The Practice of Creative Writing
Fourth Edition ©2021 Heather Sellers Formats: E-book, Print
As low as $36.99
As low as $36.99
Authors
-
Heather Sellers
Heather Sellers is professor of English in the graduate and undergraduate writing programs at the University of South Florida, where she was honored with a university-wide teaching award. She offers courses for creative writers in hybrid and experimental writing, fiction, memoir, essays, and poetry as well as a course for teachers of creative writing. Born and raised in Orlando, Florida, she earned her PhD in English/Creative Writing at Florida State University. She has taught at New York University, the University of Texas–San Antonio, St. Lawrence University, and for almost two decades, Hope College, where she was elected Professor of the Year. A recipient of a National Endowment for the Arts Fellowship for Fiction and a Barnes and Noble Discover Great New Writers award for her short story collection Georgia Under Water, she has published widely in a variety of genres. Her work appears in the New York Times; The Pushcart Prize anthology; The Best American Essays; O, the Oprah Magazine; Good Housekeeping; Reader’s Digest; Parade; Real Simple; On the Seawall; Adroit; Longreads; Creative Nonfiction; and frequently in The Sun Magazine. Her memoir You Don’t Look Like Anyone I Know: A True Story of Family, Face Blindness, and Forgiveness was a Michigan Notable Book of the Year and Editor’s Choice at The New York Times Book Review. Other publications include Drinking Girls and Their Dresses: Poems; and Spike and Cubby’s Ice Cream Island Adventure, a children’s book. She lives in Saint Petersburg, Florida. Her website is heathersellers.com.
Table of Contents
*indicates new selection (please add this on the page)
Preface
Introduction
How The Practice of Creative Writing Works
Asking Generative Questions
Part One
FOUNDATIONS
1 Finding Focus
The Mind’s Eye
Subject as Focus
Developing Focus
Lack of Focus
*Neil Gaiman’s “8 Rules for Writing”
Writing Projects
Readings
*Jarod Rosello, Robot Camp
*Writers on Writing (Jarod Rosello)
*John Brehm, The Poems I Have Not Written
*Writers on Writing (John Brehm)
*Och Gonzalez, What I Do on My Terrace Is None of Your Business
Writers on Writing (Och Gonzalez)
2 Reading as a Writer
Tips for Reading as a Writer
To Read Is To Travel
Strategies for Close Reading
Genres: An Overview
Closely Reading Your Own Work
Reading Work By Peers
Reading to Write
WRITING PROJECTS
READINGS
Van Jordan, af•ter•glow
Sebastian Matthews, Buying Wine
*Lee Herrick, My California
*Writers on Writing (Lee Herrick)
*Ira Sukrungruang, Chop Suey
*Nancy Stolham, I Found Your Voodoo Doll on the Dance Floor After Last Call
Vincent Scarpa, I Go Back to Berryman’s
*Writers on Writing (Vincent Scarpa)
* Ted Chiang, The Great Silence
Marco Ramirez, I am not Batman
3 Creating from Components
Core Components of Creative Writing
Genre-Specific Components
Components of Narrative: Memoir, Creative Nonfiction, Fiction
Components of Poetry
Gwendolyn Brooks, We Real Cool
Components of Plays
WRITING PROJECTS
COMPONENTS WORKSHOP
READINGS
Kim Addonizio, First Poem for You
Terrance Hayes, Liner Notes for an Imaginary Playlist
Dylan Thomas, Do Not Go Gentle into That Good Night
Brenda Miller, Swerve
Writers on Writing (Brenda Miller)
Raymond Carver, Cathedral
Part Two
STRATEGIES
4 Images
The Principles of Images
Creating with Images
A Word on Ideas
WRITING PROJECTS
IMAGES WORKSHOP
READINGS
*Ross Gay, Ode to Sleeping in My Clothes
Natalie Diaz, My Brother at 3 a.m.
