| Preface for Instructors |
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iii | |
| About the Author |
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xii | |
| Introduction: How Creative Writing Works |
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1 | (6) |
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How The Practice of Creative Writing Works |
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2 | (2) |
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Asking Generative Questions |
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4 | (3) |
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7 | (132) |
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9 | (39) |
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10 | (5) |
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12 | (1) |
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13 | (2) |
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15 | (3) |
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15 | (3) |
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18 | (4) |
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18 | (1) |
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19 | (1) |
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20 | (2) |
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22 | (5) |
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22 | (1) |
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23 | (2) |
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25 | (1) |
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26 | (1) |
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Neil Gaiman 8, Rules for Writing |
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27 | (1) |
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27 | (2) |
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29 | (19) |
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Jarod Rosello, Robot Camp |
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29 | (13) |
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Writers on Writing: Jarod Rosello |
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42 | (1) |
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John Brehm, The Poems I Have Not Written |
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43 | (1) |
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Writers on Writing: John Brehm |
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44 | (1) |
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Och Gonzalez, What I Do on My Terrace Is None of Your Business |
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45 | (1) |
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Writers on Writing: Och Gonzalez |
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46 | (2) |
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48 | (39) |
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Tips for Reading as a Writer |
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48 | (3) |
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48 | (1) |
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49 | (1) |
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Explore Genres, Question Boundaries |
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49 | (1) |
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50 | (1) |
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51 | (1) |
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Strategies for Close Reading |
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52 | (5) |
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Read Multiple Times, Take Notes |
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53 | (1) |
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53 | (1) |
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54 | (1) |
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54 | (1) |
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55 | (2) |
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57 | (6) |
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58 | (1) |
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59 | (1) |
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Creative Nonfiction: Memoir and Literary Essay |
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60 | (1) |
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61 | (1) |
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Drama: Spoken Word, Monologue, Play, and Screenplay |
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61 | (2) |
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Closely Reading Your Own Work |
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63 | (1) |
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64 | (1) |
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65 | (4) |
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65 | (1) |
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66 | (1) |
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67 | (1) |
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68 | (1) |
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69 | (2) |
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71 | (16) |
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A. Van Jordan, af*ter*glow |
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71 | (1) |
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Sebastian Matthews, Buying Wine |
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71 | (1) |
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Lee Herrick, My California |
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72 | (1) |
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Writers on Writing: Lee Herrick |
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73 | (1) |
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Ira Sukrungruang, Chop Suey |
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74 | (2) |
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Nancy Stolham, / Found Your Voodoo Doll on the Dance Floor After Last Call |
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76 | (1) |
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Vincent Scarpa, / Go Back to Berryman's |
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76 | (2) |
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Writers on Writing: Vincent Scarpa |
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78 | (1) |
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Ted Chiang, The Great Silence |
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79 | (3) |
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Marco Ramirez, lam not Batman |
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82 | (5) |
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3 Creating From Components |
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87 | (52) |
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Core Components of Creative Writing |
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87 | (5) |
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88 | (1) |
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89 | (2) |
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91 | (1) |
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Genre-Specific Components |
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92 | (22) |
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Components of Narrative: Memoir, Creative Nonfiction, Fiction |
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92 | (1) |
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93 | (1) |
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94 | (2) |
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96 | (1) |
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97 | (2) |
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Building Narratives Using Conflict-Crisis-Resolution |
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99 | (2) |
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101 | (1) |
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101 | (1) |
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102 | (1) |
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103 | (2) |
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105 | (1) |
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Gwendolyn Brooks, We Real Cool |
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105 | (2) |
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107 | (1) |
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108 | (1) |
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108 | (3) |
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111 | (2) |
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Building Poems Using Form |
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113 | (1) |
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A Word on Poetic Thinking |
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114 | (1) |
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114 | (5) |
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114 | (1) |
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115 | (1) |
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116 | (1) |
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117 | (1) |
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118 | (1) |
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119 | (1) |
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120 | (1) |
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121 | (18) |
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Kim Addonizio, First Poem for You |
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121 | (1) |
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Terrance Hayes, Line r Notes for an Imaginary Playlist |
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121 | (2) |
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Dylan Thomas, Do Not Go Gentle into That Good Night |
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123 | (1) |
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124 | (1) |
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Writers on Writing: Brenda Miller |
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124 | (1) |
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Raymond Carver, Cathedral |
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125 | (14) |
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139 | (338) |
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141 | (46) |
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141 | (8) |
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142 | (1) |
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142 | (3) |
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Images Are the Opposite of Thought and Feeling |
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145 | (2) |
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147 | (2) |
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149 | (11) |
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Focus on People in Action |
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149 | (1) |
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150 | (1) |
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151 | (1) |
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152 | (2) |
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154 | (2) |
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156 | (2) |
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158 | (2) |
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160 | (2) |
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162 | (1) |
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163 | (1) |
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164 | (23) |
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Ross Gay, Ode to Sleeping in My Clothes |
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164 | (1) |
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Natalie Diaz, My Brother at 3 a.m. |
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165 | (1) |
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Dylan Landis, In My Fathers Study upon His Death |
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166 | (1) |
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Writers on Writing: Dylan Landis |
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167 | (1) |
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168 | (1) |
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169 | (5) |
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Akhil Sharma, Surrounded by Sleep |
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174 | (13) |
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187 | (60) |
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187 | (15) |
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Subject: Focus on What's Fascinating |
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189 | (1) |
