Latest news with #creativewriting
Times
6 days ago
- Entertainment
- Times
25 years on, Stephen King's memoir is still the best guide for writers
H ow does one become a better writer? There are online courses, writing retreats, even coaches available, but the obvious solution to most literary-minded people is simply to read a book about it. Forget Creative Writing for Dummies, though, the first port of call has been, for the past 25 years, Stephen King's On Writing: A Memoir of the Craft. 'His advice is sharp and practical,' John Grisham raves in the front matter of the new 25th anniversary edition. 'If you dream of writing novels, start with this timeless book.' And King does have the credentials to back up his advice. The 77-year-old has written more than 60 novels. The best known are firmly in the horror genre — such as It, The Shining and Carrie — but he has also delved into crime, sci-fi and fantasy. Many of them have been adapted for the big screen and together they've sold over 350 million copies.
Forbes
16-07-2025
- Entertainment
- Forbes
7 Sneaky Content Writing Techniques That Keep Readers Hooked
When you use the right writing techniques, people will find themselves rolling right through your ... More article. Want to learn some writing techniques that feel a bit like superpowers? Listen up, because I've got a story to share. After I published my article on how to get unstuck by changing your creative environment, my husband wrote me a mildly perplexing email about how I introduced the article's main point. "I liked how you set it up," he said, and then proceeded to quote what I had written: Then came the perplexing part. "It was a cool rhetorical decoy that doubled as a question and a set-up," he added. Say what? Conversational writing techniques are sure to draw attention to your ideas. Say what‽ A rhetorical decoy that doubled as a question? My husband, who spends a lot of time in his head, can be a little abstract, so I had to read what he wrote again. Then, as I read it a third time, understanding dawned. A huge smile broke out on my face. It was like discovering I'd been speaking French fluently without realizing I knew the language. I'd used a technique so naturally that I didn't even recognize its power. "Aww, shucks," I thought, beaming. "Little old me did all that?" Although I can sometimes turn a great phrase, I'm no master of literary devices. I knew that whatever I did, I did it instinctively. I wasn't being clever. I was just being myself. An unendingly curious type, I also wondered if I'd instinctively used other such devices—and what they might be. "Article idea!" I thought. So I uploaded the piece to Gemini, mentioned my husband's "rhetorical decoy" comment, and asked if I'd used any other sneaky-smart techniques without knowing it. Turns out, there were seven. And the best part? As you'll discover in this article, the techniques are surprisingly simple and effective. I'll also show you how to recognize and use them in your own work. Let's dig in. Writing technique 1: Soften with a setup Creating a great setup is a writing technique that draws readers in and keeps them reading. This technique is the rhetorical equivalent of my 'aw shucks' moment. You pose a question or make a comment that sounds humble or self-doubting, but then follow with a real insight. A great example is the very line my husband pointed out: See what I did? It wasn't magic. I just got to the end of the introduction and stopped. I re-read what I had written and thought to myself, 'Okay, so what's the point?' And I decided that's exactly how I'd lay out the point. You can use the soft setup throughout your article, not just in the introduction. Just open any piece of your writing and start to read. When the time feels right (this knowing of when will grow on you), ask yourself, "What thoughts might my readers be having here? What doubts? Concerns? Worries?" Start with a thought that suggests reader uncertainty. Then walk with readers into answers, clarity, the truth. Writing technique 2: Pull a gentle twist Pulling a gentle twist on your readers is a writing technique that helps you guide readers into ... More discovering insights on their own. With this technique, you lead your readers somewhere familiar, then shift just enough to surprise them. You're not trying to fool them—or make them feel like a fool. You're guiding them to a door they didn't know existed. Here's an example from the same article: At this point in the piece, I'm tapping into the idea that most people think being stuck is something internal. Then I pull the twist: I illustrate that by the very definition of the word, being stuck seems to be the result of an external force acting on us. In other words, it's not internal. It's external. It's not what you thought. How to use the gentle twist technique? Start by naming the default belief or assumption. Then challenge it with quiet confidence and without drama. That kind of turn invites readers to rethink—and to want to keep reading. Writing technique 3: Flip the frame Giving readers a new way to frame their thinking is a great keep-them-reading writing technique This trick comes into play right where your piece pivots. You've built up to an idea, and now you rotate the lens so readers see things differently. I used this technique immediately on top of the twist. At this point, I stopped leading up to my argument and plainly stated it: How to flip the frame? Look for a moment where your message changes from what things seem to be to what they actually might be or are. That's your flip. Make it clear, but don't force it. Your words should feel like revelation, not instruction. Writing technique 4: Plant seeds of possibility When readers feel like they're on a journey of discovery rather than being told something, they're ... More more invested in the outcome. Rather than just launching into advice, plant ideas so that readers feel like they're uncovering them on their own. Either that, or walk readers through your thought process so they can discover alongside you. Here's how I did the latter in the stuck piece: See what I did? First, I explored what the word stuck means—and took readers through that exploration. Then I considered how we generally think about being stuck in a creative sense, and what we typically think we need to do to get unstuck. I led readers through that though process. Then I presented my thesis. Bang! To plant seeds of possibility, use