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Relevant bibliographies by topics / Creative writing and creative writing guides

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Academic literature on the topic 'Creative writing and creative writing guides'

Author: Grafiati

Published: 12 December 2022

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Journal articles on the topic "Creative writing and creative writing guides"

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Sharma, Anandita. "The Role of Critical Theory in Creative Writing: An Evaluation of Horace’s Ars Poeticaas a Prototype." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 17, 2021): 38–56. http://dx.doi.org/10.24113/ijellh.v9i5.11030.

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Critical Theory and Creative Writing as disciplines are considered antithetical to each otherand a prevailing tendency is to confine them to their own fields.However, this paper argues that critical theory plays a crucial role in the discipline of creative writing. To further my point, I analyse, Horace’s Ars Poetica, a text that deserves worthy attention by scholars and students of literature and acts as a guide to the art of writing. Although, the text dates back to the ancient times, the advice given by Horace to the Pisos family are relevant to the art of writing in general. The paper has been divided into two sections. The first section aims to study the establishment of creative writing as an academic discipline and the role of critical theory in creative writing. The second section discusses how Horace’s Ars Poetica as a critical writing text offers some essential rules in creative writing. The aim is to promote creative inspiration, expand cognition processand bring in a new outlook to stimulate creative thinking.

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Grant, Lynne. "English Literature in Southern Africa: NELM at 30." African Research & Documentation 112 (2010): 25–36. http://dx.doi.org/10.1017/s0305862x00020951.

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The National English Literary Museum (NELM) is one of South Africa's greatest treasures (website: http://www.ru.ac.za/nelm). Tucked away in the university town of Grahamstown in the Eastern Cape, NELM collects-all creative writing by southern African authors who write in English, and in the following genres: novels, short stories, plays, essays, poetry, theatre, television and film scripts, autobiography, travel, letters, memoirs and diaries. Critical writing on the authors and their works is also collected, as well as writings on related subjects such as literary history, censorship and literary awards. These materials are collected in all formats: books, study guides, theses, literary manuscripts, press clippings and audio-visual material.

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Grant, Lynne. "English Literature in Southern Africa: NELM at 30." African Research & Documentation 112 (2010): 25–36. http://dx.doi.org/10.1017/s0305862x00020951.

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The National English Literary Museum (NELM) is one of South Africa's greatest treasures (website: http://www.ru.ac.za/nelm). Tucked away in the university town of Grahamstown in the Eastern Cape, NELM collects-all creative writing by southern African authors who write in English, and in the following genres: novels, short stories, plays, essays, poetry, theatre, television and film scripts, autobiography, travel, letters, memoirs and diaries. Critical writing on the authors and their works is also collected, as well as writings on related subjects such as literary history, censorship and literary awards. These materials are collected in all formats: books, study guides, theses, literary manuscripts, press clippings and audio-visual material.

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NOWACKI, DARIUSZ. "Our instructors. Notes on the authors and publishers of creative writing guides." Autobiografia 17 (2021): 147–57. http://dx.doi.org/10.18276/au.2021.2.17-13.

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Kreuter, Eric A., Gregory R. Gilligan, Ann Knickerbocker, and Jared F. Rodriguez. "Long-term Recovery from Addiction and Underlying Psychological Issues using Expressive Writing as a Potent Tool." Journal of Psychology and Psychotherapy Research 9 (June 1, 2022): 41–103. http://dx.doi.org/10.12974/2313-1047.2022.09.4.

