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Genre crossing text in creative writing

Creative Writing

This book will take you through the problems facing any fiction writer and show you how some of the best writers in English have solved them.

This is a unique collection of original essays by seven professional writers. It is the only text of its kind to offer writing advice from such authors, editors, and instructors as Francine Prose, Joyce Carol Oates, Frank Conroy, Andre Dubus, Robert Coles, Tom Bailey, and C. Michael Curtis, with a foreword by Tobias Wolff.

The most widely used and respected text in its field, Writing Fiction, 7e by novelists Janet Burroway and Elizabeth Stuckey-French guides the novice story writer from first inspiration to final revision by providing practical writing techniques and concrete examples.

Get Your Readers’ Attention–And Keep It–From the First Word to the Final Page Translating that initial flash of inspiration into a complete story requires careful crafting. So how do you keep your story from beginning slowly, floundering midway, and trailing off at the end? Nancy Kress shows you effective solutions for potential problems at each stage of your story.

In fifteen concise, energizing chapters, he dispenses advice gained from almost thirty years of studying, writing, and teaching. Just blunt enough to get your attention but not blunt enough to crush you, challenging but not discouraging, personal but not ego-ridden, snarky but not mean, John McNally will prompt you to think more deeply about a variety of issues that will push you toward writing more meaningful, more accomplished work. Book jacket.

Online Sources

Writers of memoir and narrative nonfiction are experiencing difficult days with the discovery that some well-known works in the genre contain exaggerations–or are partially fabricated. But what are the parameters of creative nonfiction? Keep It Real begins by defining creative nonfiction. Then it explores the flexibility of the form–the liberties and the boundaries that allow writers to be as truthful, factual, and artful as possible. A succinct but rich compendium of ideas, terms, and techniques, Keep It Real clarifies the ins and outs of writing creative nonfiction. Starting with acknowledgment of sources, running through fact-checking, metaphor, and navel gazing, and ending with writers’ responsibilities to their subjects, this book provides all the information you need to write with verve while remaining true to your story.

Written for writers and students of creative writing, this collection brings together perspectives from today’s leading writers of creative nonfiction, including Michael Martone, Brenda Miller, Ander Monson, and David Shields. Each writer’s innovative essay probes our notions of genre and investigates how creative nonfiction is shaped, modeling the forms of writing being discussed. Like creative nonfiction itself, Bending Genre is an exciting hybrid that breaks new ground.

Contemporary discussions on nonfiction are often riddled with questions about the boundaries between truth and memory, honesty and artifice, facts and lies. Just how much truth is in nonfiction?; How much is a lie? Blurring the Boundaries sets out to answer such questions while simultaneously exploring the limits of the form.

The Fourth Genre offers the most comprehensive, teachable, and current introduction available today to the cutting-edge, evolving genre of creative nonfiction.

Luanne Armstrong and Zoë Landale have put together a thorough survey of the growing body of Canadian creative non-fiction, covering the areas of memoir, personal essay, cultural journalism, lyric essay and nature or place essays.

Select Library books on Poetic Forms:

  • Tysdal, Daniel Scott: The writing moment : a practical guide to creating poems – PN 1059 A9 T97 2014 in Surrey
  • Braid, Kate. In fine form : the Canadian book of form poetry – PR 9051 I49 2005, Surrey % Richmond
  • Aroui, Jean-Louis: Towards a typology of poetic forms : from language to metrics and beyond – e-book
  • The Concise Oxford Companion to English Literature – e-book
  • Hollander, John. Rhyme’s reason : a guide to English verse – PE 1505 H6 2001 in Richmond
  • Padgett, Ron: The teachers & writers handbook of poetic forms – PN 1042 T43 2000 in Surrey Campus Library
  • Pinsky, Robert. The sounds of poetry : a brief guide. PN 4151 P55 1998 in Richmond
  • Strand, Mark: The making of a poem : a Norton anthology of poetic forms – PR 1175 M275 2000 in Surrey and Richmond
  • Turco, Lewis: The book of forms : a handbook of poetics – PN 1042 T78 2000 in Surrey and Richmond

