In Creative Writing Scholars on the Publishing Trade: Practice, Praxis, Print, Sam Meekings and Marshall Moore, along with prominent scholar-practitioners, undertake a critical examination of the intersection of creative writing scholarship and the publishing industry. Recent years have seen dramatic shifts within the publishing industry as well as rapid evolution and development in academic creative writing programs. This book addresses all of these core areas and transformations, such as the pros and cons of self-publishing versus traditional publishing, issues of diversity and representation within the publishing industry, digital transformations, and possible career pathways for writing students. It is crucial for creative writing pedagogy to deal with the issues raised by the sudden changes within the industry and this book will be of interest to creative writing students and practitioners as well as publishing students and professionals.

In Creative Writing Scholars on the Publishing Trade: Practice, Praxis, Print, Sam Meekings and Marshall Moore, along with prominent scholar-practitioners, undertake a critical examination of the intersection of creative writing scholarship and the publishing industry. Recent years have seen dramatic shifts within the publishing industry as well as rapid evolution and development in academic creative writing programs. This book addresses all of these core areas and transformations, such as the pros and cons of self-publishing versus traditional publishing, issues of diversity and representation within the publishing industry, digital transformations, and possible career pathways for writing students. It is crucial for creative writing pedagogy to deal with the issues raised by the sudden changes within the industry and this book will be of interest to creative writing students and practitioners as well as publishing students and professionals.

The first study to explore deeply and intimately the complex and multifaceted nature of creative writing practice, The Scholarship of Creative Writing and Practice offers a new route in scholarly inquiry for creative writing studies, probing beyond pedagogical methods (with which most of the field’s scholarship is occupied) to explore the writing life as it is experienced by a wealth of international writer/academics. With academic creative writing programs beginning to adopt a more pragmatic, industry-focused stance, students of writing increasingly need and expect to complete their degrees moderately prepared to monetize the skills they have learned – so there is now more than ever a great responsibility to present studies, methodologies and experience that can inform students and instructors. In response, Sam Meekings and Marshall Moore have pulled together academic investigations from some of the most prominent names in creative writing studies to take stock of the diverse definitions and pluralities of creative practice, to examine how they have carved out a ‘writing life’, what work habits they have adopted to achieve this, how these practitioners work as creatives both within and outside of the academy and to put forward strategies for a viable writing life. Offering intelligent, philosophical, pragmatic and actionable methods for robust writing practice, this book provides a multi-national perspective on the various aspects of practice and process. Essays explore what writing practice means for individuals and how this can be modeled for students; how the mythic nature of creativity can be channeled though practical working habits; practice through the lenses of social responsibility, sensitivity, empathy and imagination; writing during times of duress and the barriers writers encounter in their craft; the demand of author platforms; the role of the creative writing academic/writer; and the process of learning from published and practicing authors. Wide-ranging in its investigations and generous in insight, The Scholarship of Creative Writing and Practice presents creative, imaginative and transdisciplinary approaches to this under-researched area.

Seth Harrington can be invisible or undetectable, but he is not a superhero. The ability only works in morally grey situations; the rest of the time, he can't turn it on and off at will. He can use a movie ticket stub to buy a coffee or a one-dollar bill to pay for a cell phone. He can stop muggings in plain sight, unseen, but only with worse violence. But this only adds to his confusion about his place in the world. Still reeling from the horrors of the September 11 terrorist attacks and ambivalent about his future, Seth is at a crossroads: Can he be one of the good guys by doing bad things, or are his newfound powers part of someone else's malevolent agenda? There are no easy answers or expected outcomes in Marshall Moore's exploration of urban life and the ways that people can disappear.

A lonely demon in a remote corner of Hell oversees a divine but rigged type contest. A sentient house in San Francisco decides to become vacant once again... by any means necessary. A supernatural first date in Hong Kong goes hysterically, horribly awry. How did this become my life? And... now what? These questions recur throughout The Infernal Republic as a cast of characters you'd either love or run from confront the unlikely and surmount the impossible. The Infernal Republic is the new collection of short fiction from Marshall Moore, the author of The Concrete Sky, Black Shapes in a Darkened Room, and An Ideal for Living. Comprising stories published between 2003 and 2009, as well as several unique to this book, The Infernal Republic is Moore at his best: surreal, hilarious, wise, brutal, and sometimes just plain wrong.

The combined experience of authors throughout the ages offers a wealth of valuable information about the practice of creative writing. However, such lore can also be problematic for students and practitioners as it can be inherently additive, making it difficult to abandon processes that do not work. This adherence to lore also tends to be a US-centric endeavor. In order to take a nuanced approach to the uses and limitations of lore, The Place and the Writer offers a global perspective on creative writing pedagogy that has yet to be fully explored. Featuring a diverse array of cultural viewpoints from Brazil to Hong Kong, Finland to South Africa, this book explores the ongoing international debate about the best approaches for teaching and practicing creative writing. Marshall Moore and Sam Meekings challenge areas of perceived wisdom that persist in the field of creative writing, including aesthetics and politics in institutionalized creative writing; the process of workshopping; tuition and talent; anxiety in the classroom; unifying theory and lore; and teaching creative writing in languages other than English.

The combined experience of authors throughout the ages offers a wealth of valuable information about the practice of creative writing. However, such lore can also be problematic for students and practitioners as it can be inherently additive, making it difficult to abandon processes that do not work. This adherence to lore also tends to be a US-centric endeavor. In order to take a nuanced approach to the uses and limitations of lore, The Place and the Writer offers a global perspective on creative writing pedagogy that has yet to be fully explored. Featuring a diverse array of cultural viewpoints from Brazil to Hong Kong, Finland to South Africa, this book explores the ongoing international debate about the best approaches for teaching and practicing creative writing. Marshall Moore and Sam Meekings challenge areas of perceived wisdom that persist in the field of creative writing, including aesthetics and politics in institutionalized creative writing; the process of workshopping; tuition and talent; anxiety in the classroom; unifying theory and lore; and teaching creative writing in languages other than English.