Titlebook: Writing Fantasy and the Identity of the Writer; A Psychosocial Write Zoe Charalambous Book 2019 The Editor(s) (if applicable) and The Autho

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2755-4503 to teaching creative writing.Includes practical creative wr.This book presents the innovative pedagogy of Writing Fantasy: a method for exploring and shifting one’s identity as a writer. The book draws on qualitative research with undergraduate creative writing students and fills a gap in the liter

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Why Does Writing Matter?,our writing practice may reveal much about our writer identity. She explains how her Creative Writing students’ experiences of writing Other than themselves initiated her interest in researching Creative Writing exercises. To construct the rationale of the workbook, a brief account of the historical

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Why Does It Matter How Creative Writing Is Taught?,ons behind the Creative Writing courses they have been taught and pointing to the scarce qualitative research about students’ Creative Writing texts and Creative Writing exercises currently in the field. Three distinct strands in the literature of Creative Writing are discussed: Creative Writing in

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Writing Fantasy: The Story of Writer Identity,antasy can be applied to explore to one’s Creative Writing and one’s assumptions about Creative Writing practice. First, she discusses how Lacanian psychoanalytic theory has been linked with Creative Writing through the surrealistic approach as a practice of creativity and as a basis for delineating

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Do We Write Freely?,e premise of this exercise (“Free-Write”), which involves being able to write without constraints, is provided by Charalambous. Next, research about the exercise and a case study are presented. The exercise research data reveals that most participants write in their usual style of writing when engag

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,“Write About This”,ise indicating that this prompt was understood by participants as a trigger or a route to write. The research analysis revealed that this exercise also produces students’ usual style of writing. The second case study presents a participant who uses an emotional state ‘relaxed, effortless’ to describ

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What Does the Other Want?,o this exercise is discussed revealing its potential to produce two types of writing: “sensical” and “non-sensical,” potentially distracting some participants from their usual writing style. A third case study is presented to showcase a writing fantasy of a participant whose focus of writing is ‘the

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Whose Is This Voice?,ite voice’ is discussed and research data in relation to this exercise is presented indicating that all participants ended up writing in their usual style of writing in retrospect. A case study of a participant’s writing fantasy who wrote differently than his usual style and seemed to articulate dis

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Mirror, Mirror, on the Wall, Who Is the Writer among Them All?,ting data from the research showing that the exercise took participants in two directions: one that included autobiographical reference to oneself and one that did not. This exercise also confused some participants into not writing in their usual style, troubling their fantasy. A final case study of