About the Book
The A to Z of Creative Writing Methods is an alphabetical collection of essays to prompt consideration of method within creative writing research and practice.
Almost sixty contributors from a range of writing traditions and across multiple forms and genre are represented in this volume: from poets, essayists, novelists and performance writers, to graphic novelists, illustrators, and those engaged in multi-media writing or writing-related arts activism. Contributors bring to this collection their distinct and diverse literary and cultural contexts, defining, expanding and enacting the methods they describe, and providing new possibilities for creative writing practice.
Accessible and provocative, A to Z of Creative Writing Methods lays bare new developments and directions in the field, making it an invaluable resource for the teachers, research students and scholar-practitioners in the field of creative writing studies.
Table of Contents:
List of contributors
Acknowledgements
Introduction, Deborah Wardle, Julienne van Loon, Stayci Taylor, Francesca Rendle-Short, Peta Murray, David Carlin (RMIT University, Australia)
Archival-poetics, Natalie Harkin (Flinders University, Australia)
Aswang, Allan Derain (Ateneo de Manila University, Philippines)
Atmospherics, Kathleen Stewart (University of Texas, USA)
Braiding, Catherine McKinnon (University of Wollongong, Australia)
Bricolage, Dominique Hecq (Swinburne University of Technology, Australia)
Bung wantaim, Steven Winduo (Writer, Papua New Guinea)
Camping, Soile Veijola (University of Lapland, Finland)
Character, Lina María Ferreira Cabeza-Vanegas (University of Chicago, USA)
Chorality, Martina Copley (artist, curator, educator and writer, Australia)
Code, Benjamin Laird (RMIT University, Australia)
Collaboration, Quinn Eades (La Trobe University, Australia)
Collecting, Ander Monson (University of Arizona, USA)
Communitas, Francesca Rendle-Short (RMIT University, Australia)
Dialogue, Cath Moore (University of Melbourne, Australia)
Drawing, Sarah Leavitt (University of British Columbia, Canada)
Ekphrasis, Sarah Holland-Batt (Queensland University of Technology, Australia)
Ensemble, Shuchi Kothari (University of Auckland, New Zealand)
Erasure, Nhã Thuyên (Writer, Vietnam)
Experience, Kári Gíslason (Queensland University of Technology, Australia)
Experimentation, Collier Nogues (University of Hong Kong)
Facilitator, Ali Cobby Eckermann (RMIT University, Australia)
Fade out, Stayci Taylor (RMIT University, Australia)
Feelings, Erik Knudsen (University of Central Lancashire, UK)
Flow, Mary Cappello (University of Rhode Island, USA)
Ghost Weaving, Paola Balla (Moondani Balluk Indigenous Academic Centre, at Victoria University, Australia)
Hybrid, Marion May Campbell (Deakin University, Australia)
Imagination, Paula Morris (University of Auckland, New Zealand)
Iterative thinking, Ames Hawkins (Columbia College Chicago, USA)
Juxtaposition, Wendy S. Walters (Columbia University, USA)
Keepsake, Fiona Murphy (Poet and Essayist, Australia)
Listening, Marjorie Evasco (De La Salle University, Philippines)
Listing, David Carlin (RMIT University, Australia)
Memory work, Maria Tumarkin (University of Melbourne, Australia)
Metaphor me, Selina Tusitala Marsh (University of Auckland, New Zealand)
Nonhuman imaginaries, Deborah Wardle (RMIT University, Australia)
Not-knowing, Julienne van Loon (RMIT University, Australia)
Notebooking, Safdar Ahmed (Guringai country, Australia)
Observation, Stephen Carleton (University of Queensland, Australia)
Paragraphing, Delia Falconer (University of Technology Sydney, Australia)
Permission, Tina Makereti (Victoria University of Wellington, New Zealand)
Phototextuality, Karen Carr (Rhode Island School of Design, USA)
Play, Nicole Walker (Northern Arizona University, USA)
Preposition, Martin Villanueva (Ateneo de Manila University, Philippines)
Procrastination, Aritha van Herk (University of Calgary, Canada)
Queering, Marion May Campbell (Deakin University, Australia), Lawrence Lacambra Ypil (Yale-NUS College, Singapore), Francesca Rendle-Short (RMIT University, Australia), Deborah Wardle (RMIT University), Ames Hawkins (Columbia College Chicago), Quinn Eades (La Trobe University), Stayci Taylor (RMIT University), Peta Murray (RMIT University), Natalie Harkin (Flinders University), Antonia Pont (Deakin University), Anonymous
