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Writing in Practice: The Journal of Creative Writing Research, Volume 7

Submissions: Multimodal Writing Special Issue

Deadline for submission 26th June 2020

NAWE's Writing in Practice aims to explore the nature of the art of writing, highlighting current academic thinking and practice, and reflecting on this with an international outlook.

The journal encourages the investigation of a broad range of approaches to practice research, focusing on critical discussion of creative process, and critical examination of research contexts, and Creative Writing’s history and pedagogy. Creative Writing itself is welcomed when integral to an article.

A focus of this special issue is multimodal writing, with guest co-editor Josie Barnard. Whether directly or indirectly, the digital ‘revolution’ has affected every aspect of the writing and publishing process. Writing – often thought of as primarily text-based – now routinely involves multiple ‘modes’, with photographs, emoji and audio, for example, featuring as integral parts of online narratives.

The explosion of new media technologies may lead a creative writer to experiment with new technologies (perhaps writing Twine poetry or moving into self-publishing). Conversely, it might inspire a revived enthusiasm for using ‘old’ technologies such as pens, pencils, paper. This cfp welcomes submissions in both areas.

In The Multimodal Writer, Barnard (2019) notes, ‘In a digital age, the ability to move between types of writing and technologies - often at speed - is increasingly essential for writers’; in order to ‘not just survive but, rather, thrive in an era characterised by fast-paced change’, creative flexibility and resilience are necessary. How to develop such creative flexibility and resilience is an important aspect of multimodal writing practice. All technologies were new at some point; in order to tackle new challenges, writers draw on past experiences of tackling something new, thereby ‘remediating’ their practice.

Please note that submissions need not have a ‘digital’ element to be considered for this issue and may be unrelated to multimodality. As usual, we are looking for articles on the art of imaginative writing from an authorial perspective. Contributions are invited from creative writing scholars, teachers, authors, poets, screenwriters, game designers, publishers and others with theoretical or practice interests in this field.

Contributions may include (but are not limited to):
• How material objects and activities (e.g. writing tools, food, walking) are embedded in creative writing process and practice;
• Traditional and digital technologies and approaches mingling during the creative process;
• ‘Remediation’ (i.e. new use/application) of previous creative practice in a new digital context;
• Alternative uses of social media platforms, e.g. for archiving creative practice, for innovative self-publishing and development of new genres;
• ‘Non-linear’ writing, such as for websites / games;
• The nature of ‘digital literacy’;
• The role and experiences of readers/audiences/users;
• Ethics of storytelling in the context of social media and/or developments such as virtual reality and artificial intelligence;
• Case studies of particular multimodal productions.

For further information on multimodal writing, see here

Submissions should be 4-10,000 words long and include an abstract of up to 200 words. A biographical note of up to 200 words should be provided in a separate document. Nowhere in the submission should your name, initials or any other indication of your identity be given as all submissions will be anonymously peer reviewed.

Before submitting your work, please ensure that you read the style guide, downloadable to the right. Submissions that ignore these guidelines may be ignored.

Submit your work using the online system below.

The deadline for submissions to Volume 7 is midnight (GMT), 26th June 2020.

submit 


 

Further information

The aim of this journal is to encourage research in the field of Creative Writing. We recognize that this research is principally undertaken through the act of creating. Creative Writing academics invest knowledge and understanding into their creative practice, and use existing knowledge to help innovate and evolve their own work and the broader subject. The articulated results of this often practice-led and/or practice-based research demonstrate and develop existing subject knowledge.

We seek scholarly articles about practice and process that contextualize, reflect on and respond to existing knowledge and understanding in the form of poetics and/or exegesis. Creative Writing itself is welcome when integral to an article. While we also welcome critical examinations of the international history and pedagogy of Creative Writing, such work must evidence a wide-reading and contextualization of the existing literature, and make a significant and well-articulated contribution to knowledge in those fields.



Writing in Practice: Editorial Board

Jenn Ashworth, Yvonne Battle-Felton , David Bishop, Helena Blakemore, Celia Brayfield, Jessica Clapham, Sue Dymoke, Carrie Etter, Francis Gilbert, Michael Green, Oz Hardwick, Holly Hewitt-Dringm, Andrea Holland, Lisa Koning, Fiona Mason, Andy Melrose, Derek Neale, Kate North, Amy Spencer, Christina Thatcher, Amy Waite, Jennifer Young.


Principal Editor: Derek Neale

Executive Editor of NAWE Publications: Lisa Koning

Style Guide
For further guidance on submitting your work, together with a full style guide, please download and refer to the document below.

 

Peer Review
We are inviting NAWE members with appropriate academic experience to put themselves forward as peer reviewers. Please send your expression of interest, together with details of your specific areas of expertise, to info@nawe.co.uk.

Copyright

Copyright remains with individual contributing authors (with NAWE reserving the right to reproduce materials in other NAWE publications and in the members-only area of www.nawe.co.uk). We request that any other use of the materials by the authors should make reference to the original publication in Writing in Practice.