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Writing in Practice - Vol. 3

In this issue:

(Re)Scripting the Self: Creative Writing, Effeminacy and the Art of Subjectivity
Dallas Baker offers as a case study his writing of a speculative television series script, and its transformative impact on his own self-knowledge, gender identity and subjectivity.
“Connective Tissuing Language” Stretches: Creative Writing’s Methodological Possibilities
Mattie Sempert, acupuncturist and writer, demonstrates that the lyric essay form is capable of re-presenting the body as a group of “becoming bodies” alive with possibilities, alive with knowledge.
“I am the sum of my languages” (Hoffman 1989: 273) – Bilingual Writing: Transitional Spaces and Reconciliation
Amy Coquaz describes bilingual writing as texts written in one primary language but which contain traces of another. She uses both her own novel and other writing to discuss the “transitional space” of reconciliation between languages.
“Where is the music?”: Remediation and slow poetry
Jen Webb and Paul Munden attempt to answer a question posed by Philip Gross' poem, “The Musical Cottage”, through a new, collaborative, multimedia work.
A Tune that Could Calm Any Storm: The influence of ballads on my two children’s books
Catherine Ann Cullen illustrates how the use of ballads, personal reading and listening, imaginative interconnections and theorizing, helped her forge her children’s fiction.
Exploring Care for Children with Autism in Wales Using Creative Writing as a Research Method in a Collaborative Pilot Study
Kate North describes a recent project conducted by the Autism Collaborative Research Group (ACRe), that utilizes writing workshops to capture the experiences of clinicians, educators and parents of children with Autistic Spectrum Disorder (ASD) in South Wales.
How Do You Write a True War Story?
Tory Dawson reflects on the work of Pat Barker and Ian McEwan in her discussion of the moral and ethical obligations she considered when drawing on a relative’s memoir to construct a fiction of the events for her own novel set during World War Two.
Measuring ownership of creative versus academic writing: Implications for interdisciplinary praxis
Justin Nicholes uses creative writing approaches to language and ownership to argue for “meaningful literary construction” in learning contexts in a paper of interest to both writing and language educators, as well as creative writing students.
Out of the box and into the woods: Creativity and academic literacies
Ian Pople uses a systems model of creativity to map how the practice of creative writing may allow creative writing students who are non-native speakers of English to negotiate both their writing and their identity within the UK higher education system.
Poet-Academics and Academic-Poets: Writing identities, practices and experiences within the Academy
Sue Dymoke and Jane Spiro consider poets working in the academy. From a qualitative study, they show how there are multiple, challenging – occasionally affirming – competing versions of the self as academic and poet.
Reclaiming the Past: Exploring the Role of Primary Sources in Creative Writing Research
Sam Meekings examines the use of primary sources in the construction of nonfiction narratives, particularly memoir, analyzes notions of “accuracy” in memoir, and invokes Bakhtin’s “heteroglossia”.
Rethinking Genre: Genre as a tool for writers throughout the writing process
Raelke Grimmer discusses the “shifting boundaries” of genres, for readers and writers. Using linguistics theories, she consider issues such as purpose (for authors) and audience, and the constraints and merits of genre categorization.
The Flourishing Writer
Megan Hayes draws on a range of empirical research and theoretical discussions from across the field of psychology to discuss what is meant by the notion of the “flourishing writer”.
The paradox of writing the dead: Voice, empathy and authenticity in historical biofictions
Catherine Padmore explores the challenges of writing historical fiction, addressing concepts of authenticity and voice and discussing the relationships between the historical figure and its (non)fictional construction, the author, and the reader.

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