Dylan Landis, In My Father’s Study upon His Death
Writers on Writing (Dylan Landis)
*Thao Thai, Counting Bats
Mary Robison, Pretty Ice
Akhil Sharma, Surrounded by Sleep
5 Energy
The Principles of Energy
Manipulating Energy
TROUBLESHOOTING ENERGY
WRITING PROJECTS
ENERGY WORKSHOP
READINGS
Betsy Sholl, Genealogy
Brian Turner, What Every Soldier Should Know
*Jamila Osman, Fluency
*Beth Ann Fennelly, One Doesn’t Always Wish to Converse on Airplanes
*Beth Ann Fennelly, Small Talk at Evanston General
*Beth Ann Fennelly, Why I’m Switching Salons
*Beth Ann Fennelly, Two Phone Conversations
Writers on Writing (Beth Ann Fennelly)
Brian Arundel, The Things I’ve Lost
Rick Moody, Boys
*Brenda Peynado, What We Lost
*Rebecca Roanhorse, Welcome to Your Authentic Indian Experience™
*Kristina Halvorson, Now We’re Really Getting Somewhere
6 Tension
The Principles of Tension
Maintaining Tension
Manipulating Tension
WRITING PROJECTS
TENSION WORKSHOP
READINGS
*Natalie Diaz, Abecedarian Requiring Further Examination of Anglikan Seraphym Subjugation of a Wild Indian Rezervation
Jenifer Hixson, Where There’s Smoke
Rod Kessler, How to Touch a Bleeding Dog
Marisa Silver, What I Saw from Where I Stood
Jessica Shattuck, Bodies
Peter Morris, Pancakes
7 Pattern
Pattern by Ear
E. E. Cummings, (Me up at does)
Pattern by Eye
WRITING PROJECTS
PATTERN WORKSHOP
READINGS
Gregory Orr, The River
Randall Mann, Pantoum
*Edna St. Vincent Millay, What Lips My Lips Have Kissed, and Where, and Why
*Julie Azzam, How to Erase an Arab
*Writers on Writing (Julie Azzam)
*Ken Liu, Paper Menagerie
8 Insight
Reading for Insight
Principles of Insight
PRACTICING INSIGHT
Three Pitfalls
WRITING PROJECTS
INSIGHT WORKSHOP
READINGS
*Julia Koets, Boys
*Writers on Writing (Julia Koets)
* Pablo Neruda, Ode to My Suit
*Joy Harjo, She Had Some Horses (part one)
*Dana Spiotta, Control
Brian Doyle, Two Hearts
Michael Cunningham, White Angel
9 Shape
Principles of Shape
Additional Techniques for Shaping Your Work
Pitfalls
Shaping a Story: A Writer at Work
EDITING AND PROOFREADING
WRITING PROJECTS
SHAPE WORKSHOP
Part Three
FORMS
10 Finding Form
Forms: Recipes for Writers
Creating a Portfolio of Forms
Abecedarius
Anaphora
Braid
Comics and Graphic Narratives
Flash
Ghazal
Journey
List
Monologue
Pantoum
Play/Screenplay
Sestina
Sonnet
Villanelle
Part Four
THE WRITING LIFE
11 Reaching Readers
Preparing to Publish
Live Readings
Literary Magazines: Print and Digital
Portfolios and Chapbooks
QUESTIONS TO ASK: Writing an Artist’s Statement
12 Writing Resources
Smart Searching
Social Media
Resources
Instruction in Specific Genres
Product Updates
Writers on Writing feature for practical advice. New micro-interviews conducted by Heather Sellers with ten authors whose pieces are presented in the book can be found throughout the text. The interviews provide a special glimpse into each author’s particular writing process and prompt process awareness and self-reflection assignments for students.
Clearly stated course and chapter objectives. Especially helpful for designing online course modules, building a syllabus, assessing learning throughout the course, and deftly guiding students’ reading and learning, the objectives can be found at the beginning of each chapter, providing a visible framework for learning. Based on Bloom’s Taxonomy, these objectives aid instructors in certifying their courses meet institutional standards and requirements.
Genre-based writing assignments. To improve the flexibility and usability of the text, each chapter now concludes with writing projects labeled by genre: experimental/hybrid, poetry, nonfiction, fiction, and drama. Instructors can organize the course by writing strategy or by genre; students can easily see how writing strategies apply across genres.
New readings, chosen because of their proven success in providing inspiration for student writers.
- Innovative selections include flash and micro forms, as well as new speculative readings.
- New writers such as Thao Thai, Och Gonzalez, and Jarod Roselló are presented alongside beloved contemporary authors such as Ted Chiang, Natalie Diaz, and Ross Gay.
- Brief excerpts from student favorites, such as Joy Harjo’s “She Had Some Horses” and Beth Ann Fennelly’s Heating & Cooling: 52 Micro-Memoirs provide new models for writing projects.
Fresh approaches to revision. The fourth edition presents a new set of approaches to this crucial and challenging part of the writing process. New Chapter Nine, “Shape,”, groups revision strategies and will help students where they struggle the most.
Supplemental materials at macmillanlearning.com. The Instructor’s Manual has been fully revised to support face-to-face and online teaching. It includes sample syllabi, additional writing projects, and suggestions for designing and leading a successful course. Instructors who wish to teach by genre will find various classroom-tested options for course design. Instructors who teach by writing strategy will find tips for organizing their course as well. Videos created by Heather Sellers help to support teaching and learning creative writing using the new edition.
