Volume 3 (March 2017)
Editors: Helena Blakemore, Craig Batty, Shelagh Weeks
writing is innately interdisciplinary. This is among its greatest academic strengths,
something we should not hesitate to shout about. This third issue of Writing
in Practice showcases creative writing engaging with numerous other
disciplines and fields of inquiry. Three essays deal with creative writing,
health and well-being, from autism (North) to acupuncture (Sempert), and
writing to “flourish” (Hayes). Another three consider memoir and biographical
fiction, via ethics (Dawson), primary sources research (Meekings), and “raising
the voices of the dead” (Padmore). Three works consider creative writing and
academic identity in various guises: Pople brings systems theories of
creativity to bear on non-Native English speakers in the creative writing
classroom; Dymoke and Spiro look at “academic-poets” and “poet-academics”; Nicholes compares
how much students “own” their creative versus their academic writing. Essays on
genre and linguistics (Grimmer), gender and screenwriting (Baker), “remediation”
and arts practice (Webb and Munden), using ballads in children’s writing
(Cullen), and bilingual writing (Coquaz) complete a wide-ranging and
fascinating array of subjects.
and humanities subjects are increasingly viewed by policy-makers as luxuries in
higher education. They are not. In fact, they remain critical in understanding
our complex environment. Creative writing is peculiarly able to make sense of
such complexity. It sniffs out connections. It tackles the greatest subjects,
seeking always to make them intelligible. It sees the biggest pictures in the
smallest details. It does so by speaking through and to our emotions,
recognizing their intellectual validity. That is surely worth defending.
Writing in Practice is one of few peer-reviewed
creative writing journals in the world. Read it, submit to it, join us as a
peer reviewer, be critical (but let us know your criticisms), tell others of
its existence. Help NAWE to continue to help the subject flourish.
three Issue Editors offered exemplary critical rigour, hard work and enthusiasm
throughout. My deepest gratitude to:
Dr Helena Blakemore, Senior Lecturer
and Programme Leader for BA Creative & Professional Writing at the
University of East London, England. She sits on NAWE’s Higher Education
Dr Craig Batty, Associate Professor
in the School of Media and Communication at RMIT University, Australia. His
areas of expertise are screenwriting, creative practice research and doctoral
Dr Shelagh Weeks, short story writer, novelist, and Senior
Lecturer at Cardiff University. Her latest novel, Up Close,
and her interconnected short story collection, Washing the Dead are
published by Cinnamon Press.
you to all our peer reviewers for their excellent support of the journal, for
the quality of their analysis, and for the positive manner in which they
offered their judgement and suggestions for improvement. We are always looking
for more high quality reviewers. If you are interested, please be in touch with
NAWE, detailing your current position, experience and the forms and subjects
you would be willing to review.
The Next Issue
hope that all the essays in Issue 3 will stimulate your thinking, writing and
teaching, and that you will be encouraged to submit a contribution about your
own writing to the next issue, with a submission deadline in June 2017. In
Issue 3, we have been delighted to showcase a number of articles drawn from
Creative Writing PhD theses, which are often at the cutting-edge of writing
about process and practice within an academic context. We continue to welcome
high-quality submissions of this kind, as well as from the broader field of
studies. Creative writing itself is welcome when integral to an article.
Whitehead, Principal Editor, Writing in Practice; novelist and Associate
Professor, School of Arts, University of Leicester, England.