Academic literature on the topic '3602 Creative and professional writing'
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Journal articles on the topic "3602 Creative and professional writing"
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Cronin, Megan, Victoria Hubbard, Terrence A. Cronin, and Philip Frost. "Combatting professional burnout through creative writing." Clinics in Dermatology 38, no. 5 (September 2020): 512–15. http://dx.doi.org/10.1016/j.clindermatol.2020.05.004.
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Hunt, Celia. "Exploring career identities through creative writing." Journal of the National Institute for Career Education and Counselling 23, no. 1 (April 1, 2010): 18–19. http://dx.doi.org/10.20856/jnicec.2306.
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Creative writing has shown itself to be a powerful tool for reflection and is increasingly being used in professional development contexts (see e.g. Bolton, 2001; Creme and Hunt, 2002; Winter et al., 1999). With its potential for playful self-exploration and access to feeling and emotion, it can quickly get beneath everyday identities, providing alternative ways of thinking about oneself.
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Cunningham, Donald H., and Jeanette G. Harris. "Undergraduate Technical and Professional Writing Programs: A Question of Status." Journal of Technical Writing and Communication 24, no. 2 (April 1994): 127–37. http://dx.doi.org/10.2190/ta1y-72ah-05ym-ukey.
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The results of our recent survey of the membership of the Association of Teachers of Technical Writing, Associated Writing Programs, and the Council of Writing Program Administration indicate the relative health of undergraduate writing programs (major, concentration, or certificate programs, not service courses) in American four-year universities and colleges. During the past five years there has been a significant increase in the number of undergraduate writing programs, including technical and professional writing. But responses to our survey also suggest that while undergraduate technical and professional writing programs comprise the second largest group of programs (behind creative writing) they are not increasing as rapidly as a new kind of undergraduate writing program—a broad-based program that students can complete by taking a wide range of creative writing, composition, journalism, and technical and professional writing courses. The future seems unclear for traditional undergraduate technical and professional writing programs, and faculties need to examine their options in designing or redesigning their programs.
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Southern, Alex, Jenny Elliott, and Colin Morley. "Third Space Creative Pedagogies: Developing a Model of Shared CPDL for Teachers and Artists to Support Reading and Writing in the Primary Curricula of England and Wales." International Journal of Education and Literacy Studies 8, no. 1 (January 31, 2020): 24. http://dx.doi.org/10.7575/aiac.ijels.v.8n.1p.24.
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Zip Zap is a Creative Social Enterprise, which offers an author/illustrator- led Continuing Professional Development and Learning (CPDL) programme to develop teacher knowledge, confidence and skills in delivering creative writing and illustration activities, and a Festival of artist-led activities for school pupils. It is one of a number of initiatives that UK schools can buy into. This paper draws on an evaluation of Zip Zap’s CPDL programme and Festival across two UK sites, with two quite different creative learning contexts – Wales and England, to explore issues affecting the pedagogies at work in the space where teachers and creative practitioners elide. An analysis of findings from teacher/pupil/parent/creative practitioner interviews and observations of classroom teaching and CPDL sessions highlighted a number of key issues in relation to pedagogies of creative writing. These are: the teachers’ lack of confidence in creative writing pedagogies, a lack of shared approaches to teaching creative writing, and the potential for shared creative pedagogies. We propose a theoretical framework based on Homi K. Bhabha’s theory of the third space that offers a framework for professional learning that enables collaboration between teachers and creative practitioners, and the emergence of shared, creative pedagogies that would nurture pupils’ creative writing.
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Alamargot, Denis, and Jean-Louis Lebrave. "The Study of Professional Writing." European Psychologist 15, no. 1 (January 2010): 12–22. http://dx.doi.org/10.1027/1016-9040/a000001.
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In this article, we argue that examining the writing processes of literary authors would enrich and extend empirical research on writing, which is currently grounded in cognitive psychology. In most empirical studies of writing skills, experts are defined as either advanced students or technical writers, neither of whom work within the same constraints or timeframes as literary authors. Including literary authors in psychological accounts of writing, by drawing on the observations of genetic criticism (a linguistic-literary discipline that reconstructs the genesis of an author’s manuscript by collecting and interpreting the notes, drafts, revisions, successive versions, etc.), would add to our knowledge of professional writing. Two issues could then be considered: (a) the way the creative process takes place during writing and (b) the role of memory in the management of writing processes over extended time periods.