words like "could" and "might" and "what if" instead of stating facts directly. Ask questions. Lead readers through the process you went through to discover the insights you're writing about. When readers feel like they're on a journey of discovery rather than being told something, they're more invested in the outcome. Writing technique 5: Repeat, but make it matter Use the writing technique of repetition to set a pace, like a heartbeat. We all know that repetition breeds familiarity. But it's also about rhythm and emphasis. A well-placed repeat builds energy and clarity without you having to yell. Two different examples from my article: This technique is easy enough to spot. To use it yourself, treat repetition like a heartbeat. Don't try to drive a point home, though. The goal is to set a pace. Let the repeats guide readers' attention, especially in moments when emotions are building. Writing technique 6: Clear the clutter with contrast Creating contrast is a writing technique that helps you answer reader questions and address ... More objections. Sometimes the best way to explain what something is to say what it's not. This technique works especially well when readers are swimming in too many possibilities. Here's my example: You can use contrast by stacking up what doesn't belong, then revealing what does. Talk about both "what is" and "what isn't." Use "what works" and "what doesn't." Point to the yin and the yang, the yes and the no. Contrast helps readers focus by eliminating the noise and highlighting what truly matters. Writing technique 7: Write like you talk My favorite writing technique of all? Write like a human. Write like you talk! Honestly, this might be my favorite technique of all. So many pieces try to sound polished or formal, but the best writing often just sounds like you. This one is easy. Write the way you talk. Break a sentence if it feels better that way. Use contractions. Embrace your voice. Readers respond to realness and rhythm. And if writing ever feels difficult, try recording yourself speaking and thinking aloud. Then, you can work from transcripts. Bottom line If you find yourself smiling while reading back what you've written, you've used writing techniques ... More well. Congrats! I realize these tricks aren't fancy or flashy. But they help the writing feel real, alive, and easy to trust. And chances are, you're already using a few without knowing it. How about giving it a try? Pull up a piece you've written recently and read it from the perspective of reader. Ask yourself: Look for those little moments to use these writing techniques because they often do more work than you realize. And if you find yourself smiling a little while reading your piece back? That's a very good sign.
ABC News
05-07-2025
- Entertainment
- ABC News
Mt Isa teen's story published internationally thanks to outback writers' group
When teenager Jasmine Harvey received a WhatsApp message saying she would soon be an internationally published author, she thought it was a scam. "I was midway through my walk and I got a notification, my music paused … it was really just a shock." The 14-year-old from Mount Isa in Queensland's outback was one of 11 winners in an international writing competition where the prize was every writer's dream — to become a published author. "I don't think it has sunk in yet; it's still sort of a fever dream," she said. Jasmine said she has always been an enthusiastic reader but only dabbled in creative writing. So when the Mount Isa Library launched its Young Writers Group last year, she signed up. "I didn't think anyone else would be into writing," Jasmine said. The city's Young Writers Group is a fortnightly workshop for people aged 14 to 21. Facilitator Kaitlin Ryan started the program at the beginning of 2024 after noticing the library was not attracting many teenagers and young adults. "At the start, we didn't think we'd get anyone coming in [for the sessions]," Ms Ryan said. Eighteen months later, up to a dozen young people turn up at every session. Ms Ryan said it had been such a success that another group for even younger writers, aged nine to 12, had been launched. "It gives them a safe space to connect with other young people, to share the same goals and interests," she said. "And it's a skill they can take far into their lives, not just as a hobby." That has been the experience for 14-year-old Rory Jones, who joined the group last year after a friend roped him into it. He said the social aspects of the sessions had benefits beyond developing and honing writing skills. "It's kind of like therapy," Rory said. In a town centred around mining and engineering and sports-based recreational activities, the group has been a much-appreciated creative outlet for Riley Casey. At 18, she is one of the older members of the group. She said she enjoyed mentoring fellow writers in a city where the arts remained "a bit of a niche". "There's not too much out here," Ms Casey said. But as a young and hopeful writer in a remote part of the country, she was unsure what the future held for creative people her age. "I do feel slightly stuck because of the cost-of-living crisis; everything's quite expensive," she said. "How can you make a living as an artist?" Jasmine Harvey credited the support and guidance she received from the writing group with getting her short, dystopian story The Keeper published. "When I started, I wasn't ready to share anything at all that I had written, but then I could slowly share stuff with other people, I could get feedback," she said. The Once Upon In Our Minds competition was founded in 2022 by a fellow writer, 11-year-old Ridhhaan Jaiin. Jasmine, determined to get her work to a wider audience, found the competition while researching opportunities for young writers online. Aspiring writers aged five to 16 from across the globe submit their short stories according to three age categories. The winning works are published in a collection available for purchase online. Jasmine's 2,500-word story features alongside the winning collection of 11 short stories, in the competition's third iteration. Competition organisers said her story stood out for its originality and emotional resonance, securing her a well-deserved spot among the winners. Each day, the teenager eagerly awaits the delivery of a physical copy of her first published work. "I haven't had a copy in my hands yet; it's still sort of surprising," she said.
