As a student of Creative Media Practice, I have come to appreciate the concept of practice as research, people set about research for a diversity of reasons, but the major goals for academics is to address a problem, find things out or establish new heights. According to Robin Nelson in his book, Practice as Research in the Arts: “The term ‘Arts Practice as Research’ would probably not have been coined had artists not gotten involved with modern higher education systems in respect to programmes of learning” (2013: 3). Creative writing has been a source of exploration for me but during this project, I struggled with what constituted as knowledge in creative writing research. Nelson also writes: “Artists engaging in inquiry through their practices may not have thought of what they did as ‘research’ even when they aware of an exploratory dynamic to address issues and achieve insights” (2013: 3). In their research paper titled Agnostic Thinking: Creative Writing as Practice-led Research, lecturers Jennifer Webb and Donna Lee Brian write:
We now turn to writing as a particular form of creative and research practice. All writers
engage in various forms of inquiry and interpretation, whether their work obeys the dictates of traditional trade publishing, or is committed to a more experimental mode of delivery. The relatively recent recognition of creative writing as an academic discipline has, moreover, prompted a number of writers both in and outside the academy to conceptualise their creative practice as research activity. This thinking has, in turn, impacted upon writers ' working practices and the outputs they produce, and how their research has been conceptualised in terms of process, interpretation and results...
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...track. When I was satisfied with a draft, I handed it to a few trusted friends and reflected on the suggestions and alternated as they suited the theme and direction of the story. Mary LaChapelle, author of House of Heroes, participated in the study, The Writer Tells: The Creative Process in the Writing of Literary Fiction has this to say on the completion and sharing of the creative piece: “The other big part is the sharing of the experience with something else. You make something overwhelming sort if understandable in an experiential way. You try to render it so that somebody else can also kind of get it” (2010). My supervisor mentioned that I needed a backstory for most of the stories, and other readers agreed, there was initially more emotion than story so it had to be revised so that the reader could get to know the character more and understand her pain better.
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