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Darby, Mark. "Nurses: The Right and Rites to Write, Right?" Creative Nursing 21, no. 2 (2015): 115–18. http://dx.doi.org/10.1891/1078-4535.21.2.115.
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Creative writing can be used to enhance professional skills by changing point of view and imagining a different ending. An example of one nurse’s use of creative writing to improve nursing skills is demonstrated and explained.
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Ritter, Kelly. "Professional Writers/Writing Professionals: Revamping Teacher Training in Creative Writing Ph. D. Programs." College English 64, no. 2 (November 2001): 205. http://dx.doi.org/10.2307/1350117.
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McWilliams, Susan. "Creative Writing and the Study of Politics." PS: Political Science & Politics 50, no. 04 (October 2017): 1094–98. http://dx.doi.org/10.1017/s1049096517001275.
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ABSTRACT Creative writing is not part of professional training in political science. Scholars in other fields, though, testify to the benefits of creative writing assignments, and my experiences teaching an undergraduate course on Politics and Literature suggest that there may be value in adding creative writing into certain political science courses. As with other forms of non-academic writing that political scientists identify as enriching, creative writing allows students to consider politics from multiple perspectives and expands their communicative powers. Working at the craft of storytelling—as opposed to abstract argumentation—can help students to think through key claims in contemporary political thought. Moreover, in this age of “alternative facts,” doing creative writing in a politics course may help students hone a critical skill of citizenship: thinking about the news in terms of narrative. In this essay, I consider the advantages and challenges of bringing creative writing into the study of politics.
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Aleshchanova, Irena V., Natalia A. Frolova, and Marina R. Zheltukhina. "Creative approach to development of competence “writing” in foreign language classes." SHS Web of Conferences 50 (2018): 01025. http://dx.doi.org/10.1051/shsconf/20185001025.
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This study examines the question of development of an important component of the foreign language communicative competence - the skill of writing as a structural element of the technical university students’ professional competence. The methods and ways of the stated aim achievement are analyzed from the perspective of the competence and personality-oriented approaches. Professional communication is presented as a multicomponent phenomenon, requiring detailed study. Foreign and domestic research in the field of foreign language teaching formed the theoretical basis for studying the methodical and didactic aspects of writing activities. The authors define students’ acquisition of writing skills in the process of education as the development of elementary communicative competence. Tasks for the writing skills development are described as a productive tool for organizing educational activities. The authors emphasize the special role of creative tasks and how they can contribute to achieving the set goals in teaching. Practical recommendations on the development of writing skills and this process monitoring are given.
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Margawati, Prayudias. "TRAVEL WRITING: AN APPLICATION OF WRITING WORKSHOP TO ENHANCE STUDENTS’S CREATIVE WRITING." Jurnal Pendidikan Bahasa dan Sastra 14, no. 2 (October 1, 2014): 187. http://dx.doi.org/10.17509/bs_jpbsp.v14i2.724.
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Writing is often assumed as uneasy skill to either learn or teach. For students, they find it difficult to develop ideas in writing. On the other hand, teachers, many of them, only ready with the materials but confuse with the appropriate ways to teach. This paper intends to describe and discuss a method of teaching writing namely writing workshop to improve students’ writing skill through travel writing. Writing workshop proposed by Calkins that consists of mini lesson, work time, peer conferring and/or response groups, share sessions, and publication celebration is applied in writing class for methodological purposes. In mini lesson, teacher offers something to the class that is meant to introduce a writing strategy done at the beginning of the workshop. During work time point, students start their new piece of writing. Teacher moves among students conferring with them while checking their works. Peer conferences or response groups provide a forum for students to talk about works in progress. When students work in group, one of them could arrange his/ her group needs during the work time. A share session may be varied, one possible way is each group shares their process of writing to other students. At the end of writing class, student writers come together to publish and/ or celebrate their final work. The publication could be in the form of portfolio, students’ diary, blog, or others. Travel writing genre is chosen as it could develop students’ creativity in describing/ narrating their own stories during, let say holiday or things they used to see on the way home weekly or monthly. Furthermore, travel writing as the product of creative writing teaches the readers of values, characteristics, and way of life. Last but not least, a professional writing teacher should set the writing workshop components in variety ways to achieve effective running-class.
