Journal articles: 'Writing craft'

1

Mayers, Tim. "(Re) Writing Craft." College Composition and Communication 51, no. 1 (September 1999): 82. http://dx.doi.org/10.2307/358964.

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Kafadar, Karen, Michael Alley, and Nicholas J. Higham. "The Craft of Scientific Writing." Journal of the American Statistical Association 92, no. 440 (December 1997): 1655. http://dx.doi.org/10.2307/2965457.

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Gottlieb, Jack, Sheila Davis, and Stephen Citron. "The Craft of Lyric Writing." American Music 7, no. 3 (1989): 326. http://dx.doi.org/10.2307/3052078.

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Shea, J. J. "The Craft of Science Writing." IEEE Electrical Insulation Magazine 14, no. 6 (November 1998): 43. http://dx.doi.org/10.1109/mei.1998.730822.

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Vojta, G. "The Craft of Scientific Writing." Zeitschrift für Physikalische Chemie 202, Part_1_2 (January 1997): 301. http://dx.doi.org/10.1524/zpch.1997.202.part_1_2.301.

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McGuckin, Richard S. "The craft of scientific writing." Journal of Prosthetic Dentistry 61, no. 2 (February 1989): 258. http://dx.doi.org/10.1016/0022-3913(89)90399-5.

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Lackstrom, John E. "The craft of scientific writing." English for Specific Purposes 10, no. 3 (January 1991): 248–50. http://dx.doi.org/10.1016/0889-4906(91)90029-v.

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Campbell, Randolph B., and Lloyd E. Ambrosius. "Writing Biography: Historians and Their Craft." Journal of Southern History 71, no. 4 (November 1, 2005): 960. http://dx.doi.org/10.2307/27648978.

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Etulain, Richard W. ":Writing Biography: Historians and Their Craft." American Historical Review 110, no. 4 (October 2005): 1120. http://dx.doi.org/10.1086/ahr.110.4.1120.

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Paraskevas, Cornelia. "The Craft of Writing: Breaking Conventions." English Journal 93, no. 4 (March 2004): 41. http://dx.doi.org/10.2307/4128979.

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Rickards, Debbie, and Shirl Hawes. "Connecting Reading and Writing Through Author's Craft." Reading Teacher 60, no. 4 (December 1, 2006): 370–73. http://dx.doi.org/10.1598/rt.60.4.6.

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Bailey, Susan Pritchard. "The Art & Craft of Case Writing." Library & Information Science Research 24, no. 2 (January 2002): 197–99. http://dx.doi.org/10.1016/s0740-8188(02)00113-5.

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Parke, Catherine Neal. "Writing Biography: Historians and Their Craft (review)." Biography 27, no. 3 (2004): 599–602. http://dx.doi.org/10.1353/bio.2004.0076.

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Messinger, Kelly. "NRJ Book: Writing as Craft and Magic." Newspaper Research Journal 21, no. 3 (June 2000): 107–8. http://dx.doi.org/10.1177/073953290002100309.

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Sestak, Z. "Alley, M.: The Craft of Scientific Writing." Photosynthetica 35, no. 1 (March 1, 1997): 28. http://dx.doi.org/10.1023/a:1006854822917.

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Farnham, Paul G. "The Art & Craft of Case Writing." Journal of Policy Analysis and Management 20, no. 4 (2001): 784–85. http://dx.doi.org/10.1002/pam.1033.

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Ianacone, John A. "Passion and Craft in Writing: Finding a Balance." English Journal 85, no. 6 (October 1996): 17. http://dx.doi.org/10.2307/819821.

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Rice, Hugh Collins. "WITOLD LUTOSŁAWSKI AND THE CRAFT OF WRITING NOTHING." Tempo 64, no. 253 (July 2010): 21–29. http://dx.doi.org/10.1017/s0040298210000288.

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From the moment Schoenberg saw the need to use the designations Hauptstimme and Nebenstimme, the issue of differentiating material in complex post-tonal scores has been significant. It has formal and textural connotations, and it relates directly to the experience of listening to this music.

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Macdonald, Ian W. "Forming the craft: Play‐writing and photoplay‐writing in Britain in the 1910s." Early Popular Visual Culture 8, no. 1 (February 2010): 75–89. http://dx.doi.org/10.1080/17460650903515970.