Authors
-
Heather Sellers
Heather Sellers is professor of English in the graduate and undergraduate writing programs at the University of South Florida, where she was honored with a university-wide teaching award. She offers courses for creative writers in hybrid and experimental writing, fiction, memoir, essays, and poetry as well as a course for teachers of creative writing. Born and raised in Orlando, Florida, she earned her PhD in English/Creative Writing at Florida State University. She has taught at New York University, the University of Texas–San Antonio, St. Lawrence University, and for almost two decades, Hope College, where she was elected Professor of the Year. A recipient of a National Endowment for the Arts Fellowship for Fiction and a Barnes and Noble Discover Great New Writers award for her short story collection Georgia Under Water, she has published widely in a variety of genres. Her work appears in the New York Times; The Pushcart Prize anthology; The Best American Essays; O, the Oprah Magazine; Good Housekeeping; Reader’s Digest; Parade; Real Simple; On the Seawall; Adroit; Longreads; Creative Nonfiction; and frequently in The Sun Magazine. Her memoir You Don’t Look Like Anyone I Know: A True Story of Family, Face Blindness, and Forgiveness was a Michigan Notable Book of the Year and Editor’s Choice at The New York Times Book Review. Other publications include Drinking Girls and Their Dresses: Poems; and Spike and Cubby’s Ice Cream Island Adventure, a children’s book. She lives in Saint Petersburg, Florida. Her website is heathersellers.com.
Table of Contents
*indicates new selection (please add this on the page)
Preface
Introduction
How The Practice of Creative Writing Works
Asking Generative Questions
Part One
FOUNDATIONS
1 Finding Focus
The Mind’s Eye
Subject as Focus
Developing Focus
Lack of Focus
*Neil Gaiman’s “8 Rules for Writing”
Writing Projects
Readings
*Jarod Rosello, Robot Camp
*Writers on Writing (Jarod Rosello)
*John Brehm, The Poems I Have Not Written
*Writers on Writing (John Brehm)
*Och Gonzalez, What I Do on My Terrace Is None of Your Business
Writers on Writing (Och Gonzalez)
2 Reading as a Writer
Tips for Reading as a Writer
To Read Is To Travel
Strategies for Close Reading
Genres: An Overview
Closely Reading Your Own Work
Reading Work By Peers
Reading to Write
WRITING PROJECTS
READINGS
Van Jordan, af•ter•glow
Sebastian Matthews, Buying Wine
*Lee Herrick, My California
*Writers on Writing (Lee Herrick)
*Ira Sukrungruang, Chop Suey
*Nancy Stolham, I Found Your Voodoo Doll on the Dance Floor After Last Call
Vincent Scarpa, I Go Back to Berryman’s
*Writers on Writing (Vincent Scarpa)
* Ted Chiang, The Great Silence
Marco Ramirez, I am not Batman
3 Creating from Components
Core Components of Creative Writing
Genre-Specific Components
Components of Narrative: Memoir, Creative Nonfiction, Fiction
Components of Poetry
Gwendolyn Brooks, We Real Cool
Components of Plays
WRITING PROJECTS
COMPONENTS WORKSHOP
READINGS
Kim Addonizio, First Poem for You
Terrance Hayes, Liner Notes for an Imaginary Playlist
Dylan Thomas, Do Not Go Gentle into That Good Night
Brenda Miller, Swerve
Writers on Writing (Brenda Miller)
Raymond Carver, Cathedral
Part Two
STRATEGIES
4 Images
The Principles of Images
Creating with Images
A Word on Ideas
WRITING PROJECTS
IMAGES WORKSHOP
READINGS
*Ross Gay, Ode to Sleeping in My Clothes
Natalie Diaz, My Brother at 3 a.m.
