Search results

The purpose of this paper is to describe a study set up to investigate and map the landscape of digital writing today. A holistic perspective has been adopted involving writers, readers and publishers alike.

The research uses a qualitative approach and combines interviews and direct observations. In in‐depth interviews 13 participants (four writers, four publishers, three readers and two on‐line readers) were questioned for their opinions on issues related to writing, publishing and reading digital fiction. The three readers were also observed while interacting, for the first time, with three digital stories.

Results show that the area is still unsettled though much excitement surrounds experimentations and freedom of publishing online. Readers seem uneasy with the role of co‐creators that writers want to assign them and prefer linear stories to more deconstructed ones. Writers like to experiment and combine multiple media and readers like to interact with multimedia stories; this seems to open interesting perspectives over interactive narrative. Publishers are not yet involved in digital writing and this is seen simultaneously as a blessing (unfiltering of innovative ideas) and a curse (lack of economical support, lack of quality selection). Despite disagreement and ambiguity all interviewees agree that digital fiction will come, likely prompted by new reading technology.

This paper is the first attempt to understand the phenomena of digital writing taking into consideration the perspectives of writers, readers and publishers simultaneously and comparing their different views.

In this chapter, we explore genre-blurring writing, where fiction meets theory, following the argument that texts in management and organisation studies suffer from the ‘textbook syndrome’. The stories that we tell through textbooks not only influence, but also set boundaries for, the way understandings are developed through the eyes of the reader. Often textbooks are written in a way that lead the reader into an idealised linear understanding of an organisation – far from the problems, dilemmas and messy everyday life that managers experience. Our discussion builds on previous literature on writing differently and our own experiences of writing a textbook by involving a professional novelist. Engaging in genre-blurring writing opens up how we think not only about writing, fiction and facts but also in our role as scientists. By situating ourselves, as researchers, at the intersection of fiction and the scientific work, not only new ways of writing, but also of thinking emerge. We discuss three aspects through which fiction challenge and develop our writing and thinking, namely to write with voice, resonance and an open end. Through genre-blurring writing, we create opportunities both to learn and to engage students in learning.

This paper aims to explore the scope of fiction writing in academic research as a way of studying “messier” aspects of the process, such as emotion.

The author reflects on her “lived experience” of conducting doctoral research, five years earlier and re‐searched for the paper, by composing a fictional narrative that aims to capture some of the emotional and other complexities of the process.

The author demonstrates that fictionalisation opens possibilities for a deeper probing of the emotional aspects of the research experience. Her conclusion is that this method can help researchers to think about the processes of writing, reflexivity, and emotion. It can also be useful to academic writers more widely, by showing how fiction writing techniques can convey some of the more complex aspects of their day‐to‐day activities.

The paper can act as a model for extending academic writing skills in the area of fiction, by introducing characterisation, plot and dialogue.

This paper offers an original account of the emotions of the doctoral writer, situated within current discourses on emotion, fiction writing and methodology. It will be of value to scholars of arts, humanities and social sciences.

The management of children′s literature is a search for value and suitability. Effective policies in library and educational work are based firmly on knowledge of materials, and on the bibliographical and critical frame within which the materials appear and might best be selected. Boundaries, like those between quality and popular books, and between children′s and adult materials, present important challenges for selection, and implicit in this process are professional acumen and judgement. Yet also there are attitudes and systems of values, which can powerfully influence selection on grounds of morality and good taste. To guard against undue subjectivity, the knowledge frame should acknowledge the relevance of social and experiential context for all reading materials, how readers think as well as how they read, and what explicit and implicit agendas the authors have. The good professional takes all these factors on board.

The purpose of this study is to examine how young people imagine civic futures through speculative fiction writing about artificial intelligence (AI) technologies. The authors argue that young people’s speculative fiction writing about AI not only helps make visible the ways they imagine the impacts of emerging technologies and the modes of collective action available for leveraging, resisting or countering them but also the frictions and fissures between the two.

This practitioner research study used data from student artifacts (speculative fiction stories, prewriting and relevant unit work) as well as classroom fieldnotes. The authors used inductive coding to identify emergent patterns in the ways young people wrote about AI and civics, as well as deductive coding using digital civic ecologies framework.