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20

Nappi, Carla. "Metamorphoses: Fictioning and the Historian's Craft." PMLA/Publications of the Modern Language Association of America 133, no. 1 (January 2018): 160–65. http://dx.doi.org/10.1632/pmla.2018.133.1.160.

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Language and flesh create each other. here you will find three stories, from three ongoing projects, that are each in some way about the metamorphosis between word and body. Each story is an example of my use of fiction writing as a scholarly tool: for understanding a map as a material object, for weaving lives from textual fragments, and for making a little world with little gods as a way of exploring a work of theory. Fiction, here, is an apparatus for paying new kinds of attention, as well as a vehicle for creating stories, worlds, and selves to give to others. Some persistent concerns in my fiction writing have deeply influenced how I pay attention to the documents I work with in my research: concerns with materiality and history, with the legibility of bodies, with fragmentariness and the transformative power of desire, with the nature of selves and flesh as constantly in the process of becoming, with voicing and with fiction as technologies of conversion. (I did not understand, before writing “The Gesture of Smoking a Pipe,” which you'll read below, that there was an important link in Vilém Flusser's work between physical gesture, selfhood, and the calling down of—and metamorphosis of selves into—gods. Now, the connection between movement, identity, and conversion is becoming central to my work as a historian.) Imagining materiality and metamorphoses this way—and practicing the metamorphosis and conversion of documents—has pointed me toward the ways that materiality and material experience emerge out of relations and relationships and the ways that the kind of orientations that relate bodies in space and time leave traces in our documents.

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21

Mathias, Frank F. "Writing a Memoir: The Involvement of Art with Craft." History Teacher 19, no. 3 (May 1986): 373. http://dx.doi.org/10.2307/493379.

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22

Aversa, Nicholas J., and Michael Tritt. ""Advice to Writers": Students Discuss the Craft of Writing." English Journal 77, no. 6 (October 1988): 54. http://dx.doi.org/10.2307/818616.

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Yates, Donald A., and Joseph Tyler. "Borges' Craft of Fiction: Selected Essays on His Writing." World Literature Today 67, no. 2 (1993): 343. http://dx.doi.org/10.2307/40149122.

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Miller-McLemore, Bonnie J. "Getting it Write: On the Craft of Academic Writing." Pastoral Psychology 65, no. 6 (June 3, 2016): 803–20. http://dx.doi.org/10.1007/s11089-016-0707-3.

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Giladi, Avner. "LIMINAL CRAFT, EXCEPTIONAL LAW: PRELIMINARY NOTES ON MIDWIVES IN MEDIEVAL ISLAMIC WRITINGS." International Journal of Middle East Studies 42, no. 2 (April 13, 2010): 185–202. http://dx.doi.org/10.1017/s0020743810000012.

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In his monumental “Introduction to History,”al-Muqaddima, Ibn Khaldun, the well-known Muslim historiographer and philosopher of history (d. 1406a.d.), dedicates a whole chapter to midwifery (ṣināʿat al-tawlīd) that is as original in conception as it is rich in detail. The chapter is included in Part V, which offers a survey of professions and crafts—“the ‘accidents’ of sedentary culture”—that for Ibn Khaldun reflect the sophistication of urban life. Within this survey, midwifery ranks among the most basic crafts (ummahāt al-ṣanāʾiʿ), being “something necessary in civilization and a matter of general concern, because it assures, as a rule, the life of the newborn child.” Moreover, like “the art of writing, book production, singing, and medicine,” midwifery is regarded as a noble craft because of the subject that is at the heart of it (sharīf bi-l-mawḍūʿ).

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Hannigan, Tim. "Counting Up the Lies." Journeys 19, no. 2 (December 1, 2018): 1–22. http://dx.doi.org/10.3167/jys.2018.190201.

