Fundamentally, the core constituents of the discipline of creative writing pertain to the myriads of forms of artistic expressions. The most significant aspect of the symbiosis of such artistic imagination could be understood as the deriving of certain specific imagery from the factor of imagination of the creative writer. Such imagery is primarily associated with the narratives of the genre and content of the creative writing. Such content and genre are mostly associated with the disciplines of novels, short stories, scripts, poetry, creative fictional and non-fictional literature. In this context, it could be understood that the discipline of creative writing is primarily a subjective mode of formative approach regarding the formulation of content and narration. The diversity of the genre could specify the various modes of development concerning the intended outcomes.
However, various elements could be identified in every genre of creative writing despite the divergence of narrative techniques or formative contents on which the individual creative modes could be premised upon. These universal elements are responsible to guide and strengthen the backdrop of the entire creative genre. Such elements could be considered as the imagery, narrative perspectives and the setting on which any form of creative writing could be pursued.
The imagery could assist any creative writer to devise the fictional or non-fictional world in which the reader could be led into. The readers are necessitated to come to experience the latent emotions, infused by the creative writer within the fictional/non fictional literature, through such perceptual imagery. This becomes especially assistive for both the creative writers and the readers or audiences (depending upon the nature of the writing), to better visualise the actual dialectical thought processes which the characters of such creative writings could exhibit. Abstract words and narrative phrases could be paired with the effectively crafted imagery of such nature. However, the creative writing disciplines are better served through the avoidance of generalisations and vague referencing of tangible or intangible elements. Judgements and subjective opinions, however, are of extensive value in terms of such imagery formulation. On the other hand, the portrayal of characters within the creative writing genre could necessitate the utilisation of concrete details so that the various focused and specific descriptions of the multiplicity of characteristics of such characters could become definitively tangible for the readers.
Furthermore, the narrative perspectives of any creative writer could be utilised for the purpose of presenting the core essentials of the content or the characters through which the creative content could be materialised. The reader could be presented with a character or a host of characters through imagery, appearances, speech, thought and narrative techniques. These modes are identified as the literary instruments through which the characters, plots, subplots ad situations could be revealed or invoked for the audiences or readers.
The most significant element in this context of narrative techniques and the guidance which could be specifically developed by the creative writer for the purpose of facilitation of the literary journey of the readers through the created content, has been the often recurring changes within the narrative techniques. Such changes could determine the orientation of the course of the narration. This method generally follows a tripartite approach of invocation, rising action and the denouement.
Furthermore, the creative writer has to also manage the responsibility of development of the written equivalent of a first person based directly communicative voice for the readers of the composed creative literature. This is also an unexpected but primarily recognisable element of imaginative writing. The secret of any creative writing is thus to develop a unique technique of narration by the writer so that the readers/audiences could discern the unique literary fingerprint of the writer through the consistent exposition of the finer details of creativity throughout the composed literature. One significant handicap in this context, could be the short sightedness of the creative writer to introduce unintended or habitual narrative impediments such as ambiguity or lack of clarification which could effectively muffle the communication in between the creative writer and the readers.
The most significant secret of creative writing is the setting of any plot or content which could be envisaged by the creative writer. The setting holds the highest of significance for a distinct series of reasons. The initial of these could be comprehended as the recognition of the relationship between the creative writer with those of the concurrent time and place as well as the situational fundamentals which could inspire the writer to take to creative writing through development of innovative content and plots (especially in terms of fiction). The formulation of particular backgrounds to the creative contents through special and periodical representations is the core constituent of any forms of imaginative writing.
One particular unexpected element which has to be taken into consideration in this context is that setting is the part of any imaginative or creative writing. This specific literary tool is representative of a gamut of different sensibilities of the writer rather than merely the backdrop of the written content. The underlying elements of settings of any imaginative writing pertain to the identity of the writer, the sense of exclusion or inclusion (whichever could be observable by the writer in the social surroundings of him/her), the customs and the legacy of the creative genre which the writer could select to capitalise upon. The choice of detail of the writer, as innovative means to formulate understandings and experiences within the plots or subplots of the creative writing, could be observable through the delineations of the associated settings.
Any format of creative writing could not be properly experienced by the readers unless the settings spell out the time and place of such a literary composition. Thus, the choice of settings by the writers of creative content could highlight everything which could come to support or affect the message which is intended to be communicated by the writers to the readership. To format the appropriate setting, every creative writer has to move through a particular cycle of engagement and reflection. This cyclical process involves formulates the cognitive basis on which the structure of the creative writing could be developed. The creative and imaginative writers have to be always engaged completely to this cycle of thought development. The writer has to devote complete intellectual resources to the transformation of an incoherent yet connected set of ideas into actual written texts. This process involves coming to a halt for the writer at a specific point in the creative journey and then bring forth the so far devised literary content into conscious attention. This format of creative writing highlights the necessity of the imaginative writer to progress forward with particular mental representations which could both be explored and transformed according to the genre of the writer.
This cyclical transition of thought is mostly generated when a breakdown could be observed in the flow of the ideas. One explanation of this could be the faltering of the mental processes of the writer in which the writer could be subjected to a stream of consciousness effect where the emerging ideas could be failing to properly materialise as the thoughts could be disjointed and could be getting to the conclusion in an abrupt manner. Thus, the most efficacious measure of overcoming of this impediment, for the imaginative writer, is to indulge into a period of reflection.
Reflection, from a definitive perspective, is associated with the faculty of amalgamation of psychological processes which could interact with each other when the writer could be undertaking imaginative thinking. This procedure entails the reviewing of the various available material associated with the topic of writing, the conjuring up of different strands of memories, ideation process performance under which the formulation and transformation of ideas are undertaken and finally, the recognition of the material which has to be created and the methods to organise the different ideas to synthesise a discernable concept to be written about.
At the general perceptual levels, the different genre of creative writing could be specified through the identification of the exact point of thought from where the writer could have selected to experience the cycle of reflection. There are primarily two points of thoughts through which a writer could progress towards creative and imaginative thinking. These are periods of reflection, planning and progress and the sessions of consummately engaged writing. There are four cognitive functionalities through which the creative ideation could be undertaken. These are contemplation of the subject, specification of the finer details concerning the narrative techniques, the generation of transformable ideas and interpretation of different strands of seemingly disjointed ideas. The final functionality, in the measure of interpretation of different ideas, could be supported by different techniques of cognitive practices such as Brainstorming. However, this could be perceived as a primarily mechanistic method of creative writing development and the emotive elements associated with innovative and imaginative writing development are not represented through such accounts. The emotive factors are recognisable as the delights and the sense of euphoria which could be perceived by the creative writers when they come up with unexpected and novel ideas for their subjects of writing.
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