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189 | (1) |
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190 | (2) |
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Leaps: The Energetic Power of Gaps |
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192 | (1) |
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193 | (1) |
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193 | (1) |
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194 | (1) |
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195 | (1) |
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196 | (1) |
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197 | (3) |
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200 | (1) |
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201 | (1) |
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202 | (7) |
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203 | (2) |
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205 | (3) |
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208 | (1) |
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209 | (2) |
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211 | (1) |
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212 | (1) |
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213 | (34) |
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213 | (1) |
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Brian Turner, What Every Soldier Should Know |
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213 | (1) |
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214 | (1) |
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Beth Ann Fennelly, Heating & Cooling: 52 Micro-Memoirs |
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215 | (1) |
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Writers on Writing: Beth Ann Fennelly |
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216 | (1) |
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Brian Arundel, The Things I've Lost |
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217 | (2) |
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219 | (4) |
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Brenda Peynado, What We Lost |
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223 | (3) |
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Rebecca Roanhorse, Welcome to Your Authentic Indian Experience™ |
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226 | (14) |
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Kristina Halvorson, Now We're Really Getting Somewhere |
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240 | (7) |
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247 | (62) |
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The Principles of Tension |
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247 | (7) |
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Tension = Yearning + Obstacles |
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248 | (2) |
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Tension, Stakes, and Cause/Effect |
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250 | (4) |
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254 | (4) |
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Work with at Least Two Characters/Elements |
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254 | (2) |
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256 | (1) |
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256 | (2) |
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258 | (13) |
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258 | (1) |
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Thermostat Control: Adjusting the Temperature |
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259 | (4) |
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263 | (1) |
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263 | (2) |
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265 | (2) |
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Layering Dialogue and Action |
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267 | (2) |
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269 | (2) |
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271 | (1) |
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272 | (1) |
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273 | (36) |
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Natalie Diaz, Abecedarian Requiring Further Examination of Anglikan Seraphym Subjugation of a Wild Indian Rezervation |
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273 | (1) |
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Jenifer Hixson, Where There's Smoke |
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274 | (3) |
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Rod Kessler, How to Touch a Bleeding Dog |
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277 | (2) |
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Marisa Silver, What I Saw from Where I Stood |
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279 | (12) |
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291 | (12) |
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303 | (6) |
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309 | (39) |
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311 | (10) |
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311 | (3) |
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314 | (2) |
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E. E. Cummings, (Me up at does) |
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316 | (2) |
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318 | (1) |
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319 | (2) |
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321 | (1) |
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321 | (9) |
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321 | (3) |
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324 | (2) |
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326 | (2) |
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328 | (1) |
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329 | (1) |
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330 | (1) |
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331 | (1) |
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332 | (16) |
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332 | (1) |
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332 | (1) |
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Edna St. Vincent Millay, What lips my lips have kissed, and where, and why |
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333 | (1) |
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Julie Hakim Azzam, How to Erase an Arab |
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333 | (2) |
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Writers on Writing: Julie Hakim Azzam |
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335 | (2) |
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337 | (11) |
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348 | (129) |
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349 | (4) |
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353 | (3) |
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353 | (1) |
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353 | (1) |
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354 | (1) |
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355 | (1) |
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356 | (8) |
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Reflect on Your Personal Experience |
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356 | (1) |
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357 | (1) |
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358 | (1) |
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359 | (2) |
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361 | (1) |
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362 | (1) |
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363 | (1) |
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364 | (2) |
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366 | (1) |
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367 | (2) |
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369 | (101) |
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369 | (1) |
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Writers on Writing: Julia Koets |
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369 | (1) |
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Pablo Neruda, Ode to My Suit |
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370 | (2) |
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Joy Harjo, She Had Some Horses (Part One) |
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372 | (2) |
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374 | (1) |
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375 | (1) |
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Michael Cunningham, White Angel |
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376 | (94) |
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470 | (4) |
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470 | (1) |
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Debra Wierenga, Let Sleeping Boys Lie |
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471 | (1) |
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472 | (2) |
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474 | (3) |
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475 | (1) |
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476 | (1) |
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PART FOUR THE WRITING LIFE |
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477 | (27) |
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479 | (16) |
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479 | (1) |
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480 | (4) |
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480 | (2) |
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Tips for Attending a Live Reading |
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482 | (1) |
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483 | (1) |
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Literary Magazines: Print and Digital |
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484 | (5) |
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Rely on Guides and Directories |
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485 | (1) |
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Research a Wide Range of Publications |
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486 | (1) |
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487 | (1) |
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488 | (1) |
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489 | (6) |
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489 | (2) |
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491 | (1) |
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492 | (3) |
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495 | (9) |
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496 | (2) |
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498 | (2) |
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498 | (1) |
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499 | (1) |
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500 | (2) |
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Creativity and Inspiration |
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500 | (1) |
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500 | (1) |
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500 | (1) |
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Images: Seeing More Closely |
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501 | (1) |
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501 | (1) |
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Self-Expression and Personal Writing |
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501 | (1) |
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501 | (1) |
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501 | (1) |
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502 | (1) |
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The Business of Writing: Agents, Freelancing, Book Proposals, and Publishing |
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502 | (2) |
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502 | (1) |
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503 | (1) |
| Appendix: Terminology for Creative Writers |
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504 | (3) |
| Acknowledgments |
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507 | (3) |
| Index |
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510 | |