South China Morning Post
28-06-2025
- Entertainment
- South China Morning Post
Write to Win: This season's winner is Cherry Jen Cheuk-yiu from St Paul's Convent School
Do you love a challenge? Don't miss the chance to win great prizes by taking part in our next writing contest! Click here and fill out the online form to apply. The entry question is: What is the most important quality in a teacher? The deadline is 11.59pm on Monday, August 4. We will notify the new contestants chosen on Friday, August 8. This season's winner is … This season's winner is London – whose real name is Cherry Jen Cheuk-yiu – from St Paul's Convent School. After several creative and challenging rounds, this young teenager's reflective and compassionate writing resonated deeply with Young Post readers, capturing their hearts. Cherry Jen Cheuk-yiu attends St Paul's Convent School. Photo: Handout Congratulations to the first and second runners-up: Hong Kong, Valerie Shek from The Independent Schools Foundation Academy, and Berlin, Joylce Huang from Canossa College. Hear from our Write to Win champion: Cherry Jen Cheuk-yiu, 13, from St Paul's Convent School I applied for this competition and Top 10 a few times before but would become bummed out upon finding out I had not been chosen. But one day, I was scrolling on my computer and discovered that a new round of Write to Win was about to begin. I instantly decided it was my chance to shine. I was determined to stand back up, learn from my failures and rebuild my path to becoming a successful writer. I was both on cloud nine and flabbergasted when I found out that I won Write to Win. Although it was not easy to push through each round, with the topics becoming more difficult and abstract every time, the hard work was all worth it. The rounds covered a wide range of topics, from the advice you would give yourself three years ago to what schools will be like in 50 years. I channelled my creativity and tried to think outside the box in every round to make sure my writing could attract readers. The final question, 'Describe a job that doesn't exist today – but will in the next 50 years', impressed me the most. I dived deep immediately when I received the topic, brainstorming different ideas and concepts of a job that could seem relevant in the future. Images continued to pop up in my head. Bingo! I had a brilliant idea. Why not focus on climate conditions that could lessen environmental problems? I ended up writing about a weather manager. There were a few times I wanted to give up as some of the rounds clashed with my exams. However, after recalling all the things my family, friends and teachers did to support me on my journey, I realised I simply could not give up. Instead, I learned how to balance my time between rest and work, and organised my time using a daily schedule. Seeing the benefits I gained, I think the competition is really worth joining. I would like to express my deepest gratitude to those who supported me from start to finish, including my beloved parents, teachers and friends. Moreover, the other competitors motivated me to improve, and the editors at Young Post helped smooth out my clunky writing. All in all, I am very grateful for the experience I have had in this competition. I enjoyed expressing and sharing my thoughts and feelings about each topic. I hope all future competitors will take this opportunity to showcase their talent! We prepared some exciting prizes for our top three contestants: Winner: Kindle, City'super voucher and a YP certificate First runner-up: Instax camera and a YP certificate Second runner-up: City'super voucher and a YP certificate
The Australian
26-06-2025
- Entertainment
- The Australian
The Name of the Sister by Gail Jones book review: this is a fractious, Jekyll-and-Hyde kind of creature
In the early 2000s, I snuck into one of Gail Jones's creative writing lectures at the University of Western Australia. I was a miserable law student – in temperament and ability – and Jones was a debut novelist, or about to be. I wanted a vastly different life to the one that was expected of me, and sitting in her class was the closest I came, for a long time, to daring to admit it. Jones ended her lecture with a reading, and it felt like alchemy – to watch someone turn ideas into art. Like many clever kids, I only knew how to do the opposite. I left her classroom that day with something new, terrifying and entirely mine: permission to make something. I'm pulled back into that memory every time Jones writes a novel. There will be an image – a flourish, a cadence – that transports me back into that stolen seat, listening to her voice. In Jones's latest book, The Name of the Sister, that moment arrived on page 51 with the description