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Travel writers seldom reveal the degree to which they deploy fictional elements in their notionally nonfictional books, nor do they discuss the precise motivations for and mechanics of fictionalization and fabrication in travel writing. In this article a travel-writing practitioner turned travel-writing scholar analyzes his own work: the thirteen-year-old manuscript of The Ghost Islands, an unpublished travel book about Indonesia. This analysis reveals various patterns of fabrication across what was presented as and intended to be a “true account,” including the craft-driven fabrications necessitated by reordering and amalgamating events, the omissions generated by attempts to overcome belatedness and to express antitouristic sentiments, the fictional elements introduced through the handling of dialogue and translation, and the self-fictionalization impelled by awareness of genre conventions. The article highlights the significance of writerly craft as a key—and largely overlooked—variable in the scholarly analysis of travel-writing texts.

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Riley, Sam G. "Craft Meets Art as Professors Try Writing across the Curriculum." Journalism & Mass Communication Educator 50, no. 4 (December 1995): 77–81. http://dx.doi.org/10.1177/107769589505000409.

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28

Farnan, Nancy. "INTRAINDIVIDUAL DIFFERENCES AND IMPLICATIONS FOR CRAFT IN WRITING: A COMMENTARY." Reading & Writing Quarterly 10, no. 3 (July 1994): 277–81. http://dx.doi.org/10.1080/1057356940100308.

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Sampson, Chris. "Developing projection in student songwriters: Writing popular songs that are actually popular." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 105–11. http://dx.doi.org/10.1386/jpme.3.1.105_1.

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An important turning point in the development of a young songwriter occurs when they transition from writing songs that might only be meaningful to themselves to writing songs with the intention of connecting to a wider audience. This accomplishment can be described as a student achieving good projection through their songs. More specifically, good projection in songwriting happens when student’s successfully leverage elements of the craft that effectively produces audience participation through groove, melody, form and lyrics. An artist’s persona can also contribute significantly to connecting with a wide audience through their unique and compelling performance style. Through understanding these elements, songwriting instructors at all levels can craft lessons that focus on these fundamentals with the explicit goal of improving projection in their students writing. Furthermore, the concept of projection helps create baseline criteria for the assessment of songs in the classroom regardless of genre or subgenre.

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30

Olthouse, Jill M. "Talented Young Writers’ Relationships With Writing." Journal for the Education of the Gifted 35, no. 1 (January 3, 2012): 66–80. http://dx.doi.org/10.1177/0162353211432039.

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Through a qualitative research design, the author explored how eight talented young creative writers related to their craft. The construct, “relationship with writing,” emerged as the study’s overarching theme; this theme includes students’ influences, goals, values, identity, and emotions as these relate to writing. The findings indicated identity development and the expression of an authentic self were central to students’ relationships with writing. Multiple positive influences led students to view writing as a means to understand and express their identities. Students valued academic writing, but felt creative writing was more congruent with their emotions, goals, and values. Overall, students’ relationships with writing can be described as positive, personal, and context dependent.

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31

Lemay, Megan, John Encandela, Lisa Sanders, and Anna Reisman. "Writing Well: The Long-Term Effect on Empathy, Observation, and Physician Writing Through a Residency Writers' Workshop." Journal of Graduate Medical Education 9, no. 3 (June 1, 2017): 357–60. http://dx.doi.org/10.4300/jgme-d-16-00366.1.

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ABSTRACT Background Writing narratives during medical training can provide a way to derive meaning from challenging experiences, enhance reflection, and combat burnout. The Yale Internal Medicine Residency Writers' Workshop, an annual 2-day intensive workshop followed by faculty-guided writing revision and publication, has been training resident physicians in the craft of writing since 2003. Objective The study aimed to assess the long-term effects of a craft-focused writers' workshop for residents on empathy, observation skills, and future writing. Methods A survey of closed and open-ended questions was sent to former workshop participants (2003–2013), who rated and described the workshop's influence on their observation skills, empathy, improvement in writing, and continued informal and formal writing. A total of 89 of 130 participants (68%) completed the online survey. We identified key themes in written responses and collected quantitative ratings on a 5-point Likert scale of self-reported influence on these factors. Simple statistics and narrative analysis were used to derive results. Results Most participants agreed or strongly agreed that the workshop influenced their ability for careful observation (72 of 85, 85%); ability to be empathic with patients or colleagues (51 of 77, 66%); quality of writing (69 of 77, 90%); and continued formal or informal writing (52 of 77 [68%] and 41 of 77 [53%], respectively). Participants felt the workshop improved their attention to detail, provided a deeper understanding of others' experiences, and improved their writing. Conclusions Participants in a residency writers' workshop experienced lasting effects on observation, empathy, and writing skills.

