Non Creative Writing

Writing that is not creative

In general, creative writing is associated with fictitious writing, such as fantasy, science fiction, drama and horror. This is an intensive writing workshop focusing on creative non-fiction books. Non-fiction books tell non-fiction stories in a literary style. Creative Writing (Non-Fiction) MA offers you the necessary skills and a supportive and challenging environment: In Non-Fictional Writing, Stylistic Strategies examines the stylistics of non-literary texts.

Distinction between "creative" and "non-creative" translations

From what I have seen in on-line discussion groups on translations, most translations activities can be subdivided into two types: original translations, such as the translations of fiction or promotional and promotional copy, and non-creative machine translations, such as engineering translations. One good example of a high level of creativity in translations would be a trend area that is now referred to as "transcreation", which (although my spelling editor does not yet recognise it as a legal word) is the adjustment of text in one speech to make it fully interoperable with another speech and with the other speech as well.

The other side of the range is a more repeating, somewhat crude form of translating, for example by translating individual texts or by translating technology. One good example of a profoundly non-creative kind of translating is the patented version that I have been doing since 1987. In order to be imaginative, you need a particular kind of moodo: inspirations or godly leadership that tell you how to interpret eternal sayings like "Coke is it" or "Takes a Libcking and Keeps on Ticking", or "Diamonds are forever" into for example Hispanic, French, Croatian or Mongol.

When you can do that, you yourself are a full-fledged performer, possibly as talented as the Genie who came up with the tagline in the native tongue, and your reward should therefore correspond to your remarkable wizard. In contrast to non-creative interpreters, the reason why high-calibre linguistic performers earn faro dainero is that God's inspirations are obviously not found in a glossary or in an on-line terminology-base.

However, this perspective on the translation world ignores an interesting fact: we, the non creatives, i.e. those of us who are not able to interpret things like private documentation, engineering documentation or patent translations, are often asked to interpret promotional and promotional material just because our customers usually do not even know the precise contents of the text to be interpreted - because they are in a non-native tongue.

Noncreative linguists generally do not say no to translations that are not very technological in character, or at least I do not. For example, they can be high-tech, for example, if it is a new medicine, or they can have a technological component, but also a great deal of commercial content: for example, if it is a new body lotion that makes every women look 10 to 20 years younger, according to how often they use it every single time.

Though I am only a small certified professional translators, I am able to produce similar texts which, unlike in the case of industrial translations, often demand a great amount of work. Most of the times I find that similar documents are much simpler to compile than for example intellectual property, by which I mean that the translations generally do not take up nearly as much of my own speaking times as when I compile a heavily repeating work.

In my own judgement, at least, the supposedly very inventive translation work that requires God's inspirations is not very difficult for this crazy patented translation expert to grasp, at least not to the degree that, in my view, would require a higher number. For example, if I am compiling a leaflet of a Jap onese foods that could contain about 70% of the text for promotional and promotional purposes, while the ingredient descriptions are only about 30% of the text, I can simply invoke God's inspirations to transcribe and transcribe information about furicaca (a sort of pure Japaneese spice scattered on rices and usually made up of a blend of grinded and dehydrated seafood, syseed, etc.) to make the information that is available to English-speaking people.

However, for whatever reasons, high quality professionals specialising in advertising copy and taglines do not usually patent translations. It' s actually quite clear - you need to know a few things about the topic of your translations if you want to convert high-tech materials.

In my view, this subdivision of translations into less and less imaginative translations is completely silly. Each area and sub-area in the huge realm of translations demands a great deal of it. Subtitle translations in films, for example, require a very special kind of creativeness, because the contents of what is said must be summarized in a small box on the monitor, a maximum of 2 rows of text with usually only about 65 char.

However, the level of creativeness needed to translate old face-to-face texts is different, but such a kind of translating is often no less challenging when it comes to the context. An Haitian French nativity document is a fairly long artwork, almost like a brief novel, and it is likely that your cream will flow within seconds.

The old German version of a wedding license can be in an outdated handwriting that cannot be deciphered by most inmates. One would have to study another script to be able to translate it, although the text is in a very familiar medium.

Different types of creativeness are needed according to the languages you use. Sometimes I have to be very inventive when translating patents in Japan because..... they are full of typing errors and other small and sometimes not so small errors. You have to be really imaginative to create a translation of a speech that generally does not use single or multiple (because you have to choose either single or multiple for your phrases in English), where the topic is often deduced from the text on the preceding page, and where a general tenses that could mean present, past or futures can be used with something that can mean something like an infinitive or not.

However, unlike in the case of the translations of promotional messages, if you want to be able to produce translations of technological documents, you need a great amount of accuracy as well as creative skills. Any kind of translations demands creativeness, but some kinds of translations demand a great amount of expertise as well as creativeness.

This is not because "highly creative" interpreters who specialise in the inspirational transcription of brand names and the like do not patent their work. You have to reject these "non-creative" transmissions because you just couldn't.

While the text of the patents or specifications may be drafted in a translation terminology, it is drafted in a terminology they do not comprehend.

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