of a decades-long friendship: 'Sometimes Bev and Angie, at the end of a long talk, had a drink and toasted 'constitutional seriousness', both pleased to have a friend with whom to discuss what is seldom expressed, those dark, churning thoughts that turned in the night like sticky clay, like the cling of the earth itself, like the sightless underground world, loss, poor decisions, miscarriages, grief. The way nothing fitted together. The way beauty might be convulsive. The way sadness might be pious. The command of godforsaken things to be noticed and to matter.' What a sentence: the command of godforsaken things to be noticed and to matter. If there is a unifying project to Jones's fiction – an animating force – this might be it. The Name of the Sister is Jones's 11th novel and her first whodunit. With it, she joins a growing list of Ozlit stars – Kate Mildenhall, James Bradley and Mandy Beaumont among them – who are having a crack at crime. There are plenty of ways to interpret this literary shift, from the cynical to the political to the playful. What interests me most is what these writers are doing with the conventions of the genre – or despite them. Jones's contribution is perplexing. On a lonely stretch of highway, on the outskirts of Broken Hill, a woman stumbles into the headlights of an oncoming car. She is skin and bones, the victim of prolonged captivity. Her voice box has been crushed by human hands. The woman cannot speak, or perhaps the very memory of language has been obliterated. 'No one knew who she was. No one knew where she had come from. She had simply arrived,' Jones writes. 'Her life was a puzzle waiting to be solved.' Bev and Angie – our serious friends – are caught up in that puzzle. A detective on the case, it's Bev's job to trace the unknown woman's identity. Hundreds of people believe they know her, and they have called-in from all over the country, bereft and insistent: 'She was a daughter, a lover, a runaway wife; she was the sister abducted from a playground at the age of nine; she was the teenage cousin who ran off with a stockman, on a whim or a spree, and was never seen again.' A freelance journalist, Angie is captivated by these callers and their ferocious, piteous certainty. There is a story here, she thinks, if only she can work out how to tell it. And so, as Bev narrows in on the truth, Angie listens to the families left behind. It's a wonderful premise – quiet and humane. The weight of absence. The slow agony of waiting. But The Name of the Sister is a fractious, Jekyll-and-Hyde kind of creature – a novel at war with itself. Flip through my copy and you can see that struggle play out: the first half is crowded with margin notes; moments of grace, insight, possibility. The second half is empty. My notes end when a quest begins: Angie and Bev head to Broken Hill to locate the torture site and its savage architect. We know what is coming and that is exactly what we get: an outback hellscape; a couple of hardscrabble locals with hearts of gold; a sadistic bible-mangler ('the cliche of the fictional religious madman unhinged'). The whole dusty trope-a-thon ends with a shootout in an abandoned mine shaft that reads like an outtake from Tim Winton's Juice. Here is yet another tale of lost girls in the big bad bush. A fable – and a terror – as old as the colony. It's a dispiriting narrative turn, and a mighty strange one given everything that has come before. Angie the journo is deeply ambivalent about true-crime reportage and its grisly allure – 'appalled by the public appetite for stories of hurt'. She's particularly wary of the way 'outback barbarism' is used to spice up tales of women's suffering – all that myth and menace. Yet that's the precisely the story she wanders into, like some ensorcelled mortal drawn down into the underworld ('the maw of possibilities, deep down and red'). Jones even gives us a cattle-mutt Cerberus. The Name of the Sister seems mildly disgusted with itself – apologetically indulgent (or should that be indulgently apologetic?). And that's the real mystery here. Not the lost girl, but the lost novel – the one that's been overridden, derailed and repudiated. The novel that might have made space for silence, for ambiguity, for the ache of not knowing; for the light left burning, and the empty chair at the dinner table. The novel that honoured, without spectacle, the quiet command at the heart of Jones's best work: that even godforsaken things must be noticed and made to matter. Beejay Silcox is a literary critic Arts Denis Villeneuve, a 'die-hard Bond fan' will direct the first 007 film released under Amazon's watch. Review How did a bright, churchgoing son of a country schoolteacher finish up as a literary serial killer?
