Not so many years ago, Making Up: Research in Creative Writing could not have existed. It could not have existed because at the time of its conception in the countries most influencing its birth – that is, in Britain and in Australia – even the mere notion of research through and in creative writing did not formally exist. Since the early 1990s, such research has grown, and it has developed strongly, worldwide. What we value in works of creative writing has long been the subject of discussion. We might value the diversion a work provides. We might feel personally engaged with a work of creative writing because it relates to an emotional state with which we are familiar or one about which we are newly curious. We might value the insights a work of creative writing provides – whether it is knowledge of our own emotional state, or knowledge about medicine, dancing or mechanical engineering, or whatever else. But research through and in creative writing is not only about the works this research produces, it is also, and often primarily, about the explorations a creative writer undertakes. To explore, through creative writing, ideas, a state of mind, concepts, personal or public ideals – research in and through creative writing, such as that seen here in Making Up: Research in Creative Writing, does this and more.
Creative writing is a responsive human activity. We use it to respond to the world, to our feelings, to ideas, to observations, to other people, to historical and cultural events, and to the wonders created in our imaginations. This book shows how we go about doing this responding. Contributors discuss practice-led research in creative writing. They look at the ways a writer can use language or employ genre and consider how we each define themes and subjects and use writing techniques to explore to these themes and subjects. In examining creative writing teaching, the contributions gathered here suggest that teaching can be more responsive, more engaged with student interests, and more successful. This book shows that exploring creative writing, through a variety of means, can produce inventive, energetic results that can improve our own creative writing, as well as substantially contribute to our critical understanding of creative writing.
This is a compelling look at the current state and future direction of creative writing by a preeminent scholar in the field. Explores the practice of creative writing, its place in the world, and its impact on individuals and communities Considers the process of creative writing as an art form and as a mode of communication Examines how new technology, notably the internet and cell phones, is changing the ways in which creative work is undertaken and produced Addresses such topics as writing as a cultural production, the education of a creative writer, the changing nature of communication, and different attitudes to empowerment
What is creative writing? In Critical Approaches to Creative Writing, Graeme Harper draws on both creative and critical knowledge to look at what creative writing is, and how it can be better understood. Harper explores how to critically consider creative writing in progress, while also tutoring the reader on how to improve their own final results. Throughout the book, Harper explains the nature of ‘creative exposition’, where creative writing is closely and directly examined in practice as well as through its final results. This book aims to empower you to develop your own critical approaches so that you can consider any creative writing situations you face, develop creative exposition that can be applied to writing problems, provide you with more creative choices and assist you in building your creative writing strengths.
In this dynamic exploration of the discipline of creative writing, Graeme Harper departs from the established 'how-to' model in a personal manifesto which analyses why human beings are, and have long been, passionate about writing. Illuminating the five essential keys to creative writing, directly related to the desire to undertake it, Harper analyses creative writing's past and ponders its future, drawing on theories of the self, cultural interaction, consumption and communication. Blending practice-based critical context with contemporary creative writing theory, this book is an ideal companion for undergraduate and postgraduate students of creative writing and literature. Lively and thought-provoking, it is an invaluable tool for all aspiring and established writers who wish to harness the positive effects of their craft.
The Creative Writing Compass presents a dynamic navigational instrument for creative writers and those learning to be creative writers, providing a method for developing and advancing knowledge of creative writing. Award-winning novelist Graeme Harper explores the many fluid interactions of the imagination and the physical acts of writing. He includes observations and approaches that can be personalized to assist with writing decisions. This distinctive guide to the practice of creative writing and to its critical understanding is based in the actions of creation and in each individual writer’s responses to those actions. The ‘compass’ refers to the range of outcomes produced in creative writing – from finished works to the experiences creative writers have while writing – as well as to the range of forces, influences, and meanings that any writer is likely to encounter along the way. The Creative Writing Compass is a guide to the consideration, progression, and completion of creative writing projects, providing ways of thinking about work-in-progress as well as ways of determining and reflecting on end results.
What is Creative Writing? Millions of people do it, but how do we do it, really? What evidence of its human undertaking does Creative Writing produce? How do we explore Creative Writing, as both an art form and a mode of communication? How do we come to understand Creative Writing, creatively and critically? Posing questions about the nature of Creative Writing, On Creative Writing asks us to consider what Creative Writing actually is, and in doing so encourages us to reflect on how our knowledge of Creative Writing can be increased. Emphasizing Creative Writing as an act and actions, On Creative Writing considers what lies at the core of the activity called Creative Writing.