Radical effrontery, Jeanine Leane (University of Melbourne, Australia)
Reading, Belinda Castles (University of Sydney, Australia)
Resistance, James Byrne (Edge Hill University, UK)
Rites, Manola-Gayatri Kumarswamy (Witwatersrand University, South Africa)
Sensing, CM Burroughs (Columbia College Chicago, USA)
Speculation, Robin Hemley (Long Island University, USA)
Taxonomy, Lavanya Shanbhogue-Arvind (Tata Institute of Social Sciences, India)
Translation, Rúnar Helgi Vignisson (University of Iceland)
Uncertainty, Lawrence Lacambra Ypil (Yale-NUS College,Singapore)
Vocabulary, Peta Murray (RMIT University, Australia)
Writing-foreign-language, Fan Dai (Sun Yat-sen University, China)
Xenos, Nike Sulway (Southern Queensland, Australia)
Yoga, Antonia Pont (Deakin University, Australia)
Zim, Alvin Pang (RMIT University, Australia)
Index
About the Author :
Deborah Wardle has fiction, nonfiction and peer-reviewed articles in Australian and international journals. Deborah teaches at RMIT University and University of Melbourne. Her PhD thesis explores the ways climate fiction expresses the ‘voices’ of more-than-human entities, particularly groundwater. Her book with Routledge Subterranean Imaginings: Groundwater Narratives is due 2023.
Julienne van Loon is Associate Professor in Creative Writing at RMIT University, Melbourne, and Honorary Fellow in Writing at the University of Iowa. Her research interests include feminist literary practice, contemporary narrative fiction and literary value. Publications include The Thinking Woman (2020), Harmless (2014), Beneath the Bloodwood Tree (2008), and Road Story (2005). She is managing editor at TEXT: Journal of Writing and Writing Courses, see https://textjournal.scholasticahq.com/
Stayci Taylor is Senior Lecturer at RMIT University in the School of Media and Communication. Her research interests include screenwriting, script development, nonfiction and creative practice. She has published in all of these areas, in both scholarly and creative outlets, and often through the lenses of gender and comedy. She is lead editor of The Palgrave Handbook of Script Development (2021).
Francesca Rendle-Short is Professor of Creative Writing in the School of Media and Communication at RMIT University. She is interested in a research practice that seeks to subvert normative practices, one focused on ethical enquiry. She is co-founder of non/fictionLab and WrICE (Writers Immersion and Cultural Exchange). Her five books include The Near and the Far (Vol I and II; 2016, 2019) and Bite Your Tongue (2011).
Peta Murray is Lecturer in Creative Writing at RMIT University, Melbourne. Her research focus is the role oflanguage and arts-based practices as modes of inquiry and forms of cultural activism. Publications include plays such as Salt (2001), fiction including Indigestion (2010), collaborative, queer and multi-modal works of live art such as vigil/wake (2019), and adventures in the essayesque, Glossalalalararium Pandemiconium (2020).
David Carlin is Professor in Media and Communication at RMIT University. Co-founder of WrICE and non/fictionLab, his research interests include essaying and hybrid, collaborative and ecocritical forms and methods. Recent books include The After-Normal: Brief, Alphabetical Essays on a Changing Planet (2019) and 100 Atmospheres: Studies in Scale and Wonder (2019).
Review :
The collection of essays is an invitation to write by engaging with a syncretic collection of tropes and methods ranging from the use of archives and folklore as launch pads to writing activities to the process of queering texts. It also promotes the unmooring of writing from defined spaces by using concepts such as erasure, nonhuman imaginaries, uncertainty, unknowing and many more. These are exciting approaches to writing, proving that the literary creative process has always been multifaceted and inclusive. The book is a nudge to every person who wants to write creatively.