Search the Library Catalogue using the suggested Subject Terms

Online Sources

    – classic poems, historical recordings. – publisher of Poetry magazine, it is an independent literary organization committed to a vigorous presence for poetry in our culture. – Browse for poems and poets.
  • UbuWeb – Archives avant-garde musical recordings, film clips, poetic texts and theoretical manifestos.
  • Paris Review Interviews – interviews with writers in all genres. .
  • Wynken de Worde – Books, Early Modern Culture, post-Modern readers
  • For Better for Verse – An interactive learning tool on what makes metered poetry in English tick

Three Genres gives students a basic introduction to fiction/ literary nonfiction, poetry, and drama and helps them to develop their creative skills in each area.

This is the first collection of Terry Eagleton’s work for the theatre – St Oscar, The White, the Gold and the Gangrene, Disappearances, and Gods Locusts. The first two originally toured Ireland respectively in productions by Field Day of Derry and Dubbeljoint of Belfast. God’s Locusts was broadcast on BBC Radio 3.

Journalism of Ideas is a comprehensive field guide for brainstorming, discovering, reporting, digitizing, and pitching news, opinion, and feature stories within journalism 2.0. With on-the-job advice from professional journalists, activities to sharpen your multimedia reporting skills, and dozens of story ideas ripe for adaptation, Dan Reimold helps you develop the journalistic know-how that will set you apart at your campus media outlet and beyond.

Midge Frazell offers an overview of digital storytelling as well as its variations, including e-portfolios, digital photo essays & scrapblogs. It offers directions for preparation, production & presentation, & rounds out with a discussion on creating rubrics & evaluating student work.

This book focuses on creative writing both as a subject in universities and beyond academia, with chapters arranged around three organising sub-themes of practice, research and pedagogy. It explores the ‘creative’ component of creative writing in the globalised marketplace, making the point that creative writing occurs in and around universities throughout the world. It examines the convergence of education, globalisation and economic discourses at the intersection of the university sector and creative industries, and foregrounds the competing interests at the core of creativity as it appears in the neo-liberal global discourse in which writers are enmeshed. The book offers case studies from the UK, the USA, Canada, Australia and Singapore that are indicative of the challenges faced by academics, postgraduate students and creative industry professionals around the world.

For William Blake, living is creating, conforming is death, and “the imagination . . . is the Human Existence itself.” But why are imagination and creation–so vital for Blake–essential for becoming human? And what is imagination? What is creation? How do we create? Blake had answers for these questions, both in word and in deed, answers that serve as potent teachings for aspiring writers and accomplished ones alike. Eric G. Wilson’s My Business Is to Create emulates Blake, presenting the great figure’s theory of creativity as well as the practices it implies. In both his life and his art, Blake provided a powerful example of creativity at any cost–in the face of misunderstanding, neglect, loneliness, poverty, even accusations of insanity. Just as Los cries out in Jerusalem: The Emanation of the Giant Albion, “I must Create a System, or be enslav’d by another Man’s; / I will not Reason and Compare: my business is to Create,” generations of writers and artists as diverse as John Ruskin, William Butler Yeats, Allen Ginsberg, Philip K. Dick, songwriter Patti Smith, the avant-garde filmmaker Jim Jarmusch, and the underground comic-book artist R. Crumb have taken Blake’s creed as inspiration.

Canada’s national collection of books, historical documents, government records, photos, films, maps, music. The Literature section includes the Canadian Poetry Archive; History of the Book in Canada; Literary Archives and several virtual exhibitions.

The Canadian Literature Centre / Centre de littérature canadienne was established at the University of Alberta in 2006. As the western hub of the Canadian literary community, it brings together researchers, authors, publishers, collectors and the reading public to promote the strength and diversity of Canada’s written culture, and promotes research of Canadian literature, in both English and French, of all genres, languages, and regions.