This is a book about discovering how you do creative writing. How you begin, how you structure, how your writing process works, how a work embodies movement and change, what influences you, and, ultimately, how you end. Discovering Creative Writing points you toward clues that can assist you in understanding your own creative writing as well as the creative writing of others. This book is both a practical guide and a critical examination that empowers the reader to find things out and use that information to develop and support their own creative writing. This book will enable students of creative writing at both undergraduate and postgraduate level to deepen their understanding of their practice, and will be a valuable guide and inspiration for anyone wishing to begin, continue, or improve their writing.
Creative Writing Analysis is a guide to solving creative writing problems; acting as a practical introduction to progressing a creative writing project as well as an exploration of the many ways in which creative writing can be understood. Through chapters on topics including writing methods, textual analysis, practice-led research, interdisciplinarity, and cultural contexts, this book explores the various forms of analysis that can be employed. Graeme Harper provides information to assist in creative decision making, and as a means for discussing approaches and outcomes in creative writing. The book also includes an Afterword by Dianne Donnelly, whose work in Creative Writing Studies has been widely recognized as a contribution to the critical examination of creative writing. Whether you are a creative writer seeking to improve your work or you are simply interested in analysing the practice and outcomes of others doing creative writing, Creative Writing Analysis offers strategies to assist students and practitioners of creative writing and literary studies.
An account of the making of two Doctor Who stories, The Caves of Androzani and Revelation of the Daleks. The book includes interviews with members of the cast and crew, as well as the director, Graeme Harper, who also reminisces about his work on earlier stories.
This book investigates in depth the compliance of the financial services legislation of Estonia and Poland with the free movement of capital provisions of European Union law. A sample of the financial services legislation from each of three further European Union Member States is assessed for compliance with these rules, in the light of the conclusions drawn from the comprehensive studies. General comments and recommendations are made in respect of the free movement of capital and of services. Implications for the financial services sector are drawn from the research.
One of the fundamental freedoms of the European Union’s Internal Market is the free movement of capital. National barriers to the cross-border movement of capital and payments are prohibited, not only between Member States of the Union, but also between these States and third countries. The book investigates to what extent Estonia, Poland and Latvia have implemented laws that comply with this principle. It compares and contrasts the similarities and differences between these three Member States in how their legislation and regulations affect such free movement. The research investigates whether there is an association between the national legal restrictions to the free movement of capital and cross-border capital flows to and from Estonia, Poland and Latvia. It reports the views of executives in the business sectors most affected by these restrictions as to the importance of the free movement of capital to their companies, as to whether the European Union’s regulatory framework supports the free movement of services and the freedom of establishment, and as to whether the national law limits these freedoms.
The aim of The Writer's Reader: Ways of Writing, Ways of Reading, is to provide an essential key text for the creative and critical grasp of writing, with an emphasis on creative prose fiction writing.
A deconstruction of the national biography and mythology of William Wallace. Freed from the historian's bedrock of empiricism by a lack of corroborative sources, the biography of this short-lived late-medieval patriot has long been incorporated into the i
Graeme Swann's transformation from international outsider to England's primary match-winner and undisputed best spin bowler in the world has been remarkably rapid. Within two years of his 2008 Test debut, he had become his country's most reliable bowler, made the shortlist for the ICC's cricketer of the year award and claimed an Ashes-sealing wicket. Yet the script took many twists and turns along the way. Drafted into the squad for the full tour of South Africa in 1999-2000. Swann's meteoric received a jolt. While some liked the cut of his jib, others did not and England coach Duncan Fletcher already had a foot in the latter camp when Swann missed the bus for the first of two times on that tour. Suddenly he was judged on temperament and not talent. Although Swann candidly concedes he was nowhere near good enough for the top level at that stage in his career, his jettisoning back to county cricket for the next seven years, following a solitary one-day international, hinted at a career wasted. A clash with then Northamptonshire coach Kepler Wessels triggered his move to Nottinghamshire in 2005. A County Championship winner in his debut season, he was back in the England fold at the end of his third. Forever a flamboyant showman, he made up for lost time with two wickets in his first over against India - his habit of striking in his opening over a spell has become a party piece. You cannot keep the spotlight off him for long. Since moving into the top 10 of the world rankings for bowlers on the back of eight wickets in the Ashes-defining Oval Test of 2009, he has not dropped outside it, and has been widely tipped to be the decisive factor in the defence of the urn in Australia.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.