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Discusses the various types of immersion writing, including travel, memoir, and journalism, and explains some of the issues that writers encounter in reporting about the factual world and in describing other people and their own inner experiences.
Over three and a half decades, Ted Conover has ridden the rails with hoboes, crossed the border with Mexican immigrants, guarded prisoners in Sing Sing, and inspected meat for the USDA. His books and articles chronicling these experiences, including the award-winning Newjack: Guarding Sing Sing, have made him one of the premier practitioners of immersion reporting. In immersion reporting—a literary cousin to ethnography, travel writing, and memoir—the writer fully steps into a new world or culture, participating in its trials, rites, and rituals as a member of the group. The end results of these firsthand experiences are familiar to us from bestsellers such as Nickel and Dimed and Behind the Beautiful Forevers. But in a world of wary strangers, where does one begin? Conover distills decades of knowledge into an accessible resource aimed at writers of all levels. He covers how to “get into” a community, how to conduct oneself once inside, and how to shape and structure the stories that emerge. Conover is also forthright about the ethics and consequences of immersion reporting, preparing writers for the surprises that often surface when their piece becomes public. Throughout, Conover shares anecdotes from his own experiences as well as from other well-known writers in this genre, including Alex Kotlowitz, Anne Fadiman, and Sebastian Junger. It’s a deep-in-the-trenches book that all aspiring immersion writers should have in hand as they take that first leap into another world.
A “remarkable chronicle” of a journey back to this West African nation after years of exile (The New York Times Book Review). Noo Saro-Wiwa was brought up in England, but every summer she was dragged back to visit her father in Nigeria—a country she viewed as an annoying parallel universe where she had to relinquish all her creature comforts and sense of individuality. After her father, activist Ken Saro-Wiwa, was killed there, she didn’t return for several years. Then she decided to come to terms with the country her father given his life for. Traveling from the exuberant chaos of Lagos to the calm beauty of the eastern mountains; from the eccentricity of a Nigerian dog show to the decrepit kitsch of the Transwonderland Amusement Park, she explores Nigerian Christianity, delves into the country’s history of slavery, examines the corrupting effect of oil, and ponders the huge success of Nollywood. She finds the country as exasperating as ever, and frequently despairs at the corruption and inefficiency she encounters. But she also discovers that it is far more beautiful and varied than she had ever imagined, with its captivating thick tropical rain forest and ancient palaces and monuments—and most engagingly and entertainingly, its unforgettable people. “The author allows her love-hate relationship with Nigeria to flavor this thoughtful travel journal, lending it irony, wit and frankness.” —Kirkus Reviews
Everyone who writes a novel, a poem, or a memoir almost certainly conducts research along the waywhether to develop a story idea, or to capture the voice, the speech patterns, or the exact words of a character, or to ensure authenticity or accuracy of detail in describing a person, a place, an object, a setting. This kind of experiential research is an art form of its own, and this book is the first to treat it as such. Addressing writers of fiction, poetry, and nonfiction, Philip Gerard covers all the different kinds of archives that might inform creative work, including historical documents, site visits, interviews, and memory. He offers practical tips for drawing on these different types of sources, including such mundane matters as planning and budgeting for travel costs, arranging access in advance, and troubleshooting when plans go awry. And he illustrates how the insights gleaned from research can be incorporated into stories, poems, and nonfiction using examples from a wide range of writers."
When writing workshop first blossomed in classrooms, its hallmarks were genuine curiosity, individual choice, quality conversations, and engaging children's literature. A joyous hum of intention, creativity, and craft enlivened the school day. But today's teachers are often faced with a range of obstacles, as new initiatives are embraced, mandates handed down, and scripted programs purchased. Sometimes teachers must sacrifice the original principles of writing workshop and lose that joyous hum. Above and Beyond the Writing Workshop by Shelley Harwayne is filled with original, joyful writing challenges designed to bring back the spirit of the original writing workshop model while encouraging educators to enhance it through invention, innovation, and inspiration. These challenges are meant to generate other lessons and other projects, as teachers come to realize that teaching writing is not only possible but perhaps the most important, relevant, and gratifying part of their instruction. Shelley invites teachers to keep the groundbreaking spirit alive by: taking back their writing workshops finding time for professional conversations trying out new ideas in the company of colleagues encouraging children to be inquisitive, outspoken, and independent reminding children how fascinating the world is helping students delight in figuring out how things work and then teaching others what they have learned offering children an opportunity to think deeply about their passions and giving one another new things to love showing children that high quality writing can and will make a difference in the world. Shelley believes children who write what matters to them - their experiences, their beliefs, their observations - will find their lives enhanced. She seeks to raise activists who, by becoming more aware of the world and asking why things are the way they are, will be empowered to make it better.