Dissertations / Theses on the topic "3602 Creative and professional writing"
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Farmer, Lisa Epps. "A study of an attempt to improve the reliability of teachers' holistic scores of elementary writing through in-house professional development." Orlando, Fla. : University of Central Florida, 2008. http://purl.fcla.edu/fcla/etd/CFE0002297.
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Tafur, Suzanne P. "Japanese Culture in New Orleans." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2484.
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Craig, Patricia E. G. "A Study of the Effects of Writing Instruction Versus Writing and Reading Instruction on 10th Grade English Students." TopSCHOLAR®, 1988. http://digitalcommons.wku.edu/theses/1659.
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The effects of writing instruction as opposed to writing and reading instruction were studied on 10th grade English students’ reading comprehension and writing. Two groups (classes) completed pretests and pre-sample writing. Then, both groups were given writing instruction while only one group was given related reading skills instruction. Finally, both groups completed posttests and post-sample writings.
An analysis of covariance of the pre-and posttest data was done. It revealed no significant difference between the two groups related to reading comprehension. However, a significant difference existed between the two groups related to language expression (editing skills or writing sub-skills). The group who received writing and reading instruction experienced a decline in scores. Also, the Wilcoxon signed-rank matched-pairs test indicated that both groups’ writing increased significantly.
Two conclusions were reached from this study. The first conclusion related to classroom instruction. Writing instruction improves student writing. Further, direct reading skills instruction should be included only to meet a specific class need (since writing sub-skills may suffer). Therefore, integration of writing and reading instruction should be determined by class need. Second, more empirical research related to the effectiveness of the integration of writing and reading instruction is needed.
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Tooley, Sally Helene. "The Art in Teaching Writing." TopSCHOLAR®, 2009. http://digitalcommons.wku.edu/theses/83.
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Fitz-Gerald, Timothy A. "Cabaret Story-Telling: Building Your Act." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4808.
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This thesis adduces the benefits in teaching undergraduate theatre majors the competency to create a cabaret. It expostulates that doing so during college gives students an advantage in marketing themselves professionally. It substantiates the general lack of cohesive undergraduate training in this area. The results of a survey of casting directors, assessing the worth of implementing the study of cabaret into theatre curricula, are incorporated.
Those that responded agreed that performing cabarets can play a role in a performer’s career, even if the opinions varied as to what that specific role is. There was general agreement that the study of cabaret could benefit students in ways which potentially go beyond securing immediate employment.
I have included a sample syllabus for a course focusing on the construction, and performance of a cabaret. It is anticipated this would serve for a performance class taught during a student’s fourth year of undergraduate study.
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Mackenzie, Michael. "I Tweet Therefore I Am: Social Media and the New Social Order." Thesis, 2022. https://vuir.vu.edu.au/44158/.
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Comprising an exegesis and creative component in the form of a novel entitled It’s Going To Be Okay. It Will, this thesis will contend that the social media revolution has produced a social paradigm shift that constitutes a new social order. The exegesis examines theories surrounding social media and the Internet, and its repercussions, in relation to identity and belonging. The exegesis research both informs and contextualises the novel. The thesis proposes that for the novel to remain relevant for a generation that has only known the Internet, as a literary form it must be able to represent contemporary life, which today constitutes human experience that is lived both virtually and in reality. The creative component of this thesis, It’s Going To Be Okay. It Will, is a response to this challenge, one which depicts the effects of the new social order and a hyper-connected globalised world.
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Hancock, Peter R. "RHYME VERSE: its reception and relatability for modern English-speaking culture." Thesis, 2021. https://vuir.vu.edu.au/44190/.