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This article follows a recently published book, titled: Effective use of Creative Writing in the Treatment of Chemical Addiction (Kreuter, 2021 – Nova Science Publishers). In that book, the writing of over sixty men in recovery from addiction express their feelings, thoughts, inspirations, and creative works all geared towards their long-term recovery. This article features work of men and women in both short-term recovery (28-day and 90-day settings, as well as beyond the dates of completion of their respective rehabilitation programs. Through ongoing weekly creative writing workshops, the alumni of Kreuter’s work at St. Christopher’s and Kreuter and Gilligan’s work at Resource Recovery of Orange County, deeper writing demonstrates the effectiveness of the therapeutic device referred to as creative writing. As case studies herein demonstrate, use of creative exposition guided by topical prompts and the offering of therapeutic insight yielded significant benefits to those who suffer from traumatic incident(s) in their lives. Through the writing of stories and letters, writers who came to the drug and alcohol rehabilitation center for chemical abuse are impacted in a healthy way through the attenuation of, at least, part, of their deeply repressed angst over the trauma. In theory, they may have a much easier time completing their recovery program and continuing their active lives with less risk of relapse because of the work they did on the underlying psychological condition. The use of profanity in some of the writings is purposefully left uncensored out of respect for the authors and has been found that such use signifies sincerity on the point of the writer. Use of language is a frequent topic in rehabilitation.

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Pardito, Ranilo H. "Creative Writing Curriculum in the Selected Senior High Schools in the Division of Quezon: A Groundwork for a Teaching Guide." American Journal of Education and Technology 1, no. 2 (September 8, 2022): 62–71. http://dx.doi.org/10.54536/ajet.v1i2.511.

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The study assessed the level of effectiveness of Creative Writing Curriculum Guide used by teachers of senior high school in the Division of Quezon. Specifically, the study assessed the level of effectiveness of Creative Writing Curriculum Guide in terms of: Content Standard, Performance Standard and Learning Competency. The study used descriptive research design in the presentation of the findings of the study and purposive sampling in the selection of the respondents. There were 30 senior high school teacher-respondents from the selected National Senior High Schools. Although the findings show that the respondent’s assessments on the Creative Writing Curriculum Guide in terms of content standard, performance standards and learning competencies were Moderately Effective, there is still a need for improvement in the performance standards based on the general weighted mean. The finding shows that majority of the senior high school students, 532 or 43.04% obtained Satisfactory performance. From the interview, the following challengers emerged: Inappropriate Activities/Task, Learning Material Not Fitting/Confusing, Limited Time, No Teacher’s Guide, Lack of Laboratory Rooms, Wi-Fi and Library, Ratio of Teachers with Students, and No monitoring of implementation. There was significant relationship between teachers’ strategies in Teaching Creative Writing and content standards, performance standards and learning competency. Based on these, the following are recommended: Strict monitoring on the implementation of the curriculum guide be made to address the needs of the teachers and the students. The authority can use the findings of this study to determine further improvement in teaching Creative Writing and develop the learning competencies of the students as well as improving teacher’s performance. The proposed Creative Writing Teaching Guide can be a great help for teachers in meeting the challenges in teaching creative writing.

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Peary, Alexandria. "Toward an inclusive creative writing: threshold concepts to guide the literary writing curriculum." New Writing 15, no. 3 (February 26, 2018): 397–98. http://dx.doi.org/10.1080/14790726.2017.1417724.

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Owens, Jacqueline K. "Capturing Nursing History With Creative Writing: Two Exemplars." Creative Nursing 27, no. 2 (May 1, 2021): 142–46. http://dx.doi.org/10.1891/crnr-d-20-00022.

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Florence Nightingale formally documented much of the early history of the nursing profession, a goal that remains important today to guide our practice. Many nurse scholars have published detailed accounts of historical research. Story-based narratives can be especially effective to describe the contributions of individual nurses in a way that resonates with nurses and lay readers. Two nurses, Terri Arthur and Jeanne Bryner, have successfully disseminated stories of nurses through creative writing. This article describes their journeys to capture nursing history using historical narrative, poetry, and reflective prose.

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Meyntjens, Gert-Jan. "François Bon's Pseudo-Translated Writing Handbook: The Curious Case of Malt Olbren's The Creative Writing No-Guide." Nottingham French Studies 57, no. 1 (March 2018): 64–80. http://dx.doi.org/10.3366/nfs.2018.0204.

