The A to Z of Creative Writing Methods is an alphabetical collection of essays to prompt consideration of method within creative writing research and practice. Almost sixty contributors from a range of writing traditions and across multiple forms and genre are represented in this volume: from poets, essayists, novelists and performance writers, to graphic novelists, illustrators, and those engaged in multi-media writing or writing-related arts activism. Contributors bring to this collection their distinct and diverse literary and cultural contexts, defining, expanding and enacting the methods they describe, and providing new possibilities for creative writing practice. Accessible and provocative, A to Z of Creative Writing Methods lays bare new developments and directions in the field, making it an invaluable resource for the teachers, research students and scholar-practitioners in the field of creative writing studies.

In this compelling collection of essays contributors critically examine Creative Writing in American Higher Education. Considering Creative Writing teaching, learning and knowledge, the book recognizes historical strengths and weaknesses. The authors cover topics ranging from the relationship between Creative Writing and Composition and Literary Studies to what it means to write and be a creative writer; from new technologies and neuroscience to the nature of written language; from job prospects and graduate study to the values of creativity; from moments of teaching to persuasive ideas and theories; from interdisciplinary studies to the qualifications needed to teach Creative Writing in contemporary Higher Education. Most of all it explores the possibilities for the future of Creative Writing as an academic subject in America.

While scholars have been studying the short story cycle for some time now, this book discusses a form that has never before been identified and named, let alone analyzed: the mini-cycle. A mini-cycle is a short story cycle made up, in most cases, of only two or three stories. This study looks at mini-cycles spanning the period from Anton Chekhov's "little trilogy" (1898) to the "Alphinland" stories in Margaret Atwood's Stone Mattress (2014), including texts by such authors as Stephen Leacock, Alice Munro, Robert Olen Butler, and Clark Blaise. Consideration is also given to marginal examples, like Sherwood Anderson's "Godliness-A Tale in Four Parts" (1919), which can be seen as one story or four distinct texts unified under one title, and to what is called the "exploded" mini-cycle: one whose component stories are published with intervening stories between them rather than consecutively. For each mini-cycle, the analysis is based on close reading of both the linking elements-character, imagery, symbolism, and so forth-and the rhetorical and aesthetic effects of the mini-cycle's being made up of distinct stories rather than constructed as one long narrative.

This book presents the innovative pedagogy of Writing Fantasy: a method for exploring and shifting one's identity as a writer. The book draws on qualitative research with undergraduate creative writing students and fills a gap in the literature exploring creative writing pedagogy and creative writing exercises. Based on the potential to shift writer identity through creative writing exercises and the common ground that these share with the stance of the Lacanian analyst, the author provides a set of guidelines, exercises and case studies to trace writing fantasy, evidenced in one's creative writing texts and responses about creative writing. This innovative work offers fresh insights for scholars of creativity, Lacan and psychosocial studies, and a valuable new resource for students and teachers of creative writing.

'I was so captivated by this book, so utterly drawn in and overwhelmed by the emotional force of it, that it stayed in my bloodstream, it felt, long after I'd finished it.' Nigella Lawson 'Sharp and engrossing' Roxane Gay As the bookish daughter of a travelling salesman, Jami Attenberg was drawn to the road. Her wanderlust led her to drive solo across America, and eventually on travels around the globe, embracing - for better and worse - all the messy life she encountered along the way. As she travelled she was crafting, grafting and honing her work, piecing together a living and career, and wrestling with a deep longing for independence while also searching for community, and eventually, a place she might want to stay in for good. This remarkable memoir reveals the defining moments that pushed her to create a life, and voice, she could claim for herself. Exploring themes of friendship, independence, class and drive, I Came All This Way to Meet You is an inspiring and singular story of living the creative life, and finding one's way home.

The world is an amazing place. Get up close with Look, a seven-level series for young learners of English. See something real with amazing photography, authentic stories and video, and inspiring National Geographic Explorers. Help learners make connections in English between their lives and the world they live in through high-interest, global topics that encourage them to learn and express themselves. With short, fresh lessons that excite students and make teaching a joy, Look gives young learners the core language, balanced skills foundation and confidence-boosting exam support they need to use English successfully in the 21st century.