The Canadian Poetry Archive features selected poems from over 100 early English- and French-language Canadian poets. Digitized from public domain anthologies found in the National Library of Canada’s rich literature collection, the poems represent some of Canada’s most notable poetry from the 19th and early 20th centuries.

Literature of Life

Writing poetry is like writing life itself. Thus, when we create one, we become gods. We replicate what God has created: joy, pain, anger etc. In this course we have established a process of creation in order for our thought to come alive. This process includes Prewriting, Drafting, Rewriting, and Proofreading until we finalize and analyzed our poems.

In pre writing stage, planning needs a lot of concentration in order for us extract from our sub consciousness what was it that we want to write. We closed our eyes and let our soul wander in time and space. Out of the emptiness we started to see pigments of lights until we reached into the world where our memories were kept. We visited each and we chose the memory that has a great impact in our present life. After we took a pick, we began to travel back into the real world and transformed that memory into a universal truth which we called poetic vision.

Drafting is the second stage where we took our pen and start to write from an empty paper. We wrote everything that comes into our mind that is related to our poetic vision. From that number of words, we chose that best expresses our thought and list them down. We then combine these words and ideas into a collective whole where we created lines and stanzas. The thoughts and emotions that had been long sleeping in our sub consciousness came alive and we called it poem.

After the birth of our poem, we set it aside for awhile then we read it aloud. We carefully examine our poem as we listen to our own words. We took some phrases and lines then we rewrote our poem based on our own judgment. We read it again in front of other scholars and we let them critic our new born poem based on its elements. We have identified the poetic vision, the language used, the tone and even the style employed in writing it. We took down all their critics and once again rewrote our poem to polish it once more.

We do not stop polishing our poem after we have rewritten it. We continue to seek its perfection so we reviewed its structure. We call this stage as proofreading. We looked at the spelling, grammar and syntax. We have arranged its form until we see the beauty expected in an art.

Once the poem had been fully polished we have written our analysis in a piece of paper. From the critics and ideas of others to the forms and structure of the poem we have identified it to be either following coherence or correspondence theory. Since the poem entitled “Gold” had been created based on its content then out of it we draw and develop its form, we have concluded that it was written based on correspondence theory. Like God who designed His creation, we have also promulgated our process in designing a beautiful work of art that copies the reality that has been sleeping in our cerebrum for a long time.

Short Fiction Writing Process of Creation

Fiction writing is any kind of writing that is not factual. Fictional writing most often takes the form of a story meant to convey an author’s point of view or simply to entertain. The result of this may be a short story, novel, novella, screenplay, or drama, which are all types of fictional writing styles. In this course we resort into writing a short story out of the poem that we have created. We deconstructed its elements and its meaning and out of it we developed our theme which became the foundation of our short story.

The same way we wrote our poem, we followed the same process of creation. We underwent the prewriting, drafting, rewriting and proof reading stage before we finalized and analyzed our short story.

In prewriting stage, we once again travel into the world of imagination where we gather pictures and ideas that will contribute to our art. We chose the magical realm of the elves, the forest, and kingdoms. We took them away from the fantasy world and brought them into reality where scribed them into a piece of paper. We have developed its character enough to give them life. We have drawn a setting beyond compare and we carefully selected the words that will add vividness into its imagery. We center the theme and around it revolves the sequence of fictitious events that basically a copy of what is real. In the story we let the main character speak and narrate the events in his point of view. We also set the tone so that we can convey the desired emotion to our readers.

The story that wrote was not yet complete since its arrangement is was not yet perfect. So we wrote a draft where we examined each element and put them into order. We followed the traditional plot of a story where it should start in a beginning then middle and will eventually lead to its ending.

Once draft was polished, we read it aloud in front other scholars we let them critic our work based on its structure and elements. We took notes of their critic and improved our work by rewriting it. In rewriting process we have removed some scenes that were not necessary; we added some words which gave more color to our story. We have polished everything from its character to setting and even the styles used in the story.