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Rhyme has substantial presence in the history of English-speaking culture. In each generation of people there are poets and songwriters who have created their own version of rhyme verse to broadcast their viewpoints concerning ideas, emotions, and events. To explore the place of rhyme verse in modern English-speaking culture, we need to consider its reception and relatability for an audience.
This thesis comprises two components: a creative product (Part A); and an exegesis (Part B). The purpose of the creative product is to provide samples of recent rhyme verse, and be a guide for teachers and senior school students relating to composition and presentation of rhyme. In the context of this project, these teachers and students are designated as ‘the audience’, but curriculum designers and poetry or song enthusiasts may have an interest in the creative product.
Part A, Verbal Tap Dance: a collection of rhyme verse, does not set out to offer theoretical research information in an exegetical sense, it intends to be an interrelated study resource for the exegesis to show how rhyme verse can be composed by employing theme as a starting point for creating a poem or song. Furthermore, the creative product includes five contraposed viewpoints (contraview themes), which are factors on the decision spectrum that relate to human experiences. These five contraview themes are: (i) Conformity or Rebellion; (ii) Respect or Ridicule; (iii) Optimism or Pessimism; (iv) Connection or Isolation; and (v) Reality or Illusion.
As part of an interrelated study resource, both Part A and Part B also concentrate on five essential elements for the composition of rhyme verse: Theme, Message & Meaning, Vernacular, Rhyme Schemes, and Syntax.
Moreover, creative product and exegesis investigate three delivery avenues (education, entertainment, and advertisement), which have potential to deliver rhyme verse to an audience. Also, the exegesis focusses on cognitive effects of employing rhyme pertaining to memory and positive or negative reaction to rhyme verse.
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Bitomsky, Jade. "(Re)scripting Femininity with a Female Gaze – Female Gender Representation in Neo-noir Script, The Lonely Drive." Thesis, 2021. https://vuir.vu.edu.au/42457/.
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This creative research project consists of a thesis and neo-noir film script entitled The Lonely Drive which explores the representation of women in neo-noir – a largely patriarchal genre that continues to perpetuate the male gaze and endorses female objectification. It aims to challenge neo-noir’s stereotypical gender roles through (re)presenting female (the femme fatale) and male (the detective) character archetypes. The Lonely Drive specifically explores some of the ways in which we can (re)present the femme fatale to promote her agency, activity, rationality and logic. It engages with the subversion of the male gaze to create a space in which to consider the concept of a female gaze in neo-noir.
This thesis will use Laura Mulvey’s male gaze theory (1975) in conjunction with Judith Butler’s theory of performative acts (1988) as a lens through which to explore ways that we can step away from the male gaze and consider a way that affords the femme fatale of neo-noir a representation that is active, intelligent, logical and rational, rather than their current representation as passive, psychotic, hysterical and violent. Additionally, given that neo-noir is a genre, and bound by all the conventions of the genre, this thesis will look at whether it is possible to elevate the femme fatale from being an object without altering the genre so much that it is no longer considered a neo-noir. Moreover, if, as a result of elevating the femme fatale to driving and owning the narrative, meaning that she is not merely there to be looked at or to manipulate the hero toward his own demise, we stumble across what could potentially be described as a female gaze.
Butler’s theory of gender performativity argues that gender identities are socially constructed, and that people are influenced by patriarchy to act out their gender identity in the way they have been socialised to. Butler argues that gender is not a stable identity, but that it is formed through the ‘stylised repetition’ of certain acts over time (reactions, gestures, movements, enactments) and that these acts are what constitutes the meaning of masculine and feminine identities. This repetition results in what Butler deems a ‘performative accomplishment’. By this, Butler is suggesting that gender is constructed and not an essentialized part of identity. Further, Butler argues that the repetitive acts are often ‘internally discontinuous’ – if examined, the acts in relation to one another are not coherent. Therefore, Butler suggests that by taking advantage of the gaps and discovering ‘the possibility of a different sort of repeating’ there is a possibility for subverting gender.
Given that neo-noir is an inherently patriarchal genre, its representation of femininity is also patriarchal and helps to subconsciously inform society on how women should behave and what will happen if they transgress their traditional boundaries. This is problematic as it not only denies the chance for us to subvert traditional femininity and realize a ‘different sort of repeating’, but as the femme fatale is associated with negative character traits – passivity, irrationality, illogicality, hysteria – the preservation of this representation perpetuates the belief that these traits are inherently female.
