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Creative Writing: Four Genres in Brief by David Starkey - Fourth Edition, 2022 from Macmillan Student Store
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Creative Writing: Four Genres in Brief

Fourth  Edition|©2022  David Starkey

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  • About
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About

Learning to write poetry and fiction and nonfiction and drama in a single creative writing course is a real challenge, but David Starkey’s Creative Writing, Four Genres in Brief is the ideal way to meet it. By mapping out the basics of composing and crafting each genre, providing only very short models of literature for you to read and emulate, and providing inspiration with writing prompts and projects that will capture your imagination, Creative Writing will help you learn quickly and find a path into writing creatively.

Digital Options

E-book

Read online (or offline) with all the highlighting and notetaking tools you need to be successful in this course.

Learn More

Achieve

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Contents

Table of Contents

Preface: A Few Words to Instructors  

A Few Things You Should Know about Creative Writing  

A Few Words about Revision

 

1 Writing Poetry 

Write before you read   

The elements of poetry  

The short poem: Three models   

Gail White, My Personal Recollections of Not Being Asked to the Prom  

*Donika Kelly, Fourth Grade Autobiography  

Rae Armantrout, Duration  

Lines and stanzas   

Meter and rhythm   

The music of poetry   

Images, symbols, and figurative language   

Diction, syntax, and the language of poetry   

Poetic forms   

Getting started writing poetry   

    Kick-Starts: Beginning your poems   

A few tips for participating in a poetry workshop   

An Anthology of Short Poems 

        

2 Writing the Short-Short Story

Write before you read   

The elements of fiction   

The short-short story: Three models   

Isaac Babel, Crossing the River Zbrucz 

Donald Barthelme, The Baby  

*Jennine Capó Crucet, Animal Control  

Structure and design   

Creating characters   

Writing dialogue   

Setting the scene   

Deciding on point of view, developing tone and style  

Getting started writing the short-short story  

       Kick-Starts: Beginning your story  

A few tips for participating in a short fiction workshop    

An Anthology of Short-Short Stories  

 

3 Writing Short Creative Nonfiction 

Write before you read   

The elements of creative nonfiction   

Short creative nonfiction: Three models  

Rebecca McClanahan, Liferower  

*Ylonda Gault Caviness, We Go Way Back  

David Sedaris, Jesus Shaves  

Organizing creative nonfiction   

Telling the truth   

Creative nonfiction as narrative   

The poetry of creative nonfiction  

Writing yourself into creative nonfiction  

Ethics and edicts   

Getting started writing short creative nonfiction   

     Kick-Starts: Beginning your creative nonfiction 

A few tips for participating in a creative nonfiction workshop   

An Anthology of Short Creative Nonfiction  

 

4 Writing the Ten-Minute Play 

Write before you read   

The elements of playwriting   

The ten-minute play: Three models 

David Ives, Sure Thing  

Tina Howe, The Divine Fallacy  

A. Rey Pamatmat, Some Other Kid  

Structuring the ten-minute play   

Creating believable characters  

Writing convincing dialogue  

Crafting a theme  

Onstage: The elements of production   

Getting started writing the ten-minute play   

     Kick-Starts: Beginning your play 

A few tips for participating in a ten-minute play workshop    

Playscript Format: A Model  

An Anthology of Ten-Minute Plays  

 

A Few Words about Getting Your Work Published and Produced

A Few Words about Hybrid Creative Writing

Sabrina Orah Mark, It’s Dark in There: Confessions of a Prose Poem 

A Few Words about Writing for Social Change

*Claude McKay, If We Must Die 

 

A Few Words of Farewell

Glossary  

Acknowledgments  

Index  

*Indicates new selection

Authors

David Starkey

David Starkey is Professor of English, Director of the Creative Writing Program, and former Director of the Composition Program at Santa Barbara City College. A frequent collaborator with the late Wendy Bishop, Starkey helped develop a pedagogy focused on the cross-pollination of composition and creative writing. In addition to his work with Bishop, which includes the co-authored Keywords in Creative Writing (2006), he is the editor of two collections of essays on pedagogy, Teaching Writing Creatively (1998) and Genre by Example: Writing What We Teach (2001), and a special issue of Teaching English in the Two-Year College (Dec. 2014). Starkey is a poet (Dance, You Monster, to My Soft Song, 2021; What Just Happened, 2021), a writer of fiction and creative nonfiction (published in American Literary Review, in Cimarron Review, in Living Blue in the Red States,and elsewhere), and a playwright whose plays have been produced across the U.S. Starkey is also a committed practitioner, and his writing on corequisite composition is informed by his participation in SBCC’s Express to Success program, an early-adopter of the ALP/corequisite model. His conference presentations in recent years have emphasized his pedagogy and passion for working with a broad range of student writers. He is currently editing a collection of essays on teaching corequisite composition.


