Winding Roads Exercises in Writing Creative Nonfiction
by Thiel, DianeBuy New
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Summary
Author Biography
Diane Thiel is the author of six books of poetry, nonfiction, and creative writing pedagogy: Echolocations (Nicholas Roerich Prize, 2000),
Writing Your Rhythm (2001), The White Horse: A Colombian Journey (2004), Resistance Fantasies (2004), Crossroads: Creative Writing Exercises in Four Genres (Longman, 2005) and Open Roads: Exercises in Writing Poetry (Longman, 2005). Her work appears in major journals including Poetry, The Hudson Review,The Sewanee Review, Best American Poetry 1999, among numerous others, and is reprinted in more than 30 major anthologies, including Twentieth Century American Poetry (McGraw Hill, 2004) and Contemporary American Poetry (Longman, 2005). Thiel received her BA and MFA from Brown University and has traveled and lived in various countries in Europe and South America. She has been a professor of creative writing for more than 15 years. A recipient of numerous awards including the Robert Frost and Robinson Jeffers Awards, and a recent Fulbright Scholar, she is on the creative writing faculty at the University of New Mexico.
Table of Contents
| Preface | p. xiii |
| Introduction | p. 1 |
| Beginning: Points of Inspiration | p. 5 |
| Keeping a Journal | p. 7 |
| Family Stories: History as Heartbeat | p. 9 |
| Memory and Imagination | p. 10 |
| Telling Lies to Tell the Truth | p. 11 |
| Making the Old Story New | p. 12 |
| A Picture Brings Forth a Thousand Words | p. 14 |
| Object Lessons | p. 16 |
| Exercises for Developing Craft and Technique | p. 19 |
| Voice and Style | p. 21 |
| Finding Your True Subjects | p. 21 |
| A Question of Style | p. 23 |
| Conditional Voice | p. 24 |
| Breaking the Rules | p. 26 |
| Perspective and Point of View | p. 27 |
| How You See It; How You Don't: Defining Perspective and Point of View | p. 27 |
| A Communal Story: Using Multiple Perspectives | p. 30 |
| Innocent Perspective | p. 32 |
| Using Biography | p. 34 |
| Detail, Image, and Symbol | p. 35 |
| Detailing a Narrative | p. 35 |
| Turning Abstractions into Images and Action | p. 36 |
| Using All of Your Senses | p. 38 |
| Writing from Art | p. 40 |
| Symbols, not Cymbals | p. 41 |
| Figurative Language | p. 43 |
| Diction | p. 48 |
| Origins of Words | p. 48 |
| Foreign Flavor | p. 49 |
| Simplify | p. 50 |
| Tell-tale Dialect | p. 51 |
| Setting | p. 53 |
| Setting with Personality | p. 53 |
| Setting from Family History | p. 55 |
| Setting Your Hometown | p. 57 |
| Creating Tension | p. 59 |
| Foundations of Tension | p. 59 |
| Plot | p. 59 |
| A Spell of Trouble: Conflict and Tension | p. 61 |
| Reversing the Action | p. 63 |
| Trading Characters, Settings, and Conflicts | p. 65 |
| Reverberating Closure | p. 66 |
| Rhythm | p. 68 |
| Finding Your Rhythm: Poetry in Prose | p. 68 |
| Song and Story | p. 70 |
| Listening to Nature | p. 71 |
| Character and Dialogue | p. 73 |
| Populating a Piece | p. 73 |
| Inside a Character's Mind | p. 75 |
| Compelling Characters | p. 77 |
| Dialogue Dropping from the Eaves | p. 79 |
| Exercises for Exploring Revision, Subgenres, and Frequent Concerns of Creative Nonfiction | p. 81 |
| Revision | p. 83 |
| Rereading, Reimagining, Reshaping | p. 83 |
| What's in a Name: Finding a Title | p. 85 |
| Revision: Beyond the Frame | p. 86 |
| Revision: Reimagining Character and Conflict | p. 87 |
| Creating Scenes: A Revision Narrative | p. 88 |
| Workshop: Thirteen Ways of Looking for Revision | p. 95 |
| Exploring the Subgenres of Creative Nonfiction | p. 97 |
| From Memory to Memoir | p. 97 |
| Researching a Life: Biographical Sketch | p. 99 |
| Personal Opinion: Taking a Stand | p. 101 |
| Living Sources: Gathering and Using Information | p. 103 |
| Reflective Writing: Reflecting on the World | p. 105 |
| Writing About Place | p. 107 |
| A Piece of History | p. 109 |
| Exploring Frequent Concerns of Creative Nonfiction | p. 112 |
| Finding the Emotional Truth | p. 112 |
| Writing Between the Lines: Subtext | p. 114 |
| Time Lines and the Larger Context | p. 116 |
| The Passage of Time | p. 117 |
| Vignettes | p. 119 |
| Mapping Your Memory | p. 120 |
| Writing Inside the Story: Metawriting | p. 123 |
| A Collection of Creative Nonfiction | p. 125 |
| "The Truth About Truffles" | p. 127 |
| "Superman and Me" | p. 128 |
| "Why I Love Tourists: Confessions of a Dharma Bum" | p. 131 |
| "An Entrance to the Woods" | p. 139 |
| "Myth & Uncertainty" from To Prove My Blood: A Tale of Emigration and the Afterlife | p. 148 |
| Excerpt from In Patagonia | p. 151 |
| "Silent Dancing" | p. 154 |
| "A Son in Shadow" | p. 160 |
| "Westbury Court" | p. 171 |
| "Bilingual/Bilingue | p. 175 |
| "Splendor and Squalor" from Among the White Moon Faces: An Asian-American Memoir of Homelands | p. 178 |
| "Lonely Impulse of Delight: One Reader's Childhood" | p. 196 |
| "Documented/Undocumented" | p. 201 |
| "The Flying Man" | p. 202 |
| "Biography of a Dress" | p. 209 |
| "Three Pokes of a Thistle" | p. 215 |
| "Looking at Aaron" from What Becomes You by Aaron Raz Link and Hilda Raz | p. 218 |
| "Landscape, History, and the Pueblo Imagination" | p. 224 |
| "A Modest Proposal" | p. 234 |
| "Mother Tongue" | p. 241 |
| "Crossing the Border" from The White Horse: A Colombian Journey | p. 245 |
| "Walking" | p. 249 |
| from Mississippi: An American Journey | p. 251 |
| Writers About the Art of Creative Nonfiction | p. 255 |
| "Nine Beginnings" | p. 257 |
| "The Creative Nonfiction Police" | p. 261 |
| "Making the Truth Believable" | p. 267 |
| "Toward a Definition of Creative Nonfiction" | p. 270 |
| "Other People's Memories" | p. 277 |
| "Humor Incarnate" | p. 279 |
| Index | p. 289 |
| Credits | p. 293 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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