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This article investigates the case of François Bon's pseudo-translation of Malt Olbren's The Creative Writing No-Guide (2013). If Bon believes that the making public of writing atelier practices is crucial, then why does he share his know-how by means of a pseudo-translation? Moreover, why does he limit himself to a digital version? I will first argue that Bon's choice for the digital format not only fits within his general move towards the Internet, but also has to do with the audience he targets. Then, I will show how The Creative Writing No-Guide's set-up as a pseudo-translation permits Bon not only to criticize more conventional handbooks through means of parody, but also to transmit writing tools successfully by means of what sociologist Richard Sennett calls expressive instructions.

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Campbell, I. D. "Legal Writing." Victoria University of Wellington Law Review 30, no. 2 (June 1, 1999): 427. http://dx.doi.org/10.26686/vuwlr.v30i2.6004.

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This issue of the Victoria University of Wellington Law Review provides an opportunity for students to develop their skill in written analysis and argument. In turn, the author uses this issue as an opportunity to consider the standards by which a writer should be guided both in their own creative work and in assessing the work of others by using Professor W Friedmann's Law and Social Change in Contemporary Britain as a framework. According to the author, legal writing requires absolute integrity to the facts, full candour as to the facts, avoiding distortion and straw-men targets in arguments, consistency, and clarity and accuracy.

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Dissertations / Theses on the topic "Creative writing and creative writing guides"

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Jones, Megan. "The child's survival guide." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/8582.

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Carroll, Adrian. "Getting in the Groove : The Recording Studio Procedural Guide." Thesis, Queensland Conservatorium, Griffith University, 2005. https://eprints.qut.edu.au/48598/2/48598.pdf.

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This paper examines time management in the recording studio from the perspective of the music producer. The paper is presented in the form of a guide that will provide a common language to music clientele and technical personnel to help achieve the best possible creative outcome. The research for the guide combined the author's experience, literary evidence and external assessment to work towards establishing a practical industry resource. The result of the study explored how the success of any recording project can be forecast before valuable resources are committed. The feedback from the survey group was positive and some professionals recognised an immediate application for the procedural guide, which exceeded the author's expectations.

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Sinclair, Nicole Marie. "A novel: Bloodlines and exegesis: In the blood: mothering and othering." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1961.

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This thesis includes a literary fiction novel, Bloodlines, and an exegesis titled In the Blood: Mothering and Othering. Bloodlines is a layered novel with shifting settings, times and voices. It centres around thirtyone- year-old Beth who is struggling with the guilt of calling off her wedding and the belief this decision caused her fiancé to have a devastating accident. She flees to an island in Papua New Guinea (PNG), staying with her dad’s cousin who runs a mission school, and is quickly immersed in island life in all its wonder, beauty and brutality. Friendships with local women, unexpected romance and a malaria scare conspire to make Beth confront the memories that imprison her, and she finally makes peace with her past. But the island simmers with sorcery, religious fervour and belligerent ex-pats, and when violence spills into her own backyard, Beth reaches a defining moment and chooses where she really belongs: with her family. Interwoven with Beth’s narrative is the story of her parents’ love for each other decades earlier. Clem and Rose’s passionate, tender union is, however, beset with tragedy: Rose dies suddenly and a grieving Clem must raise Beth, their young daughter, alone. Years later, when Beth travels to PNG, Clem reminisces about her childhood and longs for her return. Bloodlines is about family and love, cultural difference and belonging, and although it is not autobiographical it is inspired by lived experience. The exegesis, In the Blood: Mothering and Othering, is an exercise in reflexivity, demonstrating how creativity is influenced by memory, connection to place, and personal experience. It examines two challenging experiences which informed the setting, characters and plot of Bloodlines. Chapter One explores how becoming a first time mother shaped both content and writing practice, drawing parallels with other contemporary Australian author-mothers including Cate Kennedy and Nikki Gemmell. It also frames the work as an act of catharsis. Chapter Two tackles the complexities of whiteness. It examines the PNG thread of the novel in terms of post-colonial discourse with particular reference to ‘white saviour complex’ and the volunteer tourist as a modern day missionary. The unavoidable echoes of colonialism given Australia’s historical relationship with PNG are highlighted. The second part of this chapter details specific strategies implemented to ease the writer’s anxiety about depicting racial difference, and connections are made to other Australian authors who have written about PNG, most notably Randolph Stow, Trevor Shearston and Drusilla Modjeska. Both the novel and exegesis are a manifestation of significant, somewhat difficult life experiences. If we accept that it is in our vulnerability and our interactions with other people (whether they be a tiny child or the archetypal black Other) that we know ourselves more fully, then this journey of self-discovery is deepened when we transform our experiences through writing – whether it be creative or theoretical.