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32

HAINES, JOHN. "Anonymous IV as an Informant on the Craft of Music Writing." Journal of Musicology 23, no. 3 (2006): 375–425. http://dx.doi.org/10.1525/jm.2006.23.3.375.

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ABSTRACT For the 13th-century music writer known as Anonymous IV, the craft of music writing was a primary literary concern, though one virtually ignored by previous modern writers on music. The importance of music writing to Anonymous IV is evident from the variety and quantity of references in his treatise, many of which are found in its central second chapter. This information-rich chapter includes a history of music notation and a miniature handbook for music scribes. The Anonymous is indebted to the then recent surge in production of how-to manuals of all kinds; his miniature handbook for music scribes partakes of their style and vocabulary. This practical work of Anonymous IV is tied to the revival of Euclidean geometry in the liberal arts curriculum at Paris. The specialized geometric terms he uses are attested in numerous sources, including student handbooks from the university. It is possible that the anonymous writer came under the spell of Roger Bacon, also an Englishman at the University of Paris in the late 13th century, whose writing and pedagogy reveal several similarities with the music treatise of Anonymous IV.

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33

Badley, Graham Francis. "Blue-Collar Writing for Fruitful Dialogue?" Qualitative Inquiry 22, no. 6 (December 16, 2015): 510–17. http://dx.doi.org/10.1177/1077800415617211.

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Norman Denzin has called for a reformed discourse to enable qualitative researchers to achieve a fruitful dialogue about democracy and social justice throughout the world. In this essay, I endorse Denzin’s emancipatory project which uses a critical framework modeled on writers such as Wright Mills, Paulo Freire, bel hookes, and Cornell West. I use material from Freire and Mills especially to suggest that fruitful dialogue also requires us as researchers and writers to become simpler, even “blue-collar,” in our own craft-writing. I do so in the hope that we can learn to speak and write “human” and move away from what Mills called the “academic pose.”

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Sangster, P., G. Trousdale, and C. Anderson. "From reading to writing: Evaluating the Writer's Craft as a means of assessing school student writing." Journal of Writing Research 4, no. 1 (June 2012): 1–30. http://dx.doi.org/10.17239/jowr-2012.04.01.1.

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35

Kempf, Christopher. "The Play’s a Thing: The 47 Workshop and the “Crafting” of Creative Writing." American Literary History 32, no. 2 (2020): 243–72. http://dx.doi.org/10.1093/alh/ajaa002.

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Abstract This article examines the first creative writing “workshop,” so called, in order to assess how present-day institutional practices restructure transhistorical questions of labor, education, and aesthetic and economic production. Drawing on extensive archival research, I document the procedures of and theory behind drama professor George Pierce Baker’s “47 Workshop” at Harvard, operative from 1912 to 1924. Baker’s use of the term, I argue, provides rhetorical cover by which to slot arts courses into a Harvard curriculum increasingly geared toward utilitarian education. At the same time, the term signals Baker’s ties to the American Arts and Crafts movement, a cause opposed to industrialization just as Baker opposed the mass fare of Broadway. Reading Baker’s 1930 pageant Control for its advocacy of preindustrial values, the article concludes by contending that this distinct genealogy for creative writing helps us rethink the discipline today. If Baker understood workshop as an alternative, nonrationalized discourse, present-day craft rhetoric consolidates the authority of elite educational institutions.

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Stein, Andi. "NRJ Book: The Journalist's Craft, a Guide to Writing Better Stories." Newspaper Research Journal 24, no. 2 (March 2003): 130–31. http://dx.doi.org/10.1177/073953290302400213.

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Naumes, William, Margaret Naumes, and Cynthia Jackson-Elmoore. "Review of The Art & Craft of Case Writing, Third Edition." Journal of Public Affairs Education 19, no. 2 (June 2013): 375–76. http://dx.doi.org/10.1080/15236803.2013.12001738.

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38

Peters, Tessa. "Seeing Things: Collected Writing on Art, Craft and Design Alison Britton." Journal of Modern Craft 8, no. 1 (March 2015): 101–3. http://dx.doi.org/10.2752/174967715x14213400210159.

