-Aug-2020
  • Kirjastus: Bloomsbury Academic
  • ISBN-10: 1352007673
  • ISBN-13: 9781352007671
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  • Formaat: Hardback, 262 pages, kõrgus x laius: 210x148 mm, kaal: 490 g
  • Ilmumisaeg: 29-Aug-2020
  • Kirjastus: Bloomsbury Academic
  • ISBN-10: 1352007673
  • ISBN-13: 9781352007671

This stimulating edited collection focuses on the practice of revision across all creative writing genres, providing a guide to the modes and methods of drafting, revising and editing. Offering an overview of how creative writing is generated and improved, the chapters address questions of how creative writers revise, why editing is such a crucial part of the creative process and how understanding the theories underpinning revision can enhance writers' projects. 

Innovative and thought-provoking, this book is ideal for undergraduate and postgraduate students of Creative Writing, along with all creative writers looking to hone and polish their craft.        




Muu info

This edited collection focuses on the practice of revision across all creative writing genres, providing a guide to the modes and methods of drafting and editing. It offers an overview of the theories and practices grounding how creative and critical texts are generated and improved.
List of Figures and Tables
xi
Introduction xii
DRAFTING
1(80)
1 What is Creative Writing Drafting?
3(14)
Graeme Harper
Introduction: Understanding drafting
3(7)
Creative writing drafting and dynamism
10(5)
Teaching, learning and researching dynamic drafting
15(1)
References
16(1)
2 Drafting Autobiographical Memoir
17(16)
Donna Lee Brien
Introduction
17(2)
Drafting
19(1)
The work of drafting
20(4)
Representing others
24(1)
Truth-telling
25(2)
Keeping track of sources
27(1)
Conclusion
28(1)
References
29(4)
3 Drafting in the Communication Industries: Undressing the Cover Up
33(18)
Gail Pittaway
Introduction and overview
34(2)
The changing face of the communication industries
36(3)
Drafting in the public relations area of the communication industries
39(2)
Drafting, in interactive journalism: Sources and interviews for stories
41(2)
Writing for broadcast, internet, magazine and newspaper features
43(2)
Personal experience - Arts reviews in the media
45(3)
Conclusion: The cover up redressed
48(1)
References
48(3)
4 Fashioning a Framework: The Role of New Technologies in Drafting Creative Writing Projects
51(17)
Russell Carpenter
Karen J. Head
Introduction
51(1)
New forms and considerations
52(3)
New forms
53(1)
New considerations
54(1)
Drafting: Definitions and contexts
55(1)
What is a draft?
55(1)
Drafting process
56(1)
Technology as environment
56(3)
Connecting to creativity through technological environments
58(1)
New technologies
59(3)
Social media as new technology for drafting
60(1)
Collaborative apps and tools for drafting
61(1)
Connecting technology, drafting and change
62(3)
Words, images, text, sound
63(1)
Strategies
64(1)
Technology in the invention stage
64(1)
Technology in the drafting process
65(1)
Conclusion
65(1)
Acknowledgements
66(1)
References
66(2)
5 Drafts as Archival Sources: The British Archive for Contemporary Writing (BACW) at the University of East Anglia (UEA)
68(13)
Justine Mann
REVISING
81(74)
6 Making Creative Use of Cognitive Stylistic Frameworks in the Revising Process
83(13)
Nigel McLoughlin
Introduction
84(1)
Cognitive processes
84(10)
References
94(2)
7 Revising, Dramaturgy and the Theatre Workshop
96(16)
Kim Wiltshire
Introduction
96(3)
The first draft
99(1)
Dramaturgical feedback
100(2)
Script readings and workshopping
102(2)
Scratch performances
104(1)
Actor feedback
105(1)
Director feedback
106(1)
Audience feedback
107(2)
Improvising around the script
109(1)
Devising from an idea
110(1)
Conclusion
111(1)
References
111(1)
8 Revising Fiction
112(11)
Michael Kardos
Introduction
112(2)