The findings of this study spotlight both the breadth of intractable civic concerns that young people associate with AI, as well as the limitations of the civic frameworks for imagining political interventions to these challenges. Importantly, they also indicate that the process of speculative writing itself can help reconcile this disjuncture by opening space to dwell in, rather than resolve, the tensions between “the speculative” and the “civic.”

Teachers might use speculative fiction writing and the digital civic ecologies framework to support students in critically examining possible AI futures and effective civic actions within them.

Speculative fiction writing offers an avenue for students to analyze the growing civic concerns posed by emerging platform technologies like AI.

The purpose of this paper is to introduce librarians, faculty, and other interested individuals to contemporary German literature in English translation.

German‐language authors born in 1950 or later and listed on the Contemporary Living Authors Comprehensive List developed by the German vendor Otto Harrassowitz are searched in OCLC's WorldCat database to determine the existence of English translations. A bio‐bibliographical list is then developed featuring all contemporary German‐language authors who have achieved an English language translation of at least one of their literary works.

Of the approximately 1,400 writers on Harrassowitz's comprehensive list, a surprisingly large number of almost 80 authors of the younger generation (born in 1950 or later) have been translated into English.

This bio‐bibliography of contemporary German belles lettres (of the younger generation) in English translation is the first of its kind. It can be used by librarians to check their current library holdings and to expand their collections of German literature in English translation.

Deleuze and Guattari have argued that in art, including literature, the senses get hold of the world in a non‐conceptual or “sensational” way, adding “new varieties” that can lead to new ways of knowing and seeing. The purpose of this paper is to explore the nature of multi‐disciplinary, practice‐led research in creative writing as a form of knowledge making in qualitative research.

The author uses her own writing, especially the novel Swimming (Vanark Press, 2009), which is situated in the broader context of feminist fiction writing, as a subversive feminist project that aims to intervene in and challenge the dominant narratives of what it means to be a woman, by creating “alternative figurations” of “woman” which highlight differences among women and enhance our understanding of “woman” as a complex and multiple subject always “in process”.

By using her own practice of fiction writing and research as a case study, the author explores the ways that constructing an imagined narrative – in this case a novel – can make a contribution to knowledge and raise questions about representation, truth and subjectivity.

In this paper, through a few examples from her novel, the author's aim has been to write a narrative of the process, of “material thinking” that led to the final work.

The following article examines the playful composing practices of two youth who built on their backgrounds as fan fiction writers, role-players, visual artists and gamers to co-author a multimodal novel across mediated spaces for composing throughout their high school careers.

The study draws on “connected ethnography” and qualitative practitioner inquiry to examine the playful composing practices of two urban youth.

The study demonstrates the playful, multimodal composing practices of youth – for learning, affiliation and leisure. Participants’ creative use of digital media reveals robust and productive composing practices that rely on collaboration; extensive multimodal experimentation (e.g. transmediation, the creation of paratexts and worldbuilding); and shared and individual expertise and socialization in various media communities (e.g. gaming and fan fiction).

The study is limited by its small scope.

Participants’ leisure writing activities offer important insights into multimodal play, composing, collaboration and co-authorship.

Schools have been slow to take up the multimodal and collaborative approaches to writing. The article offers implications for reimagining writing and the teaching of writing through creativity, play and collaboration.

The author argues that collaborative, multimodal authorship offers a social outlet, peer connection, and creative possibilities for writing development both in face-to-face and fully digital learning environments, something especially important to consider amid the unexpected surge of online learning due to COVID-19.

Almost all libraries collect fiction. Of course the nature, scope, and organization of the collection varies with the type of library and its clientele. In this column scholars, fans, and just plain readers of diverse fiction formats, types, and genres will explore their specialty with a view to the collection building needs of various types of libraries. In addition to lists of “good reads,” authors not to be missed, rising stars, and rediscovered geniuses, columnists will cover major critics, bibliographies, relevant journals and organizations, publishers, and trends. Each column will include a genre overview, a discussion of access to published works, and a core collection of recommended books and authors. Janice M. Bogstad leads off with a discussion of science fiction. In the next issue of Collection Building, Ian will focus her discussion on the growing body of feminist science fiction with an article entitled, “Redressing an Interval Balance: Women and Science Fiction, 1965–1983.” Issues to follow will feature Kathleen Heim on thrillers, and Rhea Rubin reviewing short story collection building. Should you care to suggest an area or aspect of fiction collection building for discussion or try your hand as a columnist contact the column editor through Neal‐Schuman Publishers.