Winner of the Working-Class Studies Association's "Jake Ryan and Charles Sackrey Award for a Book about the Working-Class Academic Experience" This collection by three generations of women from predominantly working-class backgrounds explores the production of the classed, gendered and racialized subject with powerful, engaging, funny and moving stories of transitions through family relationships, education, friendships and work. The developments that take place across a life in processes of 'becoming' are examined through the fifteen autoethnographies that form the core of the book, set within an elaboration of the social, educational and geo-political developments that constitute the backdrop to contributors' lives. Clever Girls discusses the status of personal experience as 'research data' and the memory work that goes into the making of autoethnography-as-poiesis. The collection illustrates the huge potential of autoethnography as research method, mode of inquiry and creative practice to illuminate the specificities and commonalities of experiences of growing up as 'clever girls' and to sound a 'call to action' against inequality and discrimination.

Combo Split editions include half of the Student's Book content and corresponding sections of the Workbook, with online access to student resources.

This book shapes a situated body politics to re-think, re-write, and de-colonise social work as a post-anthropocentric discipline headed towards glocalisation, where human and non-human embodiments and agencies are entangled in glocal environmental worlds. It critically and creatively examines how social work can be theorised, practised, and written in renewed ways through dialogical and transdisciplinary practices. This book is composed of eight essayistic spaces, envisioning social work through embodied, glocal, and earthly entanglements. By drawing on research-based knowledge, autobiographical notes, stories, poetry, photographs, and an art exhibition in social work education, these essays provide readers with analysis and strategies that are useful for research, education, and practice as well as life-long learning. The book constitutes key literature for researchers, educators, practitioners, and activists in social work, sociology, architecture, art and creative writing, feminist and postcolonial studies, human geography, and post-anthropocentric philosophy. It offers the readers sustainable ways to re-think and re-write social work towards a glocal- and post-anthropocentric more-than-human worldview.

1. The first book to consider the psychological genesis of artistic creation through Bionian theory 2. Considers both the creation and observation of art through Kleinian, Freudian, Winnicottian theory 3. Includes, and analyses, famous art pieces and Literature (such as Ulysses) the reader will be familiar with throughout to support the author's theories on creativity and psychoanalysis

This book equips pre-service teachers, research postgraduate students, teacher educators, and language specialists with specific knowledge and skills about the principles, research, and applications of digital portfolios within the EFL writing contexts. While most digital portfolio scholarship focuses on higher education, this book targets primary-level and secondary-level school audiences, namely pre-service teachers, teacher educators, and Ministry of Education staff members with a focus on EFL writing. The rationale behind this design is that the published literature on digital portfolios tends to be generic and one-size-fits-all; there has been scant published scholarship about the development of digital portfolio literacy among teachers and pupils, which could enable them to upgrade the teaching and learning of writing in a larger EFL environment. This volume fills this gap by illustrating the why, what, and how aspects of digital portfolios in ten reader-friendly chapters. Guiding educators to enrich their pedagogical repertoire via the portfolio approach, this book emphasises a healthy balance between principles, research, and practice. It is an easy-to-follow guide to setting up digital portfolio systems and coaching pupils to improve writing, ensuring the dissemination of digital portfolios with high fidelity.

The rise of Creative Writing has been accompanied from the start by two questions: can it be taught, and should it be taught? This scepticism is sometimes shared even by those who teach it, who often find themselves split between two contradictory identities: the artistic and the academic. Against Creative Writing explores the difference between 'writing', which is what writers do, and Creative Writing, which is the instrumentalisation of what writers do. Beginning with the question of whether writing can or ought to be taught, it looks in turn at the justifications for BA, MA, and PhD courses, and concludes with the divided role of the writer who teaches. It argues in favour of Creative Writing as a form of hands-on literary education at undergraduate level and a form of literary apprenticeship at graduate level, especially in widening access to new voices. It argues against those forms of Creative Writing that lose sight of literary values - as seen in the proliferation of curricular couplings with non-literary subjects, or the increasing emphasis on developing skills for future employment. Against Creative Writing, written by a writer, is addressed to other writers, inside or outside the academy, at undergraduate or graduate level, whether 'creative' or 'critical'.

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The Art of Writing Fiction" guides the reader through the processes of creative writing from journal-keeping to editing, offering techniques for stimulating creativity and making language vivid. Readers will master key aspects of fiction such as structure, character, voice and setting.

