The intent of this project is to study the use of multiple narrators who occupy the same space over a spread of time. While the subject matter has been one of intense study over the years, the approach to implore this technique of fiction has opened the characters, plot, and story to greater exploration.

Note:

This creative project has examined the craft involved in the writing of a series of thirteen original short stories based on the mythic faces of woman. The stories deal with woman from puberty to old age and are concluded with a look at the myth of the Earth Mother in the final story "Alma Mater."This study analyzes five major devices of the craft: setting, dialogue, person, theme and symbol. Each of these aspects is shown as it operates in the stories. Although every effort has been made to utilize the craft, it is possible to include these five elements in a short story which still does not jell into a coherent and successful creation. An error in judgment in the rigid selectivity necessary to the craft may result in a failure. Two stories rewritten to demonstrate the effect of changes in point of view should clearly establish the permutations which may occur through a variation in only one of the five elements.

The dissertation "And the Sea looked : a novel in the making" is an exploration of the creative process of a prose fiction novel called „And the Sea Looked‟. Following the lives of three women, the novel reflects on the idea that universal Peace (the end of all wars) will only be possible if individuals, through the power of their choices in the way they live their ordinary lives, strive to transcend the separations and imperfections of the Material World, ultimately finding a universal unity ("oneness") in the ideal love existing in Plato‟s superior, Divine World. The psychological creative process behind the making of the novel is investigated in-depth and a short critical interpretation of the novel is included. / English Studies / M.A. (English)

Submitted to the Faculty of Humanities, Social Sciences and Education, University of the Witwatersrand, Johannesburg in partial fulfilment of the requirements for the degree of Master of Arts, Creative Writing., July 2012 / XL2018

A jaded salesclerk invents the ideal companion, unaware that a well-constructed character always develops the need and means to influence his own story. Unable to envision herself outside of the tedious K ‘n’ T in rural Wagner, New Hampshire, salesclerk Brett Wilson invents her own adventure in the form of Thom—former Blue Tit road-hand, witty escaped con and imaginary friend. Though primarily using Thom as a sounding board, Brett also amuses herself by dreaming up his gruelling yet ridiculous flight from the law. All the back-story and attention to detail move Thom from a mental diversion to a mysterious, opinion-charged reality. Creator and creation quickly find themselves in a comic scuffle—Brett desperate to regain sanity and Thom undermining everyday life until he’s granted self-possession. In the end one of them will have to leave K ‘n’ T.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Creative Writing, 2017 / XL2018

This work explores the place of creative non-fiction in Australian tertiary journalism education. While creative non-fiction — a genre of writing based on the techniques of the fiction writer — has had a rocky relationship with journalism, this study shows that not only is there a place for the genre in journalism education, but that it is inextricably linked with journalism. The research is based on results from studies using elite interviews and a census of Australian universities with practical journalism curricula. The first stage of this study provides a definition of creative non-fiction based on the literature and a series of elite interviews held with American and Australian creative non-fiction experts. This definition acknowledges creative non-fiction as a genre of writing that tells true stories while utilising fiction writing techniques such as point of view, dialogue and vivid description. The definition also takes into account creative non-fiction’s diverse range of publication styles which include feature articles, memoir, biography, literary journalism and narrative non-fiction. The second stage of the study reports upon elite interviews with Australian writers who have produced works in the genres of journalism and creative non-fiction. These interviews reveal the close relationship journalism and creative non-fiction share across a variety of approaches and techniques. This study also shows how creative non-fiction can improve the careers of journalists and the quality of journalism. The census of journalism programs further reveals the place of creative non-fiction in tertiary journalism education and prompts the formulation of a two tiered model for the genre’s inclusion in the curriculum. The first tier involves including creative non-fiction in a core journalism subject. The second tier is an elective creative non-fiction subject which builds on the skills developed in the core classes. Through the literature, and the responses of the elites and survey respondents, it was possible to show how creative non-fiction helps journalism students to appreciate the history of their profession, explore their talents and finally to be part of what may be the future of print journalism.

This work explores the place of creative non-fiction in Australian tertiary journalism education. While creative non-fiction — a genre of writing based on the techniques of the fiction writer — has had a rocky relationship with journalism, this study shows that not only is there a place for the genre in journalism education, but that it is inextricably linked with journalism. The research is based on results from studies using elite interviews and a census of Australian universities with practical journalism curricula. The first stage of this study provides a definition of creative non-fiction based on the literature and a series of elite interviews held with American and Australian creative non-fiction experts. This definition acknowledges creative non-fiction as a genre of writing that tells true stories while utilising fiction writing techniques such as point of view, dialogue and vivid description. The definition also takes into account creative non-fiction’s diverse range of publication styles which include feature articles, memoir, biography, literary journalism and narrative non-fiction. The second stage of the study reports upon elite interviews with Australian writers who have produced works in the genres of journalism and creative non-fiction. These interviews reveal the close relationship journalism and creative non-fiction share across a variety of approaches and techniques. This study also shows how creative non-fiction can improve the careers of journalists and the quality of journalism. The census of journalism programs further reveals the place of creative non-fiction in tertiary journalism education and prompts the formulation of a two tiered model for the genre’s inclusion in the curriculum. The first tier involves including creative non-fiction in a core journalism subject. The second tier is an elective creative non-fiction subject which builds on the skills developed in the core classes. Through the literature, and the responses of the elites and survey respondents, it was possible to show how creative non-fiction helps journalism students to appreciate the history of their profession, explore their talents and finally to be part of what may be the future of print journalism.

Thesis (D.A.)--Illinois State University, 1996. / Title from title page screen, viewed May 25, 2006. Dissertation Committee: Ray Lewis White (chair), James M. Elledge, Cythnia A. Huff. Includes bibliographical references (leaves 145-155) and abstract. Also available in print.