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Alonso, Rosie Angelica. "La Llorona Don't Swim The L.A River: A Trickster's Guide To The Poetics Of The Pit." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/219.

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La Llorona Don’t Swim The LA River is a collection of poems that explore the issues of growing up in East LA as a young, bilingual Chicana. These poems are an attempt to capture my experiences through story telling by blending Spanish, English, street slang, and the casual spoken diction. The speaker embodies several versions of the trickster figure: linguistic tricksterism, cultural tricksterism, gender tricksterism, and religious tricksterism. She navigates linguistic tricksterism through the code switching of English and Spanish, using Spanglish as her main dialect, and often blending in slang, creating Slanglish. In cultural tricksterism, she focuses on the experiences of the working class, the migrant workers, the bilingual speakers, and the overall generational changes in the Mexican culture. The speaker constantly searches for the meaning of what it is to be a woman and what it means to love through gender tricksterism. She looks to her mother, la Virgen De Guadalupe, and La Llorona to try and understand her complex identity. La Llorona Don’t Swim The LA River works to form a different type of spirituality through sacred humanism from the point of view of the religious trickster. These poems pose the question: where else can God be found other than church and the bible? The speaker seeks God in tattoos, in punk music, in the moshpit, in the city, and in people. She forms a new approach to tradition through the persistence of kind rebellion, her own personal version of love.

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King, Willow. "Yantra: A creative writing thesis (Original writing, Poetry, Creative fiction)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425764.

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Stott, Luke. "Ipseity : using the Social Identity Perspective as a guide to character construction in realist fiction." Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/23379.

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"Instead of studying, for example, how the psychology of personality limits and prevents real social and political change, we should be studying how political and ideological changes create new personalities and individual needs and motives." The above quotation is from social psychologist Professor John Turner, who is one of the two theorists, the other being Henri Tajfel, most responsible for the Social Identity Perspective, the principle subject of this thesis. The Social Identity Perspective is an approach to Social Psychology that incorporates two sub-theories: Tajfel's Social Identity Theory and Turner's Self-Categorization Theory. This thesis is based upon using the perspective for the purposes of creating more realistic and believable fictional characters in realist fiction. For the purposes of this thesis Pam Morris' definition of realism will be used, that being, 'any writing that is based upon an implicit or explicit assumption that it is possible to communicate about a reality beyond the writing.' According to both theories, individuals can develop two principal identities: the personal self, which is to say a collection of idiosyncratic qualities that define them as a unique individual, and a collective self (or social identity) that encapsulates the status and characteristics of the social groups they belong to in opposition to other social groupings. Turner theorised that the personality of a human being is heavily influenced by their social context at an unconscious level. This influence can be made manifest by their parents, by their school friends and work colleagues, by their romantic partners, and especially by the collective cultural expectations native to the area they choose to reside in. Turner put forward the concept that our personality and actions are therefore influenced by society at the level of how the individual defines himself or herself. This occurs without agency on the part of the individual. These social belief systems therefore mould what the individual thinks, their actions, and their motivations. This thesis will demonstrate a method of usage for elements of Social Psychology, specifically the Social Identity Perspective that underpins the actions, interactions and motivations of the fictional characters contained within the thesis's creative element. It is the contention of this thesis that The Social Identity Perspective will assist an author in marrying together ever more realistic characterisation to other areas of writer research already extensively drawn upon by the author such as those projects focused upon creating a more realistic setting in a historical novel for instance. As previously stated it is the intention of this thesis to apply aspects of social psychology to the creation of realist texts only, the findings however may also be of use to authors who write in other genres, after all even the writer of fantastic fiction still requires characters whose actions are fundamentally recognisable and justifiable to the reader in order for them to be able to make sense of the fiction and as Henry James said, 'one can speak best from one's own taste, and I may therefore venture to say the air of reality (solidity of specification) seems to me to be the supreme virtue of a novel'. It is the aim of this thesis that its findings may highlight the potential of using The Social Identity Perspective and other adjuncts of Social Psychology as tools for both plot construction and character development that is completely realistic. This may then lead to other areas of research, some of which are suggested in the concluding chapter of this thesis.