When we were done polishing the structure and its elements, we then proofread our works for wrong spelling, syntax and punctuations. We made sure that everything had been looked into before presented the final output. The deconstructed truth from our poem. This is how our short fiction was created.

Chapter 2
Genre – Crossing in Poetry – Fiction Writing

Gold
A Poem by Jayson Patalinghug

I am shiny and beautiful
I attract the eyes of people,
They admire me for my glory
They worship me all day.

I shine under the glaring sun
A jewel that can be compared to none,
Does someone really see?
Who I am before I become me?

I was a just a dust in the mountains,
Broken, filtered, and endure pains.
I was placed in the lake of acid
The burning fire becomes my bed

I have to go through the process,
Endure all pains and from the ashes,
I rise anew – shining and glittering
Later comes in many forms like a ring

Beautiful yet soft –
I am the jewel of the kings.
They call me Gold a name so bold.

Correspondence in Patalinghug’s “Gold

Patalinghug wrote the poem based on the universal truth taken from his past. He developed it and once polished, he looked at the form and structure, thus this work is anchored on correspondence theory which emphasized content over its structure.

The poet wrote the poem in free verse hidden in a form of rhymes. It has four quatrains and one tercet. It projects the image of shining and glittering jewel which is also the persona of the poem. Patalinghug used simple modern words to express the thought of the poem in serious tone. Its vision is based on the philosophy that one has to endure pains and suffering before he / she can achieve a state of success.

In this poem, the gold is talking to himself thinking how people vainly looked at him and worshiped him “They admire me of my glory, they worship me all day”. The gold in this poem is reflecting on his true nature and character “Does anyone really see? Who I am before I become me?” He is questioning why those people think of him as beautiful and proud and not thinking of what things he had been through before he achieved his current state. He expresses the things he experienced, the suffering and pains that he has to endure in order to become strong, pure and beautiful “I have to go through the process, Endure all pains and from the ashes, I rise anew – shining and glittering Later comes in many forms like a ring”

As a whole the poem is written in a non conventional manner as a result of making three lines in the last stanza which is a deviation of the four lines in the first four stanzas. It emphasizes more on the content or message rather than the structure.

The Golden Elf
(A short fiction by Jayson Patalinghug)

My father was the most powerful in the whole elven realm. He held the power of earth; he can command the rocks and all the metals underneath. He can make the earth shatter with his voice. I have admired his power since I was young (not to mention that tomorrow is my 150th birthday). I was certain before that I will inherit his power and succeed the throne since I am the eldest in my clan. Anyway, there were only two of us, me and Biaku my younger brother. Biaku was just 50 years younger than me, well built warrior type and has mastered the art of magic and war. That night he had just arrived from Mount Kun-lon where he studied basic magic and art of war. I never had the interest in learning simple tricks and besides I will inherit the great power of my father so, why should I bother to learn useless magic.

Father has gathered all the elders in the kingdom, and he said that he will make a proclamation tonight; he will pass the golden jewel that gave him great powers to his successor. He asked me and Biaku to prepare. I was so excited.

“Seryu are you prepared to be the next king” my brother asked.
“I have been preparing myself to become the next king my brother” I happily replied.
“The moon will shine bright tonight and I am sure all the royal families in the earthen kingdom would come, Seryu I will show you something that I have learned while studying at Kanlaon’s dwelling” Biaku stepped forward and raised his hands and speaks an incantation:
“Ashte Umbra luminous” as he spoke these words the fire flies gathered around sparkling like a magical light.

“Circulum lashek igore”, the fire flies disappeared but their light remains encircling the two of us and then he spoke the last word: “Ishnu lashte ivo” the lights were gathered on his palm forming a bright sphere then became a wonderful crystal pendant.
“My brother, please accept my gift, a pendant made from the light of the enchanted fire flies of this forest.” Biaku smiled as he handed me his gift.

“You are such a sweet magic elf. What you have learned in kanlaon is very impressive. If I will be king, I will make you the ruler of the winged fairies in the forest.” I smiled as I took the pendant and placed it in my ivory neck.

