Let the Crazy Child Write!: Finding Your Creative Writing VoiceNew World Library, 8 февр. 2011 г. - Всего страниц: 288 Twelve lively, in-depth chapters reveal how following our untrained impulses — our creative unconscious or "Crazy Child" — gives an authentic grasp on writing stories, poems, plays, and essays. Let the Crazy Child Write! introduces exercises that explicitly tap this knowledge and also presents guidelines on how to give, and receive, constructive feedback. This is the first how-to-write text to give full credit to the creative unconscious since Becoming a Writer, the 1934 classic by Dorothea Brande. Matson goes further by developing writing techniques step by step: Image Detail, Slow Motion, Hook, Persona Writing, Point of View, Dialogue, Plot, Narrative Presence, Good Clichés, Character, Surrealism, and Resolution. |
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Стр. xvii
... moving. It doesn't matter how good the writing is. It matters only that you are writing. You're retrieving some of the natural writing skill your creative unconscious has, and acquiring a feel for it. That's the goal. Workshop You may ...
... moving. It doesn't matter how good the writing is. It matters only that you are writing. You're retrieving some of the natural writing skill your creative unconscious has, and acquiring a feel for it. That's the goal. Workshop You may ...
Стр. 2
... moving close physically, or by zooming in with your imagination. The reader, by taking in your words, comes as close to the object as you are. If you write that you had your elbow on the boss's table when you saw that gum in the ashtray ...
... moving close physically, or by zooming in with your imagination. The reader, by taking in your words, comes as close to the object as you are. If you write that you had your elbow on the boss's table when you saw that gum in the ashtray ...
Стр. 4
... moving their beds out of the line of gunfire, we see this clearly — very clearly. We do not have to be there. We imagine the scene. We move the bed, with the child, in terror or in a nightly numbness. We imagine the bullets angling ...
... moving their beds out of the line of gunfire, we see this clearly — very clearly. We do not have to be there. We imagine the scene. We move the bed, with the child, in terror or in a nightly numbness. We imagine the bullets angling ...
Стр. 7
... move toward his mouth . The scar under his eye formed a little diamond again . . . . There's the scar again , and in the next excerpt two new details appear . The reader is becoming acquainted with Sal one detail at a time , just as you ...
... move toward his mouth . The scar under his eye formed a little diamond again . . . . There's the scar again , and in the next excerpt two new details appear . The reader is becoming acquainted with Sal one detail at a time , just as you ...
Стр. 8
... moved away from the streetlamp until he was under a tree . The shadows of leaves bounced around his face and coat . " Rose , you're a beauty . I saw it right away . I've gotta tell you that . ” Sal reached up and pulled a leaf off the ...
... moved away from the streetlamp until he was under a tree . The shadows of leaves bounced around his face and coat . " Rose , you're a beauty . I saw it right away . I've gotta tell you that . ” Sal reached up and pulled a leaf off the ...
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Let the Crazy Child Write: Finding Your Creative Writing Voice Clive Matson Ограниченный просмотр - 1998 |
Часто встречающиеся слова и выражения
action attention Barbara Kingsolver becomes begin body camera-on-the-shoulder chapter character's choose clichés Copyright Crazy Child Write creative unconscious dark door dream Editor and Writer ERICA JONG essay EUDORA WELTY event Excerpt excitement eyes feedback feel Georgia O'Keeffe give goal happen hear hook image detail imagine issue keep Let the Crazy let your Crazy listen look Marge Piercy Mary Oliver Michael McClure mind narrative presence narrator nervous system notice novel paragraph Perhaps person phrase pick piece play poem poet point of view powerful practice present remember Reprinted by permission resolution rewrite Robert Bly saber-toothed tiger Sam Shepard scene sense sentence slow motion writing someone speech story surreal syngenetic workshop T.S. Eliot talking tell Tennessee Williams thing third-person point thought three-legged dog undercurrent velociraptor vivid voice Weston WILLIAM DEMENT woman words