Dylan Landis, In My Father’s Study upon His Death
Writers on Writing (Dylan Landis)
*Thao Thai, Counting Bats
Mary Robison, Pretty Ice
Akhil Sharma, Surrounded by Sleep
5 Energy
The Principles of Energy
Manipulating Energy
TROUBLESHOOTING ENERGY
WRITING PROJECTS
ENERGY WORKSHOP
READINGS
Betsy Sholl, Genealogy
Brian Turner, What Every Soldier Should Know
*Jamila Osman, Fluency
*Beth Ann Fennelly, One Doesn’t Always Wish to Converse on Airplanes
*Beth Ann Fennelly, Small Talk at Evanston General
*Beth Ann Fennelly, Why I’m Switching Salons
*Beth Ann Fennelly, Two Phone Conversations
Writers on Writing (Beth Ann Fennelly)
Brian Arundel, The Things I’ve Lost
Rick Moody, Boys
*Brenda Peynado, What We Lost
*Rebecca Roanhorse, Welcome to Your Authentic Indian Experience™
*Kristina Halvorson, Now We’re Really Getting Somewhere
6 Tension
The Principles of Tension
Maintaining Tension
Manipulating Tension
WRITING PROJECTS
TENSION WORKSHOP
READINGS
*Natalie Diaz, Abecedarian Requiring Further Examination of Anglikan Seraphym Subjugation of a Wild Indian Rezervation
Jenifer Hixson, Where There’s Smoke
Rod Kessler, How to Touch a Bleeding Dog
Marisa Silver, What I Saw from Where I Stood
Jessica Shattuck, Bodies
Peter Morris, Pancakes
7 Pattern
Pattern by Ear
E. E. Cummings, (Me up at does)
Pattern by Eye
WRITING PROJECTS
PATTERN WORKSHOP
READINGS
Gregory Orr, The River
Randall Mann, Pantoum
*Edna St. Vincent Millay, What Lips My Lips Have Kissed, and Where, and Why
*Julie Azzam, How to Erase an Arab
*Writers on Writing (Julie Azzam)
*Ken Liu, Paper Menagerie
8 Insight
Reading for Insight
Principles of Insight
PRACTICING INSIGHT
Three Pitfalls
WRITING PROJECTS
INSIGHT WORKSHOP
READINGS
*Julia Koets, Boys
*Writers on Writing (Julia Koets)
* Pablo Neruda, Ode to My Suit
*Joy Harjo, She Had Some Horses (part one)
*Dana Spiotta, Control
Brian Doyle, Two Hearts
Michael Cunningham, White Angel
9 Shape
Principles of Shape
Additional Techniques for Shaping Your Work
Pitfalls
Shaping a Story: A Writer at Work
EDITING AND PROOFREADING
WRITING PROJECTS
SHAPE WORKSHOP
Part Three
FORMS
10 Finding Form
Forms: Recipes for Writers
Creating a Portfolio of Forms
Abecedarius
Anaphora
Braid
Comics and Graphic Narratives
Flash
Ghazal
Journey
List
Monologue
Pantoum
Play/Screenplay
Sestina
Sonnet
Villanelle
Part Four
THE WRITING LIFE
11 Reaching Readers
Preparing to Publish
Live Readings
Literary Magazines: Print and Digital
Portfolios and Chapbooks
QUESTIONS TO ASK: Writing an Artist’s Statement
12 Writing Resources
Smart Searching
Social Media
Resources
Instruction in Specific Genres
Product Updates
Writers on Writing feature for practical advice. New micro-interviews conducted by Heather Sellers with ten authors whose pieces are presented in the book can be found throughout the text. The interviews provide a special glimpse into each author’s particular writing process and prompt process awareness and self-reflection assignments for students.
Clearly stated course and chapter objectives. Especially helpful for designing online course modules, building a syllabus, assessing learning throughout the course, and deftly guiding students’ reading and learning, the objectives can be found at the beginning of each chapter, providing a visible framework for learning. Based on Bloom’s Taxonomy, these objectives aid instructors in certifying their courses meet institutional standards and requirements.
Genre-based writing assignments. To improve the flexibility and usability of the text, each chapter now concludes with writing projects labeled by genre: experimental/hybrid, poetry, nonfiction, fiction, and drama. Instructors can organize the course by writing strategy or by genre; students can easily see how writing strategies apply across genres.
New readings, chosen because of their proven success in providing inspiration for student writers.
- Innovative selections include flash and micro forms, as well as new speculative readings.
- New writers such as Thao Thai, Och Gonzalez, and Jarod Roselló are presented alongside beloved contemporary authors such as Ted Chiang, Natalie Diaz, and Ross Gay.
- Brief excerpts from student favorites, such as Joy Harjo’s “She Had Some Horses” and Beth Ann Fennelly’s Heating & Cooling: 52 Micro-Memoirs provide new models for writing projects.
Fresh approaches to revision. The fourth edition presents a new set of approaches to this crucial and challenging part of the writing process. New Chapter Nine, “Shape,”, groups revision strategies and will help students where they struggle the most.