We are neither toy-makers nor house builders
114(2)
The truth about drafts
116(2)
Eliciting good advice for revision
118(1)
Other key revision strategies
119(2)
Discrete tasks
119(1)
More specificity (relevant detail)
120(1)
More generosity
120(1)
Use `Save As'
120(1)
Understanding your own (evolving) process
121(1)
References
122(1)
9 The Role of the Script Editor, Revised
123(16)
Craig Batty
Stayci Taylor
Introduction
123(3)
Defining the role of the script editor
126(2)
Mapping the practice of the script editor
128(2)
Script editing in action
130(6)
Couples Confess
131(5)
Conclusion
136(1)
References
137(2)
10 Revising Picturebooks
139(16)
Kathleen Ahrens
Introduction
139(1)
Scope
140(1)
Connection
141(4)
Developmental appropriateness
141(1)
Perspective
141(1)
Emotional Resonance
142(1)
Length
143(2)
Visualizing your picturebook
145(4)
Plot arc
149(1)
Listening to your picturebook
150(2)
Final thoughts
152(1)
References
153(2)
EDITING
155(97)
11 Editing as Dialogue in the Academy
157(21)
Jeri Kroll
Introduction
157(3)
The conventional essay and the essay revised
160(6)
Editing as dialogue
166(7)
Conclusion
173(1)
References
174(4)
12 Editing Letters: Resources, Challenges and Mysteries
178(20)
Laurence Davies
Introduction
179(3)
Practical editing: A diversity of challenges
182(7)
The case of Joseph Conrad's correspondence
189(3)
Letters as literature
192(4)
References
196(2)
13 To Edit or Not to Edit: The Foreign Language Classroom Question
198(21)
Elizabeth Maldonado
Introduction
199(1)
Studying languages
199(1)
Case study
200(1)
Method of data collection
201(1)
Results
201(10)
Writing processes: Creative writing
201(1)
Writing processes: Before writing
202(1)
Writing processes: During writing
203(1)
Writing processes: Revision before submission
204(4)
Writing processes: Translation into L2 during task writing
208(3)
Assessments and feedback
211(1)
Conclusions
212(1)
Appendix: Questionnaire
213(3)
References
216(3)
14 Diversity in Editing: Manifest Manners, False Representations and Rhetorical Sovereignty
219(19)
Resa Crane Bizzaro
Introduction
220(1)
The problem with editing
220(1)
Complications
221(4)
The methods justified
225(3)
The practice
228(5)
Some guidelines
233(3)
References
236(2)
15 Edited Collections: From Book Idea to Book Production
238(14)
Graeme Harper
Jeri Kroll
Introduction
238(4)
Writing about editing
242(4)
Practically speaking, from idea to artefact
246(4)
Conclusion
250(1)
References
251(1)
Biographical notes 252(5)
Index 257
Graeme Harper is a Dean and Professor of Creative Writing at Oakland University, Michigan, USA. He is editor of New Writing: the International Journal for the Practice and Theory of Creative Writing, and Director of the Great Writing International Creative Writing Conference at Imperial College London, and now in its 19th year. Graeme was the inaugural chair of the Higher Education Committee at the UK's National Association of Writers in Education (NAWE). A former Commonwealth Scholar in Creative Writing, he is an award-winning fiction writer, having won such awards as the Premier's Award for New Fiction, the NBC Award for New Fiction and, most recently, the Mutter Fellowship (2013).

Jeri Kroll is Emeritus Professor of English and Creative Writing at Flinders University, South Australia, and was the inaugural Dean of Graduate Research. She also holds an Adjunct Professorship at Central Queensland University. Past President of the Australasian Association of Writing Programs, she holds a PhD in Literature from Columbia University. An award-winning writer for adults and young people, she has published over twenty-five titles (including two Children's Book Council of Australia Notable Awards). Her verse novel Vanishing Point was shortlisted for the Queensland Literary Awards and a stage adaptation was a winner in the 47th Kennedy Center American College Theatre Festival.