By using examples from film noir, classic and neo-noir, popular culture, and gender theory, this thesis argues for the need to investigate ways to (re)present the femme fatale in neo-noir to push the boundary further toward creating an active femme fatale empowered by her logic, intelligence, and rationality. This thesis acknowledges that problematic gender representations exist across all genres, yet this thesis will specifically focus on film noir due to its use of the male gaze and its patriarchal and exaggerated gender roles.
This research is an original contribution to knowledge as it aims to conceptualise what an active, intelligent, rational, and logical femme fatale could look like theoretically and practically in a neo-noir script. Moreover, as The Lonely Drive’s femme fatales drive the narrative and control the gaze, and we are no longer looking through a male gaze, it provides us with an idea of what a female gaze in neo-noir might resemble.
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Mokrzycki, Sarah Jayne. "Family diversity in Australian picture books: the importance and benefits of exploring diverse family models." Thesis, 2021. https://vuir.vu.edu.au/43127/.
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Diversity in children’s picture books is a topic that has received tremendous momentum in recent years. Movements like We Need Diverse Books show a rising social consciousness regarding the importance of diversity in children’s literature. However, the discussion of family diversity – both academically and creatively – remains an area that is often not considered. Picture books play a significant role in the lives of children, and the benefits of representation cannot be overstated (Mokrzycki 2019). Yet, overwhelmingly, picture book families remain ‘intact’ – the official term used by the Australian government for the two- parent family model. Thus, children from all other family types, like step and blended families, foster families, single parent and grandparent-led families, remain largely unrepresented. Furthermore, families diverse in culture, sexuality, identity, body and mind diversity are equally limited. This PhD by Creative Project responds to this problem by means of a creative work and accompanying exegesis. My creative work takes the form of an original illustrated picture book titled The rainbow cake, which centres on a diverse Polish- Australian family. The exegesis challenges preconceived notions of what makes a family ‘intact’, and examines the benefits family-diverse representation provides. It includes the analysis of 300 picture books (180 Australian and 120 International) to examine trends, patterns and gaps in family representation.
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van, Toledo Samara. "Schooling sexuality: an intergenerational investigation of the educational experiences of Australian gay men and teens." Thesis, 2021. https://vuir.vu.edu.au/42966/.
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This study (re)presents the intergenerational experiences of gay men in Australian schools, communities and families across a fifty-year period. A snowball sample of six participants, ranging in age from fifteen to sixty-five, participated in life history interviews that focussed on eliciting narratives of (re)membered school experiences connected to the social and cultural discourses of (homo)sexuality. This study contributes to the scholarship of sexuality in Australian contexts. A particular gaze is directed on how schooling, family and community norms form and storm subjectivity and identity in childhood and adolescence.
This research is framed by the national debate regarding lesbian, gay, bisexual, transgender, intersex, and queer (LGBTIQ)+ rights in Australia that erupted over the implementation of the Safe Schools Coalition program across Australian states. The ensuing moral panic incited by conservative groups, and the public scrutiny surrounding the proposed support mechanisms and inclusivity for LGBTIQ+ adolescents and their peers, inspired my resolve to undertake this research. Drawing on a sociocultural framework to look at the intersections around sexuality, in conjunction with the embodied knowledge of Othering, I saw the importance of a discursive examination of experiential encounters with institutionalised heteronormativity in Australian schools, family dynamics and community settings.
The lived experiences of same-sex-attracted informants is an under-explored area within the scholarship of sexuality in Australian schools. This study elucidated firsthand experiences of what it has meant, and means, to be gay in Australian schools communities and families over a fifty-year period. The conclusions of the study indicate that all participants, regardless of age, have encountered overt (homo)phobia, and describe how heteronormativity has limited and negatively impacted on their ability to contribute and participate in school, in their families and in community settings.