Providing information on how to get started in travel journalism, this book deals with all aspects of the profession, from its glamorous image to the gruelling reality.
Bursting with invaluable advice, this inspiring and practical guide, fully revised and updated in this new edition, is a must for anyone who yearns to write about travel - whether they aspire to make their living from it or simply enjoy jotting in a journal for posterity. You don't have to make money to profit from travel writing. Sometimes, the richest rewards are in the currency of experience. How to be a Travel Writer reveals the varied possibilities that travel writing offers and inspires all travellers to take advantage of those opportunities. That's where the journey begins - where it takes you is up to you. Let legendary travel writer Don George show you the way with his invaluable tips on: The secrets of crafting a great travel story How to conduct pre-trip and on-the-road research Effective interviewing techniques How to get your name in print (and money in your bank account) Quirks of writing for newspapers, magazines, online and books Extensive listings of writers' resources and industry organisations Interviews with established writers, editors and agents About Lonely Planet: Since 1973, Lonely Planet has become the world's leading travel media company with guidebooks to every destination, an award-winning website, mobile and digital travel products, and a dedicated traveller community. Lonely Planet covers must-see spots but also enables curious travellers to get off beaten paths to understand more of the culture of the places in which they find themselves. The world awaits! Lonely Planet guides have won the TripAdvisor Traveler's Choice Award in 2012, 2013, 2014, 2015, and 2016. 'Lonely Planet. It's on everyone's bookshelves; it's in every traveller's hands. It's on mobile phones. It's on the Internet. It's everywhere, and it's telling entire generations of people how to travel the world.' -- Fairfax Media 'Lonely Planet guides are, quite simply, like no other.' - New York Times Important Notice: The digital edition of this book may not contain all of the images found in the physical edition.
"Reply All, the third collection of award-winning and widely anthologized short stories by Robin Hemley, takes a humorous, edgy, and frank look at the human art of deception and self-deception. A father accepts, without question, the many duplicate saint relics that appear in front of his cave everyday; a translator tricks Magellan by falsely translating a local chief's words of welcome; an apple salesman a long way from home thinks he's fallen in love; a search committee believes in its own nobility by hiring a minority writer; a cheating couple broadcast their affair to an entire listserv; a talk show host interviews the dead and hopes to learn their secrets. The ways in which humans fool themselves are infinite, and while these stories illustrate this sad fact in sometimes excruciating detail, the aim is not to skewer the misdirected, but to commiserate with them and blush in recognition."--P. [4] of cover.
A Financial Times Book of the Year 'Jaw-dropping' Daily Express 'Grimly fascinating' Financial Times 'Humane, timely, accessible and well-researched' Irish Times The dictator who grew so rich on his country's cocoa crop that he built a 35-storey-high basilica in the jungles of the Ivory Coast. The austere, incorruptible leader who has shut Eritrea off from the world in a permanent state of war and conscripted every adult into the armed forces. In Equatorial Guinea, the paranoid despot who thought Hitler was the saviour of Africa and waged a relentless campaign of terror against his own people. The Libyan army officer who authored a new work of political philosophy, The Green Book, and lived in a tent with a harem of female soldiers, running his country like a mafia family business. And behind these almost incredible stories of fantastic violence and excess lie the dark secrets of Western greed and complicity, the insatiable taste for chocolate, oil, diamonds and gold that has encouraged dictators to rule with an iron hand, siphoning off their share of the action into mansions in Paris and banks in Zurich and keeping their people in dire poverty.
FEATURING ESSAYS FROM: Barrie Jean Borich • Jenny Boully • Norma Elia Cantú • Rigoberto González • Philip Graham • Carol Guess • Jeff Gundy • Robin Hemley • Barbara Hurd • Judith Kitchen •Eric LeMay • Dinah Lenney • Bret Lott • Patrick Madden• Lee Martin • Maggie McKnight • Brenda Miller •Kyle Minor • Aimee Nezhukumatathil • Anne Panning • Lia Purpura • Peggy Shumaker • Sue William Silverman • Jennifer Sinor • Ira Sukrungruang • Nicole Walker Unmatched in its focus on a concise and popular emerging genre, The Rose Metal Press Field Guide to Writing Flash Nonfiction features 26 eminent writers, editors, and teachers offering expert analysis, focused exercises, and helpful examples of what make the brief essay form such a perfect medium for experimentation, insight, and illumination. With a comprehensive introduction to the genre and book by editor Dinty W. Moore, this guide is perfect for both the classroom and the individual writer’s desk—an essential handbook for anyone interested in the scintillating and succinct flash nonfiction form. How many words does it take to tell a compelling true story? The answer might surprise you.