What goes on in creative writers’ heads when they write? What can cognitive psychology, neuroscience, literary studies and previous research in creative writing studies tell creative writers about the processes of their writing mind? Creative writers have for centuries undertaken cognitive research. Some described cognition in vivid exegetical essays, but most investigated the mind in creative writing itself, in descriptions of the thinking of characters in fiction, poetry and plays. The inner voicings and inner visualising revealed in Greek choruses, in soliloquies, in stream-of-consciousness narratives are creative writers’ ‘research results’ from studying their own cognition, and the thinking of others. The Creative Writer’s Mind is a book for creative writers: it sets out to cross the gap between creative writing and science, between the creative arts and cognitive research.

“An original, fascinating, and beautifully written reckoning . . . of that great human passion: to write.”—Kay Redfield Jamison, national bestselling author of An Unquiet Mind Why is it that some writers struggle for months to come up with the perfect sentence or phrase while others, hunched over a keyboard deep into the night, seem unable to stop writing? In The Midnight Disease, neurologist Alice W. Flaherty explores the mysteries of literary creativity: the drive to write, what sparks it, and what extinguishes it. She draws on intriguing examples from medical case studies and from the lives of writers, from Franz Kafka to Anne Lamott, from Sylvia Plath to Stephen King. Flaherty, who herself has grappled with episodes of compulsive writing and block, also offers a compelling personal account of her own experiences with these conditions. “[Flaherty] is the real thing . . . and her writing magically transforms her own tragedies into something strange and whimsical almost, almost funny.”—The Washington Post “This is interesting, heated stuff.”—San Francisco Chronicle “Brilliant . . . [a] precious jewel of a book . . . that sparkles with some fresh insight or intriguing fact on practically every page.”—Seattle Post-Intelligencer “Flaherty mixes memoir, meditation, compendium and scholarly reportage in an odd but absorbing look at the neurological basis of writing and its pathologies . . . Writers will delight in the way information and lore are interspersed.”—Publishers Weekly

"I write this blurb in distress because for years I've been stealing John McNally's sharp insights into writing and publishing and passing them off as my own. Now this generous so-and-so is sharing his vast experience as a writer and editor with everyone. Worse yet, this book, despite its instructional value, is irresistibly, un-put-downably readable."---Timothy Schaffert, author, Devils in the Sugar Shop --

"‘Become a Better Writer With Creative Writing’ is an engaging and comprehensive guide that serves as a mentor for aspiring writers, offering a rich tapestry of techniques, exercises, and insights. From fundamental principles to advanced strategies, the book goes into the art of creative writing, nurturing the reader's skills in storytelling, character development, world-building, and crafting compelling narratives. With a blend of practical exercises and inspirational guidance, it encourages writers to explore their unique voice and harness their creativity, empowering them to embark on a transformative journey toward honing their craft."

This unique book on neurocognitive interpretations of Australian literature covers a wide range of analyses by discussing Australian Literary Studies, Aboriginal literary texts, women writers, ethnic writing, bestsellers, neurodivergence fiction, emerging as well as high- profile writers, literary hoaxes and controversies, book culture, and LGBTIQA+ authors, to name a few. It eclectically brings together a wide gamut of cognitive concepts and literary genres at the intersection of Australian literary studies and cognitive literary studies in the first single-author volume of its kind. It takes Australian Literary Studies into the age of neuroawareness and provides new pathways in contemporary criticism.

In this dynamic exploration of the discipline of creative writing, Graeme Harper departs from the established 'how-to' model in a personal manifesto which analyses why human beings are, and have long been, passionate about writing. Illuminating the five essential keys to creative writing, directly related to the desire to undertake it, Harper analyses creative writing's past and ponders its future, drawing on theories of the self, cultural interaction, consumption and communication. Blending practice-based critical context with contemporary creative writing theory, this book is an ideal companion for undergraduate and postgraduate students of creative writing and literature. Lively and thought-provoking, it is an invaluable tool for all aspiring and established writers who wish to harness the positive effects of their craft.

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.

In this innovative fusion of practice and criticism, Jeremy Scott shows how insights from stylistics can enrich the craft of creative writing. Focusing on crucial methodological issues that confront the practicing writer, Creative Writing and Stylistics: - Introduces key topics from stylistics - Provides in-depth analysis of a wide range of writing examples - Includes practical exercises to help develop creative writing skills Clear and accessible, this invaluable guide will give both students and writers a greater critical awareness of the creative possibilities of language.

This fascinating book explores machines as authors of fiction, past, present, and future. For centuries, writers have dreamed of mechanical storytellers. We can now build these devices. What will be the impact on society of AI programs that generate original stories to entertain and persuade? What can we learn about human creativity from probing how they work? In Story Machines, two pioneers of creative artificial intelligence explore the design and impact of AI story generators. The book covers three themes: language generators that compose coherent text, storyworlds with believable characters, and AI models of human storytellers. Providing examples of story machines through the ages, it covers the history, recent developments, and future implications of automated story generation. Anyone with an interest in story writing will gain a new perspective on what it means to be a creative writer, what parts of creativity can be mechanized, and what is essentially human. Story Machines is for those who have ever wondered what makes a good story, why stories are important to us, and what the future holds for storytelling.

Stimulus, Intention and Process in Creative Writing explores three exciting and key areas of creative writing practice and understanding. What stimulates a writer to write – or to write a particular piece? What do they intend to achieve when they do it? And is there a process we can study and perhaps even understand? The authors in this book, who are both practitioners and researchers, explore these three areas in unique and thought-provoking ways. They bring to the discussion both expertise in relation to what we already know, and a sense of forward-thinking in discussing how we can find out more. This is a book for creative writing researchers and students who are seeking new knowledge about how creative writing is done, what informs and encourages those doing it, and what results from that knowledge and encouragement. It is also potentially a book for creative writing practitioners who wonder how the things that interest them have them writing certain things, and the ways they go about approaching, undertaking and completing these projects. The chapters in this book were originally published in New Writing: The International Journal for the Practice and Theory of Creative Writing.