CREATIVE WRITING /
CREATIVE WRITING /
IMAGINATIVE WRITING
IMAGINATIVE WRITING
Creative Writing / Imaginative
Creative Writing / Imaginative
Writing
Writing
is any is any writingwriting that goes outside the that goes outside the bounds ofbounds of
normal professional, journalistic, academic, or normal professional, journalistic, academic, or technical forms of
technical forms of literaturliterature, typically e, typically identiedidentied by an emphasis on
by an emphasis on narrative craftnarrative craft, character, character development, and the use of literary tropes or development, and the use of literary tropes or with various traditions of poetry a
with various traditions of poetry and poetics.nd poetics.
is any form of writing which is written with theis any form of writing which is written with the creativ
creativity of mind: ity of mind: ction writing, poetry writing,ction writing, poetry writing, creative nonction writing and more. The purpose creative nonction writing and more. The purpose is to express something, whether it be feelings, is to express something, whether it be feelings, thoughts, or emotions.
Creative Writing / Imaginative
Creative Writing / Imaginative
Writing
Writing
is any is any writingwriting that goes outside the that goes outside the bounds ofbounds of
normal professional, journalistic, academic, or normal professional, journalistic, academic, or technical forms of
technical forms of literaturliterature, typically e, typically identiedidentied by an emphasis on
by an emphasis on narrative craftnarrative craft, character, character development, and the use of literary tropes or development, and the use of literary tropes or with various traditions of poetry a
with various traditions of poetry and poetics.nd poetics.
is any form of writing which is written with theis any form of writing which is written with the creativ
creativity of mind: ity of mind: ction writing, poetry writing,ction writing, poetry writing, creative nonction writing and more. The purpose creative nonction writing and more. The purpose is to express something, whether it be feelings, is to express something, whether it be feelings, thoughts, or emotions.
•
• T The best way to increase your prociency inhe best way to increase your prociency in
creativ
creative writing is e writing is to write, write to write, write compulsively,compulsively,
but it doesn’t just mean write whatever you want. but it doesn’t just mean write whatever you want. There
There are ceare certain things you srtain things you should now rst! hould now rst! itit helps to start with the right foot.
helps to start with the right foot.
•
• "ow to"ow to
#et $tarted in %reative &riting in 'ust Three $teps #et $tarted in %reative &riting in 'ust Three $teps
•
• %reative &riting vs. Technical &riting%reative &riting vs. Technical &riting •
• (iction &riting )*): The +lements of $tories(iction &riting )*): The +lements of $tories •
• oetry &riting: (orms and Terms #aloreoetry &riting: (orms and Terms #alore •
• %reative -on(iction: &hat is it/%reative -on(iction: &hat is it/ •
• Ti Tips and Tps and Trics to 0mprrics to 0mprove 1ove 1our %rour %reative &eative &ritingriting •
TECHNICAL WRITING
3 writing having special and practical nowledge
SENSORY EXPERIENCE
The apprehension of an object, thought, or
emotion through the senses4 active participation in events or activities, leading to the
LANGUAGE
a Imager! " language that causes people to imagine pictures in their minds, picture or photograph.
# $ig%re& '( S)ee*+ 5 also nown as gurative
language, it creates gures 6pictures7 in the mind of the reader or listener. These pictures help convey the meaning and more vividly than words alone. &e use gures of speech in 8gurative language9 to add colour and interest, and awaen the imagination.
(igurative language is everywhere, from classical wors lie $haespeare’s and the ible, to everyday speech, pop music, and television commercials.
(igurative language means something di;erent from what it says on the surface.
* ,i*ti'n " the selection of words in a literary wor. 3 wor’s diction forms one of its centrally important literary elements, as writers use words to convey action, reveal character, imply attitudes, identify themes, and suggest values. &e can spea of the diction particular to a character, as in 0ago’s and <esdemona’s very di;erent ways of speaing in Othello. &e can also refer to a poet’s diction as represented over the body of his or her wor, as in <onne’s or "ughe’s diction.
REA,ING - WRITING
POETRY
ELEMENTS O$ THE GENRE
a category of literary composition4 genres may bedetermined by literary techni=ues, tone, content, or even 6as in the case of ction7 length. The distinction between genres and categories are >exible and loosely dened, often with subgroups. The most general genres in literature are 6 in loose chronological order7 epic, tragedy, comedy, and
creative nonction. They can all be in the form of prose and poetry. 3dditionally, genres such as satire, allegory, or
pastoral might appear in any of the above, not only as a sub genre, but as a mixture of genres. (inally, they are dened by the general cultural movement of the historical period in
which they were composed. #enre should not be confused with age categories, by which literature may be classied as either adult, youngadult, or children’s. they also must not be confused with format, such as graphic novel or picture boo.