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Baldwin, Helene L. "Book Review: Spiritual Quests: The Art and Craft of Religious Writing." Christianity & Literature 39, no. 2 (March 1990): 219–20. http://dx.doi.org/10.1177/014833319003900222.

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Reisman, Anna B., Helena Hansen, and Asghar Rastegar. "The craft of writing: A physician-writer’s workshop for resident physicians." Journal of General Internal Medicine 21, no. 10 (October 2006): 1109–11. http://dx.doi.org/10.1111/j.1525-1497.2006.00550.x.

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41

Bouldin, Alicia S., and T. Kristopher Harrell. "Blend your passion with your craft: Artisanal habits in academic writing." Currents in Pharmacy Teaching and Learning 12, no. 1 (January 2020): 5–7. http://dx.doi.org/10.1016/j.cptl.2019.10.017.

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42

D. Carnegie, Garry. "Historiography for accounting." Accounting, Auditing & Accountability Journal 27, no. 4 (April 29, 2014): 715–55. http://dx.doi.org/10.1108/aaaj-08-2013-1430.

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Purpose – The purpose of this paper is to examine the historiographic writings for accounting concerned with the craft of researching and writing history, published in the English-language, across a period of 30 years from 1983 to 2012. The study's aim is three-fold: first, to review the literature pertaining to the writing of accounting history and to identify key developments and trends; second, to identify the contributors to this literature and their publication outlets and third, to analyze citations to identify individuals or groups who have gained traction in accounting historiography. Design/methodology/approach – An essay focusing on developments in the accounting historiography literature as well as a review of some key thoughts or issues in present-day accounting historiography. Findings – The study shows that a key development in the accounting historiography literature during this period has been the advent of new accounting history, which has contributed much theoretical and topical diversity in historical accounting research and an acceptance of the role of oral history as a means of expanding the archive. Research limitations/implications – The present study, with its focus on contributions on the craft of researching and writing history, does not itself examine actual research studies which have been undertaken on accounting's past across the same period of time. Originality/value – The study may assist in making the contributions examined more generally assessable and comprehensible to researchers to both explore and re-explore and may even contribute to the development of further contributions on accounting historiography to guide the approaches to, and direction of, historical accounting research in future.

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Richardson, Nick. "Whither the future of feature writing?" Asia Pacific Media Educator 28, no. 2 (December 2018): 218–22. http://dx.doi.org/10.1177/1326365x18807023.

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Historically feature writers occupied a privileged, often protected, position in a newsroom. While news reporters were required to produce copy to a tight deadline, the feature writer had the luxury of time in which to craft a well-researched and argued piece. Today, that is rarely the case. Feature writers are no longer inured from every day newsroom pressures. They’re expected to produce news as well as features, a reality which has contributed to a decline in the quality of longer form journalism. While technology has promoted greater interactivity among writer and audience, or content producer and audience in the case of online features, the focus and scope of features has changed immeasurably.

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Raggetti, Lucia. "Inks as Instruments of Writing." Journal of Islamic Manuscripts 10, no. 2 (July 8, 2019): 201–39. http://dx.doi.org/10.1163/1878464x-01002003.

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AbstractA short treatise attributed to Ibn al-Ǧazarī (born Damascus 751/1351) deals with what was considered necessary knowledge about the art and craft of penmanship. Along with linguistic and antiquarian remarks, scribal practices, and social applications of writing, an entire section is devoted to the preparation of inks. The selection of recipes includes different ink typologies and technical approaches to ink making, with a preference for metallic compounds; the manipulation of metallic substances often absorbed technological aspects of alchemical practice. This article provides an edition and a commented English translation of the section on inks in the Book on the Art of Penmanship, as preserved by its unique manuscript witness, MS Berlin Sprenger 1918. A recipe for the distillation of an artificial golden ink has been replicated in order to better understand the interaction between the text and the chemical reality behind it.

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Wyatt, Jonathan, Ken Gale, Larry Russell, Ronald J. Pelias, and Tami Spry. "How Writing Touches." International Review of Qualitative Research 4, no. 3 (November 2011): 253–77. http://dx.doi.org/10.1525/irqr.2011.4.3.253.