Andrew Cowan provides an insightful introduction that brings his own well-crafted prose style to bear on the processes and pleasures of writing fiction, offering practical and personal advice culled from his own experience and that of other published writers. He lays open to the reader his own notes, his writing, and the experiences from his own life that he has drawn on in his fiction allowing the reader to develop their own writing project alongside the author as they go through the book.

The Sentences That Create Us draws from the unique insights of over fifty justice-involved contributors and their allies to offer inspiration and resources for creating a literary life in prison. Centering in the philosophy that writers in prison can be as vibrant and capable as writers on the outside, and have much to offer readers everywhere, The Sentences That Create Us aims to propel writers in prison to launch their work into the world beyond the walls, while also embracing and supporting the creative community within the walls. The Sentences That Create Us is a comprehensive resource writers can grow with, beginning with the foundations of creative writing. A roster of impressive contributors including Reginald Dwayne Betts (Felon: Poems), Mitchell S. Jackson (Survival Math), Wilbert Rideau (In the Place of Justice) and Piper Kerman (Orange is the New Black), among many others, address working within and around the severe institutional, emotional, psychological and physical limitations of writing prison through compelling first-person narratives. The book's authors offer pragmatic advice on editing techniques, pathways to publication, writing routines, launching incarcerated-run prison publications and writing groups, lesson plans from prison educators and next-step resources. Threaded throughout the book is the running theme of addressing lived trauma in writing, and writing's capacity to support an authentic healing journey centered in accountability and restoration. While written towards people in the justice system, this book can serve anyone seeking hard won lessons and inspiration for their own creative-and human-journey.

Many narratives of theater history suggest that the 1960s marked the start of a turning away from traditional, script-based, playwright-centric production practices. Literary studies in this period began exploring the concept of the "death of the author" along similar lines. But the author refused to die quietly, and authorship reasserts itself in even revolutionary and avant-garde theaters throughout the latter half of the twentieth century. The model of authorship-valorizing individuality, ownership, and originality-serves to maintain traditional modes of production that reproduce and uphold dominant ideologies even when the products created by those modes of production claim to buck tradition or run counter to cultural currents. This ideology of authorship plays a part in playwrights shutting down productions of their own plays, in the privileging of individual authorship over joint authorship even in collaborative genres, and in the insistence on originality even in performance traditions rooted in a shared repertoire. This tension between the theoretical death of the author and the growth of actual authors' abilities to control access to and even in some cases interpretations of their work exposes the deftness with which dominant ideologies and their attendant modes of production can repurpose the aesthetics of even countercultural or revolutionary movements in theater.

The Religion Student Writer's Manual and Reader's Guide, is a set of instructions and exercises that sequentially develop citizenship, academic, and professional skills while providing students with knowledge about a wide range of religious concepts, phenomena, and information sources. Part 1 begins by teaching students about reading and writing in introductory religion. It focuses on the crafts of writing and scholarship by providing the basics of grammar, style, formats and source citation, and then introduces students to a variety of rich information resources including the religious journals and the Library of Congress. Part 2 prepares students to research, read, write, review, and critique religious scholarship. Finally, Part 3 provides for the practice of religious scholarship in advanced courses such as the history of religion and contemporary approaches to the study of religion.

Combo Split editions include half of the Student's Book content and corresponding sections of the Workbook, with online access to student resources.

The rise of Creative Writing has been accompanied from the start by two questions: can it be taught, and should it be taught? This scepticism is sometimes shared even by those who teach it, who often find themselves split between two contradictory identities: the artistic and the academic. Against Creative Writing explores the difference between 'writing', which is what writers do, and Creative Writing, which is the instrumentalisation of what writers do. Beginning with the question of whether writing can or ought to be taught, it looks in turn at the justifications for BA, MA, and PhD courses, and concludes with the divided role of the writer who teaches. It argues in favour of Creative Writing as a form of hands-on literary education at undergraduate level and a form of literary apprenticeship at graduate level, especially in widening access to new voices. It argues against those forms of Creative Writing that lose sight of literary values - as seen in the proliferation of curricular couplings with non-literary subjects, or the increasing emphasis on developing skills for future employment. Against Creative Writing, written by a writer, is addressed to other writers, inside or outside the academy, at undergraduate or graduate level, whether 'creative' or 'critical'.