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Summary
Table of Contents
| Foreword | p. xi |
| Acknowledgements | p. xiii |
| General introduction | p. 1 |
| Who is this book for? | p. 1 |
| How will you benefit from it? | p. 2 |
| What's in this book | p. 3 |
| The context | |
| Creative writing: can it be taught? | p. 7 |
| Practice makes perfect - or does it? | p. 8 |
| Pressing the brake to go faster | p. 10 |
| Craft and mystery | p. 15 |
| Summary | p. 17 |
| Creative writing: why take a university course? | p. 19 |
| A course is a course, isn't it? What makes a degree course different | p. 20 |
| Process and product: authors, dead or alive | p. 22 |
| Writer, reader and reality | p. 25 |
| Summary | p. 30 |
| Creative writing now | p. 31 |
| Creative writing - where to find it | p. 31 |
| The history of creative writing - what's it to you? | p. 33 |
| Creative writing within other subjects | p. 35 |
| The growth of creative writing - how it affects your course | p. 36 |
| Who's teaching creative writing, and why? | p. 38 |
| Who's doing creative writing, and why? | p. 44 |
| Summary | p. 46 |
| Studying creative writing | |
| How courses are organised and how you will learn | p. 49 |
| Choices, units and contact time | p. 49 |
| How are creative writing courses taught? | p. 50 |
| Lectures, tutorials and virtual learning environments | p. 51 |
| Seminars and workshops | p. 53 |
| Get-to-know-you and guidelines | p. 54 |
| Training and the real event | p. 54 |
| Games and exercises within the workshop | p. 55 |
| Something you prepared earlier | p. 57 |
| Dealing with feedback | p. 59 |
| Giving good feedback | p. 61 |
| How much do I have to tell them? | p. 64 |
| Progression | p. 66 |
| Summary | p. 66 |
| Assessment | p. 69 |
| It's subjective, isn't it? | p. 69 |
| Assessment in the writing industries | p. 70 |
| Assessment criteria | p. 71 |
| Non-creative assessment items | p. 76 |
| Other assessment methods | p. 80 |
| Assessment, feedback and monitoring | p. 81 |
| Attendance | p. 82 |
| Final word | p. 84 |
| Summary | p. 84 |
| Writers' habits, writers' skills | |
| Developing your own working habits | p. 87 |
| Tough to do at home... | p. 87 |
| Where to write | p. 88 |
| When to write | p. 89 |
| Word counts: the false gods | p. 91 |
| Writing isn't just writing | p. 92 |
| Reading as a writer | p. 94 |
| Exemplary books on a similar topic | p. 95 |
| Factual books | p. 95 |
| Books with a style or a voice | p. 96 |
| Books as market research | p. 96 |
| A note on plagiarism | p. 98 |
| Organising yourself | p. 99 |
| Summary | p. 101 |
| Writing and editing | p. 103 |
| How do you write? | p. 103 |
| The necessity of editing | p. 104 |
| Levels of editing: how to edit, and when | p. 105 |
| Too Much for Normous | p. 107 |
| The naming of files | p. 109 |
| Task avoidance | p. 110 |
| Word counts again | p. 112 |
| Presentation and layout: make your work a pleasure to read | p. 113 |
| Summary | p. 115 |
| Conclusion: beyond the course | p. 117 |
| Had enough? | p. 117 |
| The academic route: further study | p. 118 |
| Writing | p. 120 |
| Journalism | p. 120 |
| Books | p. 122 |
| Scriptwriting | p. 123 |
| Poetry | p. 123 |
| Writing-related careers | p. 124 |
| And finally... | p. 124 |
| Case studies: James Joyce and other writers | p. 125 |
| Further reading | p. 137 |
| Index | p. 151 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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