creative writing courses

creative writing courses

Creative Writing Courses

1. Introduction to Creative Writing

Our approach will be essentially practical, using a series of exercises, some of which are to be tackled in the workshop from time to time, and using the principles of ‘modeling’ and ‘teaching by example’. That is, for most sessions, there will be a task for all to do in their own time, and with their different levels and kinds of experience, followed by some kind of attempt by the tutor, often made up on the spot, which students and teacher can work on together, then and there. This is an attempt to engage in and reflect upon the creative processes in writing and editing, not just the results. It is not possible to write well or productively in any known form without moments of inspiration, albeit sometimes short ones, and though inspiration cannot be taught, it can be encouraged and shared and even re-enacted. (See thoughts on Left/Right Brain, by Gerry Holland, in the general information section.) The work of others, professional as well as amateur, is also used as an important resource for learning. Step by step guidance is also given in certain forms, and it is hoped that teaching materials will in some cases be created. Topics are arranged around the main locus areas of planning, working, and checking a writing, or someone else’s writing, and alternative ideas on how the work may be done will be given. But whatever the specific topic, we shall always try to initiate creative thought on it, and on how the art of writing might best be learned and taught. All of this is backed by the tutor’s extensive knowledge and love of literature and his oratory power, which often results in a refreshing change from the dry, and sometimes technical nature of discussions on technique and mechanics in the teaching of writing.

This is a revised and extended edition of “Helping you to Write” – a comprehensive guide for student writers, where the keystones are taking ideas, shaping and developing them, and then expressing or examining them in an effective written form. We shall be doing this through a series of talks, discussions, and exercises, which will focus on different aspects of writing and be designed to help anyone find a freer and more creative approach to the task. This guide aims to provide an entrance to resources on the teaching and study of creative writing. Our information is predominantly directed at teachers and students, not professionals; however, we hope that writers of many kinds may find something of value here.

2. Elements of Fiction Writing

The Basics of Fiction Writing Fiction narrative refers to stories or events that are totally or partially based on imagination, thus it is different from factual information. Fiction is divided into 2 categories which are: “Short story” – could be absorbed within a few hours and requires a single setting. It has a simple plot, minimal number of characters, and shorter story length. “Novels” – It is a complex form of fiction writing. Requires a long duration of time to finish it and usually has a few settings. The plot is complicated and there are plenty of characters.

Introduction Fiction, as Nobel laureate Nadine Gordimer noted, is not the province of one particular type of human being – it is a form of fiction that has something for everyone. It has various forms and may be revealed or tackled depending on where the audience was, to who their aimed and plausible result. It could be in a form of following the feature style, script, drama, or carried out a theatre performance. Here, we are focused on the basic understanding of fiction writing such as short story writing until novel one.

3. Techniques for Writing Poetry

3.1 Listening and Advice Before diving into a study of poetic techniques, it can be helpful to try listening to the poems of others or to recite your own poems to a poetry group. A good poet should give attention to both the sounds of the words and the ideas that they convey. If you are the one reciting the poem, try to pay attention to the audience’s reaction and which parts of the poem they remember the most. What the audience remembers is usually what has affected them the most. You should also try reading your poem to yourself and asking the question as to whether the form of the poem and the sequence of ideas is the best way to present your subject. This can be difficult to gauge, but advice from friends and other poets is invaluable.

Paterson remembers the rhythm and meter, and Gavin suggests papering the walls with the finest poems written in the language. Both are alluding to poetry writing exercises. Exercises are useful because they help to develop particular writing skills. Skills can be transferred or can be developed further for those who already write at a proficient level. The main focus when doing an exercise should always be on the practice of a skill. Realization of the development of the skill is the bonus, and combined they can produce a poem. But remember that the word exercise should always remind you of practice. Be constructive and give yourself a goal that you can reasonably achieve in the one exercise session. Too many students with plenty of good ideas write in a metaphor “hit and run style.” This means they develop an idea for a line or two before moving onto another or, for a particularly bad case, abandoning the idea altogether. Try to pin down the idea and stick to it. Poetry writing exercises.

4. Non-Fiction and Memoir Writing

The “Non-Fiction and Memoir” course will explore the art of the real – telling a good true story. What is involved in writing about the real but making it read like a novel? Students will be guided through the process of getting our own stories down on paper and shaped into publishable form. We will be using the framework of fiction – characterization, setting, plot, point of view, dialogue and theme – and applying these to our stories to give them shape and direction. By examining published work and doing regular short exercises and homework in class, we will experiment with ways of approaching non-fiction material and hone our skills. The six-week “Life Writing” course concentrates more specifically on the writing of memoir – personal, family or biographical stories written with the intention of not only discovering and recording what happened, but of creating a work of art. Again we will be using the technique of fiction to do this and will be drawing upon several models of memoir and writing exercises to stimulate our own work.

5. Advanced Creative Writing Workshops

Advanced workshops are only available to students who are at the work-in-progress stage on the long project. Part-time students might take one of these workshops in their second year. Full-time students are likely to profit most from the advanced workshop in the second year. Most students take one workshop in the Autumn term and another in the Spring term. The following is a list of advanced workshops available for 2009/10: Short Fiction workshop with Carys Davies. Available to fiction writers only, this will be a workshop in the usual style, devoted entirely to the short story form. Students will be expected to produce new work for each of the three terms. This type of fiction workshop will allow the tutor and students to get to know all of the work and the writer’s aims in detail, and will foster close attention to the craft of the short story. Close attention to the work of professional short story writers will also be paid. Fiction from life with Anjali Joseph. This workshop will be for fiction writers only, but may be of particular relevance to those working with longer fiction projects on the course.