This investigation is presented in the form of a creative product and an exegesis. In each of the components there is an understanding of how deviations from binary constructions of gender and sexuality are articulated. This study adds to the plethora of work and rethinking which needs to be done in Australian schools, families and communities to support LGBTIQ+ individuals.
Books on the topic "3602 Creative and professional writing"
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Reflective practice: Writing and professional development. London: Paul Chapman, 2001.
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Writing workplace cultures: An archaeology of professional writing. Carbondale: Southern Illinois University Press, 2000.
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Porosky, P. H. How to fix fiction: Techniques of a professional writing consultant. Lanham, Md: University Press of America, 1995.
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Reflective practice: Writing and professional development. 3rd ed. Los Angeles: Sage, 2010.
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1954-, Buck Alyson, and Sobiechowska Paula 1959-, eds. Professional experience & the investigative imagination: The art of reflective writing. London: Routledge, 1999.
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Adams, Katherine H. A history of professional writing instruction in American colleges: Years of acceptance, growth, and doubt. Dallas: Southern Methodist University Press, 1993.
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Weaving Words: Personal and Professional Transformation through Writing as Research. Newcastle upon Tyne: Cambridge Scholars Publishing, 2014.
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Stevens, Dannelle D. Journal keeping: How to use reflective writing for effective learning, teaching, professional insight, and positive change. Sterling, Va: Stylus Pub., 2009.
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Units of study for primary writing: A yearlong curriculum. Portsmouth, NH: FirstHand, 2003.
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McCracken, Robert A. Stories, songs, and poetry to teach reading and writing: Literacy through language. Winnipeg: Peguis, 1987.
Find full textBook chapters on the topic "3602 Creative and professional writing"
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Rist, Mary, and Sasha West. "Creative Writing for Professional Writing Majors." In Exploring, Experiencing, and Envisioning Integration in US Arts Education, 143–53. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71051-8_10.
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Rismayani, R., and Basikin. "Improving students’ writing and critical thinking skills through creative writing by using Wattpad." In Teacher Education and Professional Development in Industry 4.0, 360–65. CRC Press, 2020. http://dx.doi.org/10.1201/9781003035978-56.
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Smith, Carrie. "The Professional Poet." In The Page is Printed, 33–64. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800855359.003.0003.
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The chapter analyses Hughes’s earliest work and the development of his professional voice in his early poetry collections. The chapter examines material gradually elided across drafts of ‘The Hawk in the Rain’, ‘The Thought-Fox’, and ‘Pike’. The analysis argues that the work-in-process produces an alternative idea of Hughes as a creative figure, using tools from genetic criticism to position the draft as of equal value to the ‘final’ poem, and thus unsettling dominant readings of Hughes and his work. The second half of the chapter moves to interrogate significant changes in Hughes’s compositional process in his second collection, Lupercal, considering the impact of his sudden entry into the world of professional literary promotion. The chapter explores the processes of finding, establishing, and re-establishing poetic voice through original analysis of a complex body of manuscript drafts, read in tandem with archival correspondence in which Hughes reflects directly on his writing methods.
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Nanney, Lisa. "Film Writing." In John Dos Passos and Cinema, 101–26. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954873.003.0007.
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In 1936, his politics still leftist but increasingly apprehensive about Communism, Dos Passos used his exposure to the Hollywood film industry to create his only independent film treatment, “Dreamfactory.” This manuscript, though never produced as a film, is the only film project he undertook consisting entirely of his own concepts and his own writing. “Dreamfactory” imagines visually what The Big Money communicates by adapting montage to the page: the complicit relationship between film and the creation of material desire that fuels capitalism. Using the techniques of montage Dos Passos had absorbed from early U.S. and Soviet film, the treatment employs the tools of its own making to critique itself as a product. This innovative work presaged the political and professional crisis that would emerge from Dos Passos’s next film project, the documentary The Spanish Earth (1937): though Dos Passos wrote the “Dreamfactory” treatment, its ideological direction was the subject of correspondence between him and the Dutch Communist filmmaker, Joris Ivens, who would direct the Spanish film. Ivens’ conception of his art as a vehicle to be shaped by the ideological demands of the Party would conflict with Dos Passos’s belief that art should evoke creative engagement and individual choice.