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Bonhomme, Desmond. "Creative Writing Thesis: Poetry." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/563.

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The title of this compilation of my own creative writings is Trees, Breathe, Paper. This unique collection of poetry, short stories and prose contains a range of work, composed from 2002-2012. The thematic goal of this undertaking is to ballast as many implicit and explicit meanings as are comprehensible, and to extrapolate a distinct spectrum of latent and straightforward explanations with discernible psycho-analytical accuracy. We all know poetry is truly formless and based on springs of natural inspiration. Thus, we derive our purest inspiration from the natural world and we prune it in its unfiltered, raw state. Poetry is an externality that materializes from thin air.

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Riber, Henrik, and Pontus Sjögren. "Motivation in Creative Writing." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35292.

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This paper aims to investigate to what extent creative writing promotes motivation for EFL learners to write. A report published by the National Assessment Project (NAFS) commissioned by The Swedish National Agency for Education evaluated the national tests in English for Swedish students during 2018/2019, documenting that the Swedish students obtained the lowest English scores on writing. This result corresponds with the national test scores in English from earlier years. According to The Swedish National Agency for Education (Skolverket, 2019) motivation is a necessary component for L2 learning, and teachers are expected to play a fundamental role in creating student motivation. However, research within the area of motivation indicates that the understanding of motivation in L2 learning is limited. Likewise, the research indicates a need for the understanding of motivation to be both revised and subject to further research, both to understand the nature of motivation and to define tools on how to push motivation in L2 writing. One such tool could be creative writing (CW). Thus, to understand to what extent CW can motivate EFL learners to write, we explore recent studies that examine how different implementations of CW activities and CW courses can motivate students to write within a school context. In the study, we argue that CW motivates EFL learners to produce text. CW seems to facilitate relevance for the student and empower writing activities that consider the student’s self-interest as well as bring new life to the student’s understanding of writing. The insights of this study hold pedagogical values for L2 writing in the EFL classroom.

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Smith, Heidi Ann. "Sensing the logic of writing : creative writing reimagined." Thesis, Middlesex University, 2016. http://eprints.mdx.ac.uk/20822/.

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This project draws attention to the ‘graphic elements’ – both written and visual – of a creative writing practice by exploring those graphic elements in both the critical component of this mixed-mode dissertation and in a series of creative artefacts. Its principle aim is to record how as a practising creative writer-researcher I have made a series of artefacts as a way of providing an opportunity for readers and researchers to explore this specific instance of theoretically-informed aesthetic experimentation. The psychophysiological researcher, Tony Bastick, having investigated expert ‘experimenters’ in Intuition: How We Think and Act (1982), identified an “intuitive method” that provides “insights” into a “creative process” that is, importantly, “preverbal”, yet not in fact visual (298–299). In this project I raise a different set of questions from those raised by ‘alphabetically’-guided ways of creating writing, as a means of continuing to learn and reinvent my own creative writing practice as mixed-mode (combining written and visual invention). My proposal is to demonstrate how a creative writer-researcher with a keen interest in the visual arts might make an original contribution to the fields of creative writing and visual arts by providing readers with an opportunity to view and examine that set of artefacts alongside a critical document that explores how the choices were made during the double creative process. My central hypothesis is that a practising creative writer-researcher is uniquely situated to identify how her or his own expanded and complexified creative writing process might work and to share that specific crossdisciplinary knowledge as the epistemic aspects of a creative writing practice draws on resonances and exchanges with other disciplines, including the visual arts. On these bases this mixed-mode submission includes a portfolio of writing within a visual arts framework together with a written critical commentary focused on issues raised by those complex practices themselves.

