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Preface: A few words to instructors | p. vii |
A few things you should know about creative writing | p. 1 |
Writing Poetry | p. 9 |
A few things you should know about poetry | p. 9 |
The elements of poetry | p. 15 |
The short poem: three models | p. 16 |
My Personal Recollections of Not Being Asked to the Prom | p. 17 |
Winter | p. 18 |
9/11 | p. 19 |
Lines and stanzas | p. 20 |
Meter and rhythm | p. 27 |
The music of poetry | p. 34 |
Images, symbols, and figurative language | p. 38 |
Diction, syntax, and the language of poetry | p. 46 |
Poetic forms | p. 50 |
Sonnet | p. 50 |
Villanelle | p. 51 |
Rondeau | p. 54 |
Sestina | p. 55 |
Cinquain | p. 58 |
Pantoum | p. 59 |
Ghazal | p. 60 |
Prose poem | p. 61 |
Getting started writing poetry | p. 63 |
Kick-Starts: Beginning your poems | p. 64 |
An Anthology of Short Poems | p. 67 |
Postcards to Columbus | p. 67 |
Zen Americana | p. 68 |
Bells | p. 68 |
Frequently Unasked Questions | p. 69 |
The Ballad of Rudolph Reed | p. 70 |
Poem for the Young White Man Who Asked Me How I, an Intelligent, Well-Read Person, Could Believe in the War between Races | p. 72 |
Brute Strength | p. 74 |
Nostalgia | p. 74 |
A Quiet Poem | p. 76 |
Praise the Tortilla, Praise the Menudo, Praise the Chorizo | p. 77 |
Noisetone | p. 78 |
Santa Fe | p. 78 |
On Being Told I Don't Speak like a Black Person | p. 79 |
That Silent Evening | p. 81 |
Boy Sleeping | p. 82 |
Lunch in Nablus City Park | p. 83 |
I Went into the Maverick Bar | p. 85 |
What Is Your Major? | p. 86 |
The English Canon | p. 87 |
The Ways of Guilt | p. 87 |
Teaching the Ape to Write Poems | p. 89 |
My Mother Dreams Another Country | p. 89 |
The Assassination of John Lennon as Depicted by the Madame Tussaud Wax Museum, Niagara Falls, Ontario, 1987 | p. 90 |
Writing the Short-Short Story | p. 92 |
A few things you should know about the short-short story | p. 92 |
The elements of fiction | p. 94 |
The short-short story: three models | p. 95 |
Crossing the River Zbrucz | p. 97 |
The Baby | p. 99 |
Marzipan | p. 101 |
Structure and design | p. 102 |
Creating characters | p. 110 |
Writing dialogue | p. 118 |
Setting the scene | p. 123 |
Deciding on point of view, developing tone and style | p. 127 |
First-person point of view | p. 128 |
Second-person point of view | p. 129 |
Third-person limited point of view | p. 130 |
Third-person omniscient point of view | p. 131 |
Tense | p. 132 |
Tone and style | p. 132 |
Getting started writing the short-short story | p. 135 |
Kick-Starts: Beginning your story | p. 136 |
An Anthology of Short-Short Stories | p. 139 |
The Hit Man | p. 139 |
A Kind of Flying | p. 142 |
Popular Mechanics | p. 145 |
Reunion | p. 146 |
Bottle Caps | p. 148 |
Near Michaelmas | p. 149 |
Church Cancels Cow | p. 151 |
Girl | p. 152 |
Wolf's Head Lake | p. 153 |
The Old Badger Game | p. 155 |
Dominate and Recessid Jeans | p. 157 |
Writing Short Creative Nonfiction | p. 160 |
A few things you should know about short creative nonfiction | p. 160 |
The elements of creative nonfiction | p. 164 |
Short creative nonfiction: three models | p. 165 |
News of the Wild | p. 166 |
Joyas Voladoras | p. 169 |
Liferower | p. 172 |
Organizing creative nonfiction | p. 175 |
Telling the truth | p. 180 |
Creative nonfiction as narrative | p. 185 |
Character | p. 185 |
Dialogue | p. 187 |
Scene-setting | p. 187 |
The poetry of creative nonfiction | p. 190 |
Imagery and figurative language | p. 190 |
Diction | p. 191 |
Sound and rhythm | p. 192 |
Writing yourself into creative nonfiction | p. 194 |
Ethics and edicts | p. 197 |
Getting started writing short creative nonfiction | p. 201 |
Kick-Starts: Beginning your creative nonfiction | p. 202 |
An Anthology of Short Creative Nonfiction | p. 206 |
The Mute Sense | p. 206 |
Walkaways | p. 207 |
Westbury Court | p. 209 |
How to Tell One Bird from the Next | p. 212 |
El Toro Rojo | p. 214 |
Two Ways to Belong in America | p. 215 |
The Witching Hour | p. 218 |
Late July, 4:40 a.m. | p. 220 |
Elegy for an Optimist | p. 222 |
Morning Glory Harley | p. 224 |
Writing the Ten-Minute Play | p. 228 |
A few things you should know about the ten-minute play | p. 228 |
The elements of playwriting | p. 233 |
The ten-minute play: three models | p. 234 |
Sure Thing | p. 235 |
Trying to Find Chinatown | p. 243 |
The Divine Fallacy | p. 250 |
Structuring the ten-minute play | p. 256 |
Creating believable characters | p. 261 |
Writing convincing dialogue | p. 266 |
Crafting a theme | p. 274 |
Onstage: The elements of production | p. 279 |
Stage | p. 279 |
Sets | p. 281 |
Props, constumes, and effects | p. 282 |
Lights | p. 284 |
Sounds | p. 285 |
Actors | p. 285 |
Directors | p. 287 |
Producers | p. 288 |
Audience | p. 289 |
Getting started writing the ten-minute play | p. 291 |
Kick-Starts: Beginning your play | p. 291 |
Playscript Format: A Model | p. 293 |
An Anthology of Ten-Minute Plays | p. 300 |
Trash Anthem | p. 300 |
Now We're Really Getting Somewhere | p. 305 |
Tango Delta | p. 311 |
If Susan Smith Could Talk | p. 318 |
A few words of farewell | p. 325 |
Glossary | p. 327 |
Index | p. 337 |
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The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.