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Gross, Philip. "Halfway-to-whole things: ecologies of writing and collaboration." In Extending Ecocriticism. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784994396.003.0003.
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Philip Gross explains how he started to explore the creative process at the same time as the terms ‘ecocriticism’ and ‘ecopoetic’ made an appearance. Although he writes about the natural world, he is wary of being seen as an ecopoet, on the grounds that it does not feel like his own experience of the writing process and that it implies a specific moral-political stance. In this chapter Gross looks at several collaborative projects that he has been drawn to, sensing that they too hold clues to this process, not just in the subject matter but in the process itself. In one such collaboration he joined a multi-disciplinary group that brought him into contact with people with a professional interest in ecology and the social sciences as well as with a visual artist who bases her work on walking. Subsequently he walked together with the same artist at the Newport Wetlands. He uses examples of his own poetry to explore how the creative and collaborative process works for him in an environmental context.
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Kamata, Suzanne. "On forging a literary (and academic) life in Japan." In Foreign Female English Teachers in Japanese Higher Education: Narratives From Our Quarter, 105–14. Candlin & Mynard ePublishing, 2020. http://dx.doi.org/10.47908/11/8.
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Acclaimed author Suzanne Kamata describes her fight to be taken seriously in an academic institution. She interweaves her professional life as a writer with the challenges she faced in pursuing a career in higher education and in getting creative writing recognized as an academic discipline.
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Venis, Linda. "E-Mentoring the Individual Writer within a Global Creative Community." In Cases on Online Tutoring, Mentoring, and Educational Services, 98–116. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-60566-876-5.ch008.
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This chapter presents a case study of how the UCLA Extension Writers’ Program, which is America’s largest continuing education provider of online creative writing and screenwriting courses and services, offers individualized feedback and mentoring to 1,000’s of aspiring and practicing writers worldwide. Writing creatively is singularly private and can be isolating; the Writers’ Program’s 220 annually-offered online courses in fiction writing, memoir, personal essay, children’s literature, playwriting, poetry, publishing, feature film writing, and television writing provide access to in-depth instructor/student, student/student, and student/advisor relationships designed to help meet individual writing goals. Writing education is particularly well-suited for online delivery because writers write: students submit their work in writing; the teacher and fellow students give their feedback in writing. For students, the act of learning to write online reinforces their accountability to create in a disciplined way and allows time to absorb and respond to critiques with reflection. For teachers, e-mentoring requires unusual rigor and preciseness in order to give thoughtful feedback on each piece of creative work, and the 80 professional writers who teach the Writers’ Program online courses employ a range of pedagogical strategies to do so. In addition, the Writers’ Program provides personalized guidance and advice on writing online through its student advisors as well as an array of services, including one-on-one manuscript and script consultations; feature film mentorships for which students sign up monthly and receive “on demand” guidance on their projects; and a first-of-its-kind course limited to six advanced students in which they hold virtual internships at production companies and studios as script readers. The chapter begins with an overview of UCLA Extension and the Writers’ Program’s history, mission, products, services, and managerial structure, and then describes the origins and current status of the Writers’ Program’s online curriculum and educational services. The ways in which writing education comprises a near-perfect match for a virtual delivery system are explored, followed by a discussion of what makes Writers’ Program’s products and services uniquely suited to deliver e-mentoring for a global, mostly post-baccalaureate student body who puts a high premium on results and quality of interaction. The chapter next outlines how clear expectations, course design, lectures and critiquing guidelines ensure successful response to creative work (instructor/student and student/peers), and then focuses on “best practices” techniques and strategies that online Writers’ Program instructors use to shape and deliver critiques, including a common critiquing vocabulary and methodology, use of technological tools to provide sustained, personalized feedback, and ways to cultivate the individual writer’s sense of place in the global literary and entertainment communities. The chapter concludes by addressing technological, pedagogical, and economic challenges and future directions of e-mentoring aspiring creative writers and screenwriters.
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Brady, Deirdre F. "“A Wild Field to a Later Generation”." In Literary Coteries and the Irish Women Writers' Club (1933-1958), 77–126. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789622461.003.0004.