A.E&&entia Eement&
0 THEME " a subject or a topic of discourse
or of artistic representation, it is a specic
and distinctive =uality, characteristic or
concern in an article.
1 TONE " a =uality, feeling, style and
attitude, expressed by the words that
someone use’s in speaing or writing.
2. Eement& ('r S)e*i3* $'rm&
0 CONVENTIONAL $ORMS
4
short tagalog poems
4
tanaga
4
diona
4
haiu 3 type of popular 'apanese poem.
2odern haiu is di;erent from the traditional
'apanese haiu. The modern haiu follows a ?@
? syllable rhyming structure. &ellwritten haiu
is lovely and pleasurable to read. 0t taes a lot of
sill to write great haiu. 0 tried my hand at one.
-eedless to say, even I didn’t lie it.
4 sonnet This type of poem has fallen out of favor now, but it is still my favorite type of
poetry to read. 0t follows a strict Aabab’ rhyme scheme. 0t was made popular by $haespeare.
4 rhyme and meter
4 metaphor word or phrase for one
thing that is used to refer to another thing in order to show or suggest that they are similar.
1 $REE VERSE
4 the line and the line brea
4 enjambments
the running over of a
sentence from one verse or couplet into
another so that closely related words fall in
di;erent lines.
C. Ot+er E5)erimenta Te5t&
0 TYPOGRAPHY " the general character or
appearance of printed matter.
1 GENRE " crossing texts 6prose 5 poems4
performance poetry.
REA,ING AN,
A. Eement& '( t+e Genre
0 CHARACTER
1 POINT O$ VIEW
a )
st person BC
# D
nd person BC
* E
rd person BC
6 PLOT
a Finear
# 2odular G +pisodic
* Traditional parts : exposition, rising
action, climax, falling action, resolution,
7 SETTING AN, ATMOSPHERE
a Time and place
# %ultural, sociological, political, religious
* $ensibilities that lead to specic modes
8 CON$LICT
9 IRONY
a Cerbal
# $ituational
* <ramatic
: THEME
a 2oral lesson
# <ramatic premise
* 0nsight
2. Te*+ni;%e& an< Literar! ,evi*e&
4
refers to any specic, deliberate constructions, or choices of language that an author uses toconvey meaning in particular way. 3n author’s use of a literary techni=ue usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Hnlie
literary elements, literary techni=ues are not
necessarily present in every text4 they represent deliberate choices by individual authors.
1 $ORESHA,OWING " the presentation of
details, characters, or incidents in a narrative in such a way that later events are prepared for 6or
8shadowed forth97.
6 SYM2OLISM " a character, an action, a
setting, or an object representing something else can be a symbol. 2ost often, the symbol in a story is as object that represents its owner’s character or
situation, or both. (or example, a secluded near
empty apartment might represent the alienation and emotional emptiness of the tenant. $ymbols are
usually recogniIed by the amount of emphasis they receive. Bbjects intended to be viewed as symbolic may be described in detail, be included in the title, be referred to fre=uently, or emphasiIed at the
beginning or ending of the story. &hen we recogniIe a symbol and understand its meaning or meanings, we see more clearly what the writer chose to
6 B - + 5 3 % T 7
REA,ING AN,
Eement& O( T+e Genre
0 CHARACTER
1 SETTING
6 PLOT
7 ,IALOGUE
A. Te*+ni;%e& an< Literar! ,evi*e&
0 INTERTEXTUALITY
( B J % " 0 F < J +
LA,Y 2UG
Fady bug, lady bug,
(ly away home,
1our house is on re,
1our children will burn.
T+ere Wa& An O< W'man
There was an old woman who lived in a shoe,
$he had so many children she didn’t now what to
do,
$he gave them some broth without any bread,
$he wept them all soundly and put them to bed.
THE WIN,
0 saw you toss the ites on high 3nd blow the birds about the sy4 3nd all around 0 heard you pass, Fie ladies sirts across the grass B wind, ablowing all day long
B wind, that sings so loud a songK 0 saw the di;erent things you did, ut always you yourself you hid. 0 felt you push, 0 heard you call, 0 could not see yourself at all B wind, ablowing all day long
(ree Cerse
Author: Walt Whitman
0 saw in Fouisiana a liveoa growing
3ll alone stood it and the moss hung down from the branches,
&ithout any companion it grew there uttering joyous leaves of dar green
3nd its loo, rude, unbending, lusty, made me thin of myselfK