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Біскуб, Ірина Павлівна, and Iryna P. Biskub. "Computer Literacy and Creative Writing." Thesis, Горлівський державний педагогічний інститут іноземних мов, 2006. http://evnuir.vnu.edu.ua/handle/123456789/1003.

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Books on the topic "Creative writing and creative writing guides"

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Mark, Larson, ed. The creative writing handbook. Glenview, Ill: GoodYearBooks, 1992.

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Creative writing for lawyers. Secaucus, N.J: Carol Pub. Group, 1991.

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Casterton, Julia. Creative writing: A practical guide. London: Macmillan, 1986.

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Creative writing: A practical guide. 3rd ed. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2005.

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Creative writing: The essential guide. Peterborough: Need-2-Know, 2012.

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Thinking like a writer: A handy guide guaranteed to inspire you! New York: Random House, 1994.

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Stanley, Jo. Writing out your life: A guide to writing creative autobiography. London: Scarlet Press, 1998.

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Wells, Gordon Ronald. Beginners start here: A guide for new writers. St Ives: Weaver Press, 1993.

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A writer's notebook: The ultimate guide to creative writing. New York: Scholastic, 1999.

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1932-, Wallace Robert, and Wallace Robert 1932-, eds. Writing poems. 6th ed. New York: Pearson Longman, 2004.

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Book chapters on the topic "Creative writing and creative writing guides"

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Rose, Jean. "Creative Writing." In The Mature Student’s Guide to Writing, 116–35. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-1-137-05027-4_7.

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Rose, Jean. "Creative Writing." In The Mature Student’s Guide to Writing, 108–25. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-26557-9_7.

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Van Goidsenhoven, Leni, and Anneleen Masschelein. "“Writing by Prescription”: Creative Writing as Therapy and Personal Development." In New Directions in Book History, 265–87. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_11.

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AbstractThis chapter investigates how-to books on creative “life writing” for therapy, transformative learning, and personal development, in short, therapeutic writing. This subgenre of writing advice is situated in two different domains with psychology and pedagogy on the one hand, and life writing and creative writing on the other hand. After a brief overview of the history of therapeutic writing, we focus on Jessica Kingsley Publishers (JKP), a leading international niche publisher in the field of neurological and cognitive differences. JKP offers a combination of popular-science books, memoirs, and self-help publications, as well as a series of how-to books on writing for therapy or personal development. By this specific grouping of genres and formats, JKP turns its readers into writers and also guides the process of writing by setting out standards for narratives about neurological illness and disability, both in content and form. Combining both textual and contextual analysis, we examine the advice oeuvres of three JKP authors, Gillie Bolton, Kate Thompson, and Celia Hunt, to see how they relate to the therapeutic and self-help ethos as well as to more literary forms of creative writing, and how they negotiate the ideas of becoming a writer through craft, therapy, and self-expression.

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Saknussemm, Kris. "The Writing Program." In A Guide to Creative Writing and the Imagination, 117–96. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003140696-5.

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Saknussemm, Kris. "Aerial View." In A Guide to Creative Writing and the Imagination, 64–95. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003140696-3.

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Saknussemm, Kris. "Tactical Resources." In A Guide to Creative Writing and the Imagination, 96–116. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003140696-4.

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Saknussemm, Kris. "Gaining Perspective." In A Guide to Creative Writing and the Imagination, 31–63. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003140696-2.

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Saknussemm, Kris. "Spiral Mind (Not Yet Arrived)." In A Guide to Creative Writing and the Imagination, 197–244. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003140696-6.

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Saknussemm, Kris. "Going Wokabout." In A Guide to Creative Writing and the Imagination, 1–30. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003140696-1.