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Five scholars, with varying histories together, met as writers at a workshop at the 2007 International Congress of Qualitative Inquiry and made a commitment to write over the following year to, for and with each other in an experiment in the craft of autoethnography, an experiment that led us to explore questions of intimacy and connection manifested through collaborative writing. Each year since then we have returned to Congress to read a small anthology of the year's writing—and to decide whether or not to continue. This paper is drawn from our third year of writing together across the changing distances, as our bodies moved and lay still in both unfamiliar and familiar spaces. Within castles and beside oceans, on pastures and in homes, at universities and hospitals, we wrote together, between and amongst our group of five, working, as always, it seems, at who and what we are becoming. The joy of our continuing writing presence in each others' lives, our pleasure and surprise at such friendship, earned through hard writing labor, is manifest alongside an awareness that there is always more to do. We turn and return to love and intimacy as scholarly, messy, complex methodology as we send writing to each other that we, in turn, pick up on—and sometimes do not—in our responses; writing that often affirms and sometimes disturbs.

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46

Cantrell, Kate, and Lesley Hawkes. "Double trouble: The teacher/satirist duality in Thea Astley’s critical writings." Queensland Review 26, no. 2 (December 2019): 218–31. http://dx.doi.org/10.1017/qre.2019.28.

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AbstractOver a fifty-year period, from 1944 to 1994, Thea Astley published a number of critical writings, including essays, newspaper articles and reviews, and short reflections and meditations on her craft. Despite a renewed interest in Astley’s work, however, most critical interrogations of her oeuvre focus on her novels, and more recently her poetry. As a result, Astley’s critical writing has not been afforded the same breadth and depth of investigation as her fiction. This lacuna is troubling, since Astley’s critical works are important not only for their insight, but for what they reveal about Astley’s self-representation, and in particular the dual identity that she embodied as both a teacher and a satirist. This article argues that these dual roles emerge clearly in Astley’s essays and in fact are inextricable from many of her works. Further, the tensions between these two personae — Astley as teacher and Astley as satirist — reveal natural overlaps with her imaginative writing, and reflect her changing ideas about fiction writing, literature, and education.

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Gogtay, NJ, and MS Sarkar. "The art and craft of medical writing: Report on JPGM writecon 2009." Journal of Postgraduate Medicine 55, no. 4 (2009): 237. http://dx.doi.org/10.4103/0022-3859.58922.

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Hemmings, Jessica. "Maximum Space around the Typewriter: Yvonne Vera and the Craft of Writing." Wasafiri 36, no. 3 (July 3, 2021): 32–40. http://dx.doi.org/10.1080/02690055.2021.1918424.

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Anwer, Arshia. "Doing the write thing: Teaching public relations writing through philosophy of communication and media ecology." Explorations in Media Ecology 19, no. 2 (June 1, 2020): 211–23. http://dx.doi.org/10.1386/eme_00038_1.

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This article approaches the reflection on excellence in writing both philosophically and practically, through philosophy of communication and media ecology. It argues that the way to excellence in writing is through, first, learning and acquiring knowledge about the art and forms of good writing and appropriate media. The next stage is to perform the act of writing using appropriate forms and channels of dissemination. If done wisely, with care and reflection, the understanding and use of theoria and praxis can result in producing excellence in writing, or poiesis. Philosophical reflection on theoria, praxis, and poiesis, thus, enables one to understand a deeper sense of the why and how of the art and craft of writing. The specific form of writing considered in this article is public relations writing in a classroom setting; however, understanding the philosophical and media ecological underpinnings of rhetoric can also be useful in other forms of writing and communication.

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Weaver-Hightower, Marcus B. "An Appreciation of the Ethnographic in Connell’s The Men and the Boys." Boyhood Studies 13, no. 2 (December 1, 2020): 129–32. http://dx.doi.org/10.3167/bhs.2020.130210.

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In this short personal appreciation of The Men and the Boys, the author admires the ethnographic and writing skills Raewyn Connell displays—the craft and artistry that animates her insightful theories. From her prose’s clarity to the deftness of her interviewing, Connell models how to empirically ground foundational social theory.

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Journal articles on the topic 'Writing craft'

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