Supplemental materials at macmillanlearning.com. The Instructor’s Manual has been fully revised to support face-to-face and online teaching. It includes sample syllabi, additional writing projects, and suggestions for designing and leading a successful course. Instructors who wish to teach by genre will find various classroom-tested options for course design. Instructors who teach by writing strategy will find tips for organizing their course as well. Videos created by Heather Sellers help to support teaching and learning creative writing using the new edition.
Be bold. Write well. Have fun.
When it comes to writing, The Practice of Creative Writing has a simple message: you can do this, and it’s worthwhile to try. Designed for students in the introductory course, The Practice of Creative Writing teaches writers how to trust their own voice, experiment with form, and develop a writing process that allows them to spend more productive time at the desk. Rather than locking into one genre early, writers are encouraged to work among and in between genres and to focus on creating a writing practice that privileges close observation, patience, and techniques of pattern, energy, and shape.Heather Sellers, who writes in multiple genres herself, has developed a lively, welcoming, student-centered approach that teaches creative concentration, close reading, and generating pages. She provides opportunities to be playful and to experiment at the same time that she teaches students the importance of discipline, form, and craft. Heather Sellers is a certified online instructor, and The Practice of Creative Writing is designed to be used in traditional face-to-face classrooms or in online education.
Each chapter begins with objectives for that module. Prompts and writing practices are carefully sequenced. Every chapter ends with both genre-specific writing projects alongside hybrid and experimental prompts. The readings included in this new edition invite students to experience an even wider range of innovative and new literatures. A new chapter on creative ways to approach revision as a shaping practice engaged throughout the writing process helps students work harder on their writing.
Looking for instructor resources like Test Banks, Lecture Slides, and Clicker Questions? Request access to Achieve to explore the full suite of instructor resources.
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Instructor's Resource Manual for The Practice of Creative Writing (Online Only)
Heather Sellers | Fourth Edition | ©2021 | ISBN:9781319321192
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Are you a campus bookstore looking for ordering information?
MPS Order Search Tool (MOST) is a web-based purchase order tracking program that allows customers to view and track their purchases. No registration or special codes needed! Just enter your BILL-TO ACCT # and your ZIP CODE to track orders.
Canadian Stores: Please use only the first five digits/letters in your zip code on MOST.
Visit MOST, our online ordering system for booksellers: https://tracking.mpsvirginia.com/Login.aspx
Learn more about our Bookstore programs here: https://www.macmillanlearning.com/college/us/contact-us/booksellers
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Our courses currently integrate with Canvas, Blackboard (Learn and Ultra), Brightspace, D2L, and Moodle. Click on the support documentation below to find out more details about the integration with each LMS.
Integrate Macmillan courses with Blackboard
Integrate Macmillan courses with Canvas
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If you’re a verified instructor, you can request a free sample of our courseware, e-book, or print textbook to consider for use in your courses. Only registered and verified instructors can receive free print and digital samples, and they should not be sold to bookstores or book resellers. If you don't yet have an existing account with Macmillan Learning, it can take up to two business days to verify your status as an instructor. You can request a free sample from the right side of this product page by clicking on the "Request Instructor Sample" button or by contacting your rep. Learn more.
-
-
-
Sometimes also referred to as a spiral-bound or binder-ready textbook, loose-leaf textbooks are available to purchase. This three-hole punched, unbound version of the book costs less than a hardcover or paperback book.
-
-
-
We can help! Contact your representative to discuss your specific needs for your course. If our off-the-shelf course materials don’t quite hit the mark, we also offer custom solutions made to fit your needs.
-
The Practice of Creative Writing
When it comes to writing, The Practice of Creative Writing has a simple message: you can do this, and it’s worthwhile to try. Designed for students in the introductory course, The Practice of Creative Writing teaches writers how to trust their own voice, experiment with form, and develop a writing process that allows them to spend more productive time at the desk. Rather than locking into one genre early, writers are encouraged to work among and in between genres and to focus on creating a writing practice that privileges close observation, patience, and techniques of pattern, energy, and shape.
Heather Sellers, who writes in multiple genres herself, has developed a lively, welcoming, student-centered approach that teaches creative concentration, close reading, and generating pages. She provides opportunities to be playful and to experiment at the same time that she teaches students the importance of discipline, form, and craft. Heather Sellers is a certified online instructor, and The Practice of Creative Writing is designed to be used in traditional face-to-face classrooms or in online education.
Each chapter begins with objectives for that module. Prompts and writing practices are carefully sequenced. Every chapter ends with both genre-specific writing projects alongside hybrid and experimental prompts. The readings included in this new edition invite students to experience an even wider range of innovative and new literatures. A new chapter on creative ways to approach revision as a shaping practice engaged throughout the writing process helps students work harder on their writing.
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