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Clark, Fiona. "Responding to prose." In A Practical Guide to Creative Writing in Schools, 136–51. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003097105-7.

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Conference papers on the topic "Creative writing and creative writing guides"

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Bolter, Jay David, and Michael Joyce. "Hypertext and creative writing." In Proceeding of the ACM conference. New York, New York, USA: ACM Press, 1987. http://dx.doi.org/10.1145/317426.317431.

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Hossain, Md Shafaeat, Carl Haberfeld, Kate Yuan, Jundong Chen, Khandaker Abir Rahman, and Ishtiaque Hussain. "Continuous Authentication Using Creative Writing." In 2020 International Symposium on Networks, Computers and Communications (ISNCC). IEEE, 2020. http://dx.doi.org/10.1109/isncc49221.2020.9297312.

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Vasconcelos, Ana. "Eisenman’s Conceptual-Generative Diagram: A Creative Interface between Intention, Randomness and Imagination and Space-Form." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002331.

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Digital diagrams are constituted as strategic-communicative-productive intermediate space-matrices among architecture, the architect and the digital machine, and between architecture and other disciplinary fields. According to Stan Allen, diagrams are a map of the possible worlds, a description of potential relationships, where a plethora of functions, actions and configurations are implicit in time, subject to continuous modifications.Alluding to the notions of diagrams, machinic and figural of Deleuze and Guattari, Eisenman’s conceptual-generative diagram functions as a hypertext and a creative and affective interface between intention, randomness and imagination, and architectural space and form. Proposing a new type of reality in a permanent state of evolution and of form-thinking and form-making, they have become a technique or poetic operation that, in addition to representing, also present and evoke, in between order and chaos, intention and the unexpected, mechanical and organic, real and virtual, presence and absence. For Eisenman, diagrams function as a heuristic instrument of criticism in the design process, in search of other spatial and conceptual qualities for a reflection within the discipline of architecture itself. Diagrams are a space-matrix, or as Eisenman puts it, a “meta-writing” in terms of the field of orientations and possibilities to be apprehended and inscribed, first in the project and later in the construction of the architectural place. These possibilities and orientations, guidelines or meanings are not totally contained within the diagram itself, rather they also reside in the intermediate space between the diagram and the observer, creator or architect. Diagrams are an evocative and inspiring space-formal matrix, the contents or evocations of which are not found “embedded” or “enclosed” in their shape or material, rather they are indicated or outlined, in varying degrees of explicitness, as signals or traces, evoking multiple interpretations and reflections. Eisenman uses digital diagrams as a mediating agent or instrument to investigate, explore, create and draw the architectural space within the thematic basis of the interstitial–“the “in-between”. He does so through a process that is intentional, random, interpretive, esthetic and poetic, all at the same time. In contrast to the traditional quest for form that is synthesized in the idea of a box or container, Eisenman proposes an alternative means, through which form or space can be found through a long process in which rational approaches and computerized drawing intermingle, introducing formal randomness, in which the diagram is the mediator. Eisenman refers to that procedure as “spacing”, ”espacement” or ”espaciamiento”, in opposition to “forming”.Eisenman’s conceptual-generative diagram constructs and develops a matrix field of forces and geometries that, acting in the project as a spatial-formal guide, opens up from the first record or first intention, to many possibilities of configuration/definition of the object or architectural place. Consequently, it makes possible the exploration and discovery in architecture of other ways of thinking, imagining and manifesting forms and spaces, that investigate new ways of occupancy and promote other possible ways of life. It is an architecture in which diagrams are constituted as an expression of the figural/imprecise/blurred condition, the traces of which persist in the space-form of the building; a diagram that is both a creative interface between the intrinsic exploration of its defined concepts and the final configured complexity of its spatialities and functional superpositions.

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Guangzhi, Zhao. "Relative research of creative Writing and industries about creative culture." In 2014 Conference on Informatisation in Education, Management and Business (IEMB-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/iemb-14.2014.105.

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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."

