Chester Said:

Sources on tutoring creative writers?

We Answered:

I can't offer specific sources unfortunately, but check out Peter Elbow's and Bell Hooks' books and essays. They both discuss pedagogy, and their names get brought up a lot at my own writing center where I tutor. You might find something in their work that can contribute to your own essay. I would also advise you to seek out your school's library databases, where you can search for teaching/tutoring creative writing.

Charlotte Said:

good writing tutor books?

We Answered:

Try some online courses (all free)
http://www.writersvillage.com/character/…
http://sartkras.edwebhosting.com/miniles…
http://www.hatrack.com/writingclass/inde…
http://owl.english.purdue.edu/owl/
http://www.writesf.com/
http://www.wisc.edu/writetest/Handbook/i…
http://www.bbc.co.uk/dna/getwriting/mini…

Danielle Said:

Is your autobiography true?

We Answered:

First of all its hard for things to truly be both "autobiographical" and a "novel." If you want to write a novel, you need to change enough stuff in it--names, small details, etc.--you wouldn't want to become hated among your friends, family, and various relations. What is more important than writing the whole truth is capturing the emotion of the story not the teeny details. You wouldn't want your whole life to be put under a microscope...or would you??? I know I wouldn't. I guarantee if it's painful for you to write about embarrassing situations, it will be painful to the reader as well.

I recommend changing characters...changing names, changing characteristics, maybe combining characteristics of one person with another. You don't want anyone to be too recognizable...you want the all the characters to be believable and human with strengths and flaws...but you shouldn't be telling everyone elses secrets either.

Jacob Said:

i need to write a creative pease using romantacism as the basis. i cant afford a tutor?

We Answered:

Romanticism is a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in Western Europe, and gained strength in reaction to the Industrial Revolution.[1] In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature,[2] and was embodied most strongly in the visual arts, music, and literature, but can be detected even in changed attitudes towards children and education.

The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as trepidation, horror and terror and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble, made of spontaneity a desirable character (as in the musical impromptu, and argued for a "natural" epistemology of human activities as conditioned by nature in the form of language and customary usage.

Romanticism reached beyond the rational and Classicist ideal models to elevate a revived medievalism and elements of art and narrative perceived to be authentically medieval, in an attempt to escape the confines of population growth, urban sprawl, and industrialism, and it also attempted to embrace the exotic, unfamiliar, and distant in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape.

The modern sense of a romantic character may be expressed in Byronic ideals of a gifted, perhaps misunderstood loner, creatively following the dictates of his inspiration rather than the mores of contemporary society.

Although the movement is rooted in the German Sturm und Drang movement, which prized intuition and emotion over Enlightenment rationalism, the ideologies and events of the French Revolution laid the background from which both Romanticism and the Counter-Enlightenment emerged. The confines of the Industrial Revolution also had their influence on Romanticism, which was in part an escape from modern realities; indeed, in the second half of the 19th century, "Realism" was offered as a polarized opposite to Romanticism.[3] Romanticism elevated the achievements of what it perceived as heroic individualists and artists, whose pioneering examples would elevate society. It also legitimized the individual imagination as a critical authority, which permitted freedom from classical notions of form in art. There was a strong recourse to historical and natural inevitability, a zeitgeist, in the representation of its ideas.