“Masters, your father is waiting at the hall” the winged elf servant came to fetch us.
“Biaku, are you ready?” I asked and lead him to step on the flying leaf.
When we arrived at the hall, there was a large crowd of elves. From the forest dwellers, to the winged elves. We sat beside the throne of the king. Then there was a short silence and then the forest elves sang a magical song as winged elves dancing gracefully in the air. It was magical and after that there was a silence and the king stood and stepped forward, and then with a loud voice he cried:

“Wingardium Leviosa” as he spoke those words there was a wind that encircled the hall and there were roses and leaves everywhere. Everybody was amazed and then the king spoke again:
“It has been 1000 years since we have gained our independence from the rest in the magical realm, and for 1000 years we have proven our selves worthy of the freedom that we are enjoying. We cannot achieve such peace and independence without the great power bestowed to us by Emre, and now it is time to pass this great power to one of my sons who will be my successor. Seryu the eldest and heir to the throne please come and prove yourself”

Father raised his hand and on top of it appears the golden jewel. I walked towards him and I felt the strong power. I took the golden jewel in my hand but as soon as I held it, I felt like I’m burning. I can’t take it, it’s too powerful. I felt like I will explode. Then the golden jewel transformed into a golden dragon and spoke:

“You cannot wield my power; you have not trained yourself and learn the basics of magic. Your body cannot control me thus you are not worthy of me. You cannot get whatever you want by inheritance young prince, you have to work hard on it.”

The dragon flew encircling the hall and stopped in front of Biaku. “You have trained so hard and your mind is serene, your body has the discipline and your magic has improved because of hard work, from now on you will wield my power until you pass me to your successor” the dragon entered into Biaku’s body and he now hold the great power.

I do not know what to say as I look at my father disappointed and to my brother who is now holding the greatest power in the realm. Then Biaku came over and told me:

“Don’t worry my brother, I will share my wisdom and power to you, I will train you and when the right time comes, I will pass the jewel in your hand and you will be the king of the earthen kingdom” my brother said softly, he is still so kind and he always thinks of me. I can’t say no more, my tears just flowed in eyes.

Deconstructing Patalinghug’s “Gold” to The Gold Elf

Deconstruction is an art of identifying holes in a text; undress its meaning and retelling a certain story or work in another angle. In this paper, the author has re-written the universal truth that is present in the poem into another genre. Out of the ideas and the meaning that lies behind the text of the poem, he created a story line and characters that will bring more life to the truth that is hidden in the poem.

The story was told in a first person point of view, allowing the main character to speak and unfold the events in the story. The characters were developed in the narration and were even allowed to speak in order to add vividness and make the story more alike to reality. Though elves were magical beings, each of them represents human character in the real world. Seryu, represents people’s character of being arrogance and desire for power, wealth and fame without exerting too much effort. Biaku on the other hand represents the opposite, the hard working and a character that exerts effort to achieve greater heights. The tone of the story in the beginning was set in order to solicit anger form the arrogance of the main character and at the end was set to extract the feeling of regret and sadness.

After all, the truth that has been covered in the poem has been rewritten in another form in order to reveal the message and let other people know how this universal truth “Hard work results to success” has greatly influenced his life.

This paper proved that we can cross boundary of one genre to another using one theme. We found out that the author was able to picked out ideas from his sub-consciousness and hide its meaning using beautiful words and transform it into an art called poem. Symbols and images were used in order to add vividness, nevertheless the true meaning lies behind those figures.

The same meaning has been used in order to write a short story. These meaning was decoded from the text and symbols used in the poem. This fragment of truth was then developed and was transformed into a short fiction. The characters, settings, styles and mood set in the story creates more reality like effect to the theme that has been drawn from the poem.

Thus, we can always we let our imagination work, identify fragments of realities hidden a certain piece of literature and out from it, we deconstruct and re-create these truths into something unusual revealing the meaning that was hidden using another form.