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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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Li, Wei. "Creative Writing in Europe and the U.S. and Chinese Writing Teaching Reform." In Proceedings of the 2019 3rd International Conference on Education, Management Science and Economics (ICEMSE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icemse-19.2019.84.

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Jin, Zhenbang, and Fan Yang. "Creative Writing Against the Background of Big Data." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.010.

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Kovas, Yulia. "Early Predictors Of Creative Writing At Age 9." In ICPE 2018 - International Conference on Psychology and Education. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.11.02.8.

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Clark, Elizabeth, Anne Spencer Ross, Chenhao Tan, Yangfeng Ji, and Noah A. Smith. "Creative Writing with a Machine in the Loop." In IUI'18: 23rd International Conference on Intelligent User Interfaces. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3172944.3172983.

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Reports on the topic "Creative writing and creative writing guides"

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Пахомова, О. В. Using Scaffolding Strategy for Teaching Creative Writing. Маріупольський державний університет, 2018. http://dx.doi.org/10.31812/0564/2145.

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The article deals with scaffolding strategy for teaching creative writing in the English classroom. The importance of using the creative writing technique, which is an effective means of optimization and intensification of the process of foreign language study, for forming students' communicative competence in writing is highlighted. It is supposed that an elaborated scaffolding strategy might help lecturers to organize the educational process with maximum capacity and successful results. A variety of techniques such as intensive usage of graphic organizers ("Plan Think Sheet", "Mind-map", "Concept Map", "Clustering", "Spider Map", "Cycle", "Chain of Events", "Web"), "Teaching by Example", "Sentence Stem Completion" / "Close procedures", “Stream of Consciousness”, Genre scaffolding techniques are recommended to empower learners' creative abilities to write and express themselves on any topic using the wide range of writing techniques with the relevant structure and vocabulary.

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Elabdali, Rima. Wiki-based Collaborative Creative Writing in the ESL Classroom. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5269.

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Schlegel, Kevin A. Update of the Navy Contract Writing Guide Phase III: Creation of an Addendum Addressing DD-1716 Contract Deficiencies. Fort Belvoir, VA: Defense Technical Information Center, December 2004. http://dx.doi.org/10.21236/ada429263.

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Hall, Mark, and Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.

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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks, and b) by an enhanced study of Scotland’s international context through time. 1. From North Britain to the Idea of Scotland: Understanding why, where and how ‘Scotland’ emerges provides a focal point of research. Investigating state formation requires work from Medieval Scotland: a future for its past ii a variety of sources, exploring the relationships between centres of consumption - royal, ecclesiastical and urban - and their hinterlands. Working from site-specific work to regional analysis, researchers can explore how what would become ‘Scotland’ came to be, and whence sprang its inspiration. 2. Lifestyles and Living Spaces: Holistic approaches to exploring medieval settlement should be promoted, combining landscape studies with artefactual, environmental, and documentary work. Understanding the role of individual sites within wider local, regional and national settlement systems should be promoted, and chronological frameworks developed to chart the changing nature of Medieval settlement. 3. Mentalities: The holistic understanding of medieval belief (particularly, but not exclusively, in its early medieval or early historic phase) needs to broaden its contextual understanding with reference to prehistoric or inherited belief systems and frames of reference. Collaborative approaches should draw on international parallels and analogues in pursuit of defining and contrasting local or regional belief systems through integrated studies of portable material culture, monumentality and landscape. 4. Empowerment: Revisiting museum collections and renewing the study of newly retrieved artefacts is vital to a broader understanding of the dynamics of writing within society. Text needs to be seen less as a metaphor and more as a technological and social innovation in material culture which will help the understanding of it as an experienced, imaginatively rich reality of life. In archaeological terms, the study of the relatively neglected cultural areas of sensory perception, memory, learning and play needs to be promoted to enrich the understanding of past social behaviours. 5. Parameters: Multi-disciplinary, collaborative, and cross-sector approaches should be encouraged in order to release the research potential of all sectors of archaeology. Creative solutions should be sought to the challenges of transmitting the importance of archaeological work and conserving the resource for current and future research.

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