A lively, practical approach to writing in four creative genres.

Learning to write poetry and fiction and nonfiction and drama in a single creative writing course is a real challenge, but David Starkey’s Creative Writing, Four Genres in Brief is the ideal way to meet it. By mapping out the basics of composing and crafting each genre, providing only very short models of literature for you to read and emulate, and providing inspiration with writing prompts and projects that will capture your imagination, Creative Writing will help you learn quickly and find a path into writing creatively.

E-book

Read online (or offline) with all the highlighting and notetaking tools you need to be successful in this course.

Learn More

Achieve

Achieve is a single, easy-to-use platform proven to engage students for better course outcomes

Learn More

Table of Contents

Preface: A Few Words to Instructors  

A Few Things You Should Know about Creative Writing  

A Few Words about Revision

 

1 Writing Poetry 

Write before you read   

The elements of poetry  

The short poem: Three models   

Gail White, My Personal Recollections of Not Being Asked to the Prom  

*Donika Kelly, Fourth Grade Autobiography  

Rae Armantrout, Duration  

Lines and stanzas   

Meter and rhythm   

The music of poetry   

Images, symbols, and figurative language   

Diction, syntax, and the language of poetry   

Poetic forms   

Getting started writing poetry   

    Kick-Starts: Beginning your poems   

A few tips for participating in a poetry workshop   

An Anthology of Short Poems 

        

2 Writing the Short-Short Story

Write before you read   

The elements of fiction   

The short-short story: Three models   

Isaac Babel, Crossing the River Zbrucz 

Donald Barthelme, The Baby  

*Jennine Capó Crucet, Animal Control  

Structure and design   

Creating characters   

Writing dialogue   

Setting the scene   

Deciding on point of view, developing tone and style  

Getting started writing the short-short story  

       Kick-Starts: Beginning your story  

A few tips for participating in a short fiction workshop    

An Anthology of Short-Short Stories  

 

3 Writing Short Creative Nonfiction 

Write before you read   

The elements of creative nonfiction   

Short creative nonfiction: Three models  

Rebecca McClanahan, Liferower  

*Ylonda Gault Caviness, We Go Way Back  

David Sedaris, Jesus Shaves  

Organizing creative nonfiction   

Telling the truth   

Creative nonfiction as narrative   

The poetry of creative nonfiction  

Writing yourself into creative nonfiction  

Ethics and edicts   

Getting started writing short creative nonfiction   

     Kick-Starts: Beginning your creative nonfiction 

A few tips for participating in a creative nonfiction workshop   

An Anthology of Short Creative Nonfiction  

 

4 Writing the Ten-Minute Play 

Write before you read   

The elements of playwriting   

The ten-minute play: Three models 

David Ives, Sure Thing  

Tina Howe, The Divine Fallacy  

A. Rey Pamatmat, Some Other Kid  

Structuring the ten-minute play   

Creating believable characters  

Writing convincing dialogue  

Crafting a theme  

Onstage: The elements of production   

Getting started writing the ten-minute play   

     Kick-Starts: Beginning your play 

A few tips for participating in a ten-minute play workshop    

Playscript Format: A Model  

An Anthology of Ten-Minute Plays  

 

A Few Words about Getting Your Work Published and Produced

A Few Words about Hybrid Creative Writing

Sabrina Orah Mark, It’s Dark in There: Confessions of a Prose Poem 

A Few Words about Writing for Social Change

*Claude McKay, If We Must Die 

 

A Few Words of Farewell

Glossary  

Acknowledgments  

Index  

*Indicates new selection

David Starkey

David Starkey is Professor of English, Director of the Creative Writing Program, and former Director of the Composition Program at Santa Barbara City College. A frequent collaborator with the late Wendy Bishop, Starkey helped develop a pedagogy focused on the cross-pollination of composition and creative writing. In addition to his work with Bishop, which includes the co-authored Keywords in Creative Writing (2006), he is the editor of two collections of essays on pedagogy, Teaching Writing Creatively (1998) and Genre by Example: Writing What We Teach (2001), and a special issue of Teaching English in the Two-Year College (Dec. 2014). Starkey is a poet (Dance, You Monster, to My Soft Song, 2021; What Just Happened, 2021), a writer of fiction and creative nonfiction (published in American Literary Review, in Cimarron Review, in Living Blue in the Red States,and elsewhere), and a playwright whose plays have been produced across the U.S. Starkey is also a committed practitioner, and his writing on corequisite composition is informed by his participation in SBCC’s Express to Success program, an early-adopter of the ALP/corequisite model. His conference presentations in recent years have emphasized his pedagogy and passion for working with a broad range of student writers. He is currently editing a collection of essays on teaching corequisite composition.


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