The Psychology of Creative Writing takes a scholarly, psychological look at multiple aspects of creative writing, including the creative writer as a person, the text itself, the creative process, the writer's development, the link between creative writing and mental illness, the personality traits of comedy and screen writers, and how to teach creative writing. This book will appeal to psychologists interested in creativity, writers who want to understand more about the magic behind their talents, and educated laypeople who enjoy reading, writing, or both. From scholars to bloggers to artists, The Psychology of Creative Writing has something for everyone.
A COMPANION TO CREATIVE WRITING A Companion to Creative Writing is a comprehensive collection covering myriad aspects of the practice and profession of creative writing in the contemporary world. The book features contributions from an international cast of creative writers, publishers and editors, critics, translators, literary prize judges, and many other top professionals. Chapters not only consider the practice of creative writing in terms of how it is “done,” but also in terms of what occurs in and around creative writing practice. Chapters address a wide range of topics including the writing of poetry and fiction; playwriting and screenwriting; writing for digital media; editing; creative writing and its engagement with language, spirituality, politics, education, and heritage. Other chapters explore the role of literary critics and ideas around authorship, as well as translation and creative writing, the teaching of creative writing, and the histories and character of the marketplace, prizes, awards, and literary events. With its unprecedented breadth of coverage, A Companion to Creative Writing is an indispensable resource for those who are undertaking creative writing, studying creative writing at any level, or considering studying creative writing.
What is creative writing? In Critical Approaches to Creative Writing, Graeme Harper draws on both creative and critical knowledge to look at what creative writing is, and how it can be better understood. Harper explores how to critically consider creative writing in progress, while also tutoring the reader on how to improve their own final results. Throughout the book, Harper explains the nature of ‘creative exposition’, where creative writing is closely and directly examined in practice as well as through its final results. This book aims to empower you to develop your own critical approaches so that you can consider any creative writing situations you face, develop creative exposition that can be applied to writing problems, provide you with more creative choices and assist you in building your creative writing strengths.
Psychologists tell us that writing helps us cope with and recover from depression, anxiety, job loss and even heartbreak. Exciting new research shows that we can flourish further by actively choosing to write about positive emotions. Journalling is a hot trend - for personal expression, creativity, self-actualisation and goal-setting. In Write Yourself Happy, author Megan Hayes shows us how, using positive journalling, we can journal more consciously, writing in a way that engages and promotes our most supportive and life-affirming emotions. This practical workbook demonstrates how to put eight of the most commonly experienced positive emotions - joy, gratitude, serenity, interest, hope, pride, awe and love - to work, helping us not simply to feel better, but to live better. Based on groundbreaking research in positive psychology, and backed up by extensive scientific studies, the book includes practical exercises and case studies to inspire readers to shift their focus, use different words, see the world in a subtly different way - and discover how things go right when we write. Praise for Write Yourself Happy: 'The power of positivity comes together with the power of the pen. It is a mighty force for well-being.' Miriam Akhtar MAPP Author of Positive Psychology for Overcoming Depression and What is Post-traumatic Growth? 'Write Yourself Happy is filled with practical, applied and scientifically proven methods - it offers readers a direct path to increase positivity and sustain happiness. It is the perfect resource for optimal wellbeing.' Daniel J Tomasulo, PhD, TEP, MFA, MAPP Psychologist and author of Character Strengths Matter 'This book is ideal for anyone who is looking for a creative and uplifting path to happiness. Megan's encouraging tone and fun exercises not only boost your mood but also help you to forge a stronger connection with yourself. I highly recommend the read - and doing each of the writing exercises in it!' Susanna Halonen The Happyologist® and author of Screw Finding Your Passion 'Forget the pressure to become a perfectionist Photoshop you. Write Yourself Happy is about easing into a reality that already exists and needs nothing more to bloom than pen on paper. Let the scientifically nuanced and reassuring rhythm of your compassionate Sherpa Megan C Hayes steal you away.' Kristen Truempy, MAPP Creator of the Positive Psychology Podcast 'Megan artfully combines the world of writing with positive psychology producing this guide to 'writing yourself happy'. Written with a delicate balance of scientifically based wellbeing advice alongside an open playfulness that allows the reader to consider and interpret things for themselves. It is thanks to reading this book that my clients, and of course myself, enjoy the many benefits of Positive Journaling.' Samantha Spafford Psychologist and Director of Positive Mind Works
This book explores creative writing and its various relationships to education through a number of short, evocative chapters written by key players in the field. At times controversial, the book presents issues, ideas and pedagogic practices related to creative writing in and around education, with a focus on higher education. The volume aims to give the reader a sense of contemporary thinking and to provide some alternative points of view, offering examples of how those involved feel about the relationship between creative writing and education. Many of the contributors play notable roles in national and international organizations concerned with creative writing and education. The book also includes a Foreword by Philip Gross, who won the 2009 TS Eliot Prize for poetry.
Situated among fields (applied linguistics, creative writing studies, writing studies), this book empirically explores the language of writers in contexts of learning externalized in literary genres. At its core, this book features linguistic and thematic analysis of the writing and reflections of adults who experienced what they usually described as meaningful CW in university coursework, sometimes in science and research-focused courses where they might not have expected to compose a literary genre. In addition to synthesizing empirical studies that in total included more than 3,500 participants, chapters present new research involving about 400 more. This book is meant to be substantial in its goal of systematically organizing what is known about CW’s relationship to writers: in terms of feelings of engagement, gains in content knowledge, and revelations about oneself and others.
This book offers an in-depth study of the poetics of creative writing as a subject in the dramatically changing context of practice as research, taking into account the importance of the subjectivity of the writer as researcher. It explores creative writing and theory while offering critical antecedents, theoretical directions and creative interchanges. The book narrows the focus on psychoanalysis, particularly with regard to Lacan and creative practice, and demonstrates that creative writing is research in its own right. The poetics at stake neither denotes the study or the techniques of poetry, but rather the means by which writers formulate and discuss attitudes to their work.
A study of the psychology of the creative writer. It discusses: the personality characteristics of writers; their creative processes; young writers; how writers view the self; and practical aspects. The second part of the book covers themes in the lives of 160 writers - 80 women and 80 men.