We want to juxtapose ideas, and celebrate their co-existence, without locking them into a structure where one is subordinate to another.
It begins from the premise that creative writing can be taught, primarily through structured exercise, and that there are many modes of self-expression that even the most traditional artist can employ through the deliberate use of experimentation.
It is quite interesting and even demystifying to look at the bones of these often very challenging authors, and then to try out some of their experimental techniques. Writers of all levels of confidence though can work within both sections, and try out whatever methods spark an interest, and use whatever exercises appeal.
The book encourages writers to take an explorative and experimental approach to their work. This has the effect of making one idea in the sentence seem more important than others, or at least of making one central idea the focus of the sentence.
All of the exercises and examples are clearly laid out, and because of their post-structural nature and open-endedness, fun and thought-provoking.
For the introductory strategies, methods like building texts through word association, phrase manipulation, a word pool, and referents are explored. It is, and perhaps unintentionally so, one of the clearest, easy to follow books on postmodernism in literature on the market.
Throughout the book, both in the beginning and the advanced section, the emphasis is always on playing, and experimentation, in order to communicate meaning better. Engaging with the process of meaning making in such a structured and careful way, can produce a significant change and improvement in the creative process, opening new doors: Grammar also fixes meaning, and makes it as unambiguous as possible.
The advanced strategies include subverting plot, character, history and physics as we understand it, writing poetry and lyrics that delve into subversion, dissonance, taboos, the extension of metaphor, and as visual experiment.
This is a unique and very valuable offering to the literary world, full of unusual experiments with words that writers will make use of repeatedly. Experienced writing teacher Hazel Smith demystifies the process of creative writing, providing exercises and examples to show how it can be systematically learnt.
The sentences we use are hypotactic, that is, they contain a main clause usually with other subordinate clauses. Hazel Smith breaks down writing into incremental stages, revealing processes that are often unconscious or unacknowledged, and shows how they can become part of a systematic writing strategy.
Some are classic, overall guides, and some work on specific niche areas, but almost all of them are built around the notion that you begin with a solid basis of straightforward rules about character, plot, structure and form, and that this is the area where teaching or books can assist, and then, once you are very experienced, you move away from the teaching process and play with the form.
At the beginning of each chapter are a series of exercises, which, when complete, may form the basis for a whole text, the part of a text, or just a stimulus to further work. But in poetry we sometimes want to exploit the polysemic aspect of language: Smith draws on her extensive experience as teacher of creative writing at the University of New South Wales in Australia, her research work in this area, and perhaps most importantly, her personal experience as writer, performance poet, and collaborator.
This book is highly recommended for writers of all levels of ability — those interested in producing avant-garde works and those who only want to delve deeper into the art of communication using traditional models.
As one would expect, the book is impeccably researched, and makes for fascinating reading in itself, and servers as a primer towards post-modernism, looking at a wide number of creative and challenging texts, from Barthes to Kristeva, and exploring the whole notion of self-expression in the context of this work.
She has published two books of poetry, two CDs of performance work and numerous multimedia and hypermedia works. Multimedia, the synoptic novel, sonics, performance modes, and the use of place and space are all examined as routes to creating work. It relates practical strategies for writing to major twentieth century literary and cultural movements, including postmodernism.
Grammar can be constraining because it is hierarchical. There are also chapters on playing with genre, using structural principles to guide the text, recycling other pieces of published work not necessarily your ownplaying with the narrative, and working with different types of dialogue. Although the book can be used at any level, it is pitched fairly high, aimed primarily at university students of creative writing who want to explore alternative means of self-expression.
She founded the creative writing program at the University of New South Wales. Each chapter is illustrated with extensive examples of both student work and published writing, and challenging exercises offer writers at all levels opportunities to develop their skills. The book is broken up into two parts, one providing introductory strategies of the sort Smith might use with her undergraduates and one with more advanced strategies of the sort used with postgraduate students.
More books by this author Author bio: While advanced postmodern forms have all been explored as part of literary theory, this is the first time I have come across it in a writing manual, and Smith handles the difficult balance between analysis, clarity, and practicality very well.
For many social uses grammar is essential because we need to communicate with other human beings with as little ambiguity as possible, and prioritise some aspects of our communications over others.
Suitable for both beginners and experienced writers, The Writing Experiment covers many genres including fiction, poetry, writing for performance and new media.The Writing Experiment demystifies the process of creative writing, showing that successful work does not arise from talent or inspiration alone.
Hazel Smith breaks down writing into incremental stages, revealing processes that are often unconscious or unacknowledged, and shows how they can become part of a systematic writing strategy. The Writing Experiment-PAGES.
6/1/05 PM Page i THE WRITING EXPERIMENT Strategies for innovative creative writing Hazel Smith The Writing Experiment. The Writing Experiment: Strategies for innovative creative writing - Kindle edition by Hazel Smith.
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The Writing Experiment demystifies the process of creative writing, showing that successful work does not arise from talent or inspiration alone. Hazel Smith breaks down writing into incremental stages, revealing processes that are often unconscious or unacknowledged, and shows how they can become part of a systematic writing strategy/5(60).
THE WRITING EXPERIMENT Strategies for innovative creative writing Hazel Smith The Writing Experiment-PAGES 6/1/05 PM Page i. Mar 01, · After reading this book, I honestly felt the need to force every single English I know to become aware of it. Really amazing stuff, this is a book I believe /5.Download