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Chapter Three examines the body of works awarded the prestigious ‘Book of the Year’ literary prize by the Women Writers’ Club. The prize operated as a means of celebrating women’s writing, marketing books and fostering the identity of this professional and creative club in the cultural marketplace. Over twenty-five years, fifteen prizewinning books were chosen from a diverse range of genres including fiction, history, modernist poetry, children’s fiction, plays and travel writing. This chapter examines the role of the reading committee in constructing an alternative canon of literature advancing a concept of contemporary feminist thought which was radical, non-conformist and ahead of its time. The texts which won The Book of the Year are explored thematically to unearth issues which reflect the social, political, and ideological concerns of the period.
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Wagner, Kristy Kowalske, and Sharon Dole. "Social Media in Higher Education." In Handbook of Research on Transnational Higher Education, 730–50. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4458-8.ch037.
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This study uses the theoretical framework of social constructivism and Communities of Practice (CoP) in two qualitative case studies that explore the use of wikis in online courses in teacher education to promote collaborative writing, problem-solving, and knowledge construction. The case studies involve data collection in the form of interviews, student products on wiki pages from the two courses, and course feedback. Several themes emerge that can be categorized under the broad headings of community building and collaboration, creative process, professional growth, and technology and the research process. Recommendations are made for educators that may be useful in augmenting their students’ e-learning experiences with wikis.
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Grice, Annalise. "‘A collier’s son a poet!’: Lawrence’s First Approaches to the Literary Marketplace." In D. H. Lawrence and the Literary Marketplace, 19–54. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474458009.003.0002.
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Chapter 1 sets out to revise the perception that Lawrence took little interest in attaining a professional writing career before Ford Madox Hueffer accepted his poetry for publication in the November 1909 number of the English Review. The chapter examines how Lawrence understood his position in the literary field at the time when he was making his first approaches to representative readers in preparation for submitting his work to publishers. His initial interests were in sentimental and romantic poetry and short stories with regional settings; in Easter 1906 he also began a melodramatic novel, ‘Laetitia’ (the earliest extant version of his first novel The White Peacock). Chapter 1 provides evidence that Lawrence saw writing as a social and collaborative activity and draws attention to his creative practice of circulating manuscripts to an increasing circle of (mostly female) friends and acquaintances.
Conference papers on the topic "3602 Creative and professional writing"
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Moran, T. "Strong words: The creative writing of engineers." In 2008 IEEE International Professional Communication Conference (IPCC 2008). IEEE, 2008. http://dx.doi.org/10.1109/ipcc.2008.4610223.
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Weirauch, Angelika. "CREATIVE WRITING IN CONTEXT OF UNIVERSITIES." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end056.
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"We present an old process developed more than a hundred years ago at American universities. It means professional, journalistic and academic forms of writing. It also includes poetry and narrative forms. Creative writing has always been at the heart of university education. Today, there are more than 500 bachelor's degree programs and 250 master's degree programs in this subject in the United States. In other fields of study, it is mandatory to enrol in this subject. After World War II, it came to Europe, first to England and later to Germany. Here, ""... since the 'Sturm und Drang' (1770-1789) of the early Goethe period, the autodidactic poetics of the cult of genius prevailed. The teachability of creative writing has been disputed ever since and its dissemination has therefore always had a hard time in Germany"" [von Werder 2000:99]. It is rarely found in the curricula of German universities. At the Dresden University of Applied Sciences, we have been practicing it for five years with great response from social work students. They learn different methods: professional writing for partners and administration, poetic writing for children's or adult groups, scientific language for their final thesis and later publications. Although we offer it as an elective, more than 80% of students choose it. Final papers are also written on these creative topics or using the methods learned. ""Writing forces economy and precision. What swirls chaotically around in our heads at the same time has to be ordered into succession when writing"" [Bütow in Tieger 2000:9]. The winners of this training are not only our former students! Children in after-school programs and youth clubs improve their writing skills through play. Patients in hospitals work on their biographies. People who only write on the computer discover slow and meaningful writing, activating their emotional system. Therefore, this paper will show how clients benefit from creative writing skills of their social workers and what gain other disciplines can expect as well."