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whether he welcomes the break from home or dreads it.] 3. It actually happened in the fish shop; this is a true story. [Irrelevant; never let the ?truth? spoil a good story.] 4. The bishop symbolises the Church; he just listens. [Unless he does or provokes something, he?s a waste of space: ditch him and find someone else for John to meet.] 5. It doesn?t have to be an Australian juggler, it could be anyone. [This kind of minor character should represent (or appear to represent) the desires of the major character, Jane. If he doesn?t, ditch him and find one who does.] 6. Nothing has changed. [Then why did you write the play?] CREATIVE WRITING NOW ?Right? answers 1. They pretend all is well, but both harbour secret desires and dissatisfactions. 2. Jane asks John to come with her to the Australian juggling club. He can?t bear the idea of all those balls, and so makes an excuse involving a business trip. 3. John is drawn to the fish shop to indulge his lurid and hitherto secret and repressed fish-and-batter fantasies. 4. The (ap ghd products parently respectable) bishop is in fact a fish-and-batter fantasist on the verge of ruin. 5. The Australian juggler appears to Jane as exotic and liberating, capable of freeing her from John?s repressive behaviour. 6. Jane learns that juggling can be a risky business; John that too much fish can be sickening. They return to each other wiser, but don?t quite tell each other everything. Again, writers who have achieved success quickly and easily often tend to ascribe this success ( ghd pure perhaps rightly) to their innate personal worth, so their advice boils down to ?Be talented like me?. Perhaps more important, writers who haven?t (yet) had to deal with failure or projects that go wrong, may ghd hair dryer not be the best people to assist you if you have not had success and are wrestling with a piece that won?t come out right. David Morley, head of the prestigious writing programme at Warwick University, once made the following recommendation to anyone employing writing tutors: Appoint the hungry, and reward them well. Don?t appoint professors, appoint young poor writers who are really keen to impress . . . A lot of writers who are in genres that don?t pay much at whatever stage they reach, for instance, poor playwrights, all poets, second- time novelists whose first novels were critical hits but the sales were glacial, they?re actually quite good teachers because they have learned to sing for their supper, and they know the abyss that waits for them if they do not sing well. Behind the humour there lie serious points. Although it?s far from always the case, professors may be too aloof, or too successful, or just too busy THE CONTEX ghd product ghd hair straighteners ireland s T to help someone on the early learning slopes. Writers who have had to struggle both with their work and wi ghd hair straightener price th earning a living may be much better placed to help you starting out. And this brings us full circle, because at our other extreme we have the regular academic who is passionate about writing but hasn?t published. They can therefore bring a whole range of skills and experience to their teaching that can be of enormous value to the student. For a start, you can hope that they?re trained to teach. They will also be trained in critical analysis, so they can spot quickly what?s wrong with a piece of writing; they can put writing in context, because of their breadth of reading; and if they are an unpublished novelist they will understand the effort and pain inherent in the process. In the end, there?s no hard and fast rule regarding the ?best? kind of tutor. However, it?s important to be aware of the possible differences in approach between different types of tutor. If you?ve started a course, it can help you avoid confusion; and if you?ve still to make a choice of course, these considerations may help you do so. If you?re at this decision-making stage, and trying to identify the tutors that will help you the most, much obviously depends on what you want from the course. This leads us to the question, ?Why are you doing creative writing?? Can you assume that the other students on your course will be doing it for the same reasons? So let?s take a surreptitious look through the keyhole into the seminar room where your peers are waiti ghd hair straighteners ng for that first workshop. Who?s doing creative writing, and why? I think all the lecturers, spuriously, think that everyone on this course wants to be a writer. (Student comment) Statistics are, of course, notoriously unreliable, but we can draw some general conclusions about the people with whom you will be sharing the seminar room. Official figures ghd pure in the UK give around a two-to-one majority of women over men for ?Imaginative Writing?; for English the ratio is more like three-to-one, but for journalism the numbers are nearer (though not quite) one-to-one. In the US 56 per cent of all undergraduate students in 2001 were female. In both the UK and US, the age profile of undergraduate students is falling. Fewer mature students are doing CREATIVE WRITING NOW creative writing, and the chances are that seven or eight out of ten of your group will either be coming directly from school or will have taken only a year out before starting the course. Why are they doing creative writing? Of course this depends to a greater or lesser extent on how large a part creative writing plays in their course as a whole. If it is just one small part of the course, you may do it out of curiosity, or even by accident. If it?s a large proportion, then clearly your decision must, or should, be based on more strategic considerations. Surveys at my own institution suggest that around 40 per cent of those doing creative writing want to be professional wr ghd mk4 iters. A similar proportion want to do English, but in a new, different and perhaps more ?personal? way. A large minority are would-be teachers, taking creative writing in order to enhance their teaching. Many mature students are doing it with no practical end in view, because they have come to a poi ghd pure nt in their lives where they feel they want to do something ?for themselves?, and a small minority are what might be terme ghd ireland d time-wasters, or freeloaders, who think that creative writing will be a soft option. It is also a fact worth noting that over 80 per cent of students recently surveyed at my institution put ?gaining skills valuable in the market-place? as a high priority in doing creative writing. So there is no one simple reason for doing creative writing; what is important is that you understand why you want to do it and then make sure the course you?re applying for is suitable. Questions to ask, of yourself and of a prospective course are: . How much creative writing do you want to do? . Why do you want to do it? . Are there career implications in certain choices? (For example, if you want to teach in schools in the UK, you probably won?t be able to do an English ghd hair straightener price secondary Postgraduate Certificate in Education unless your degree contains 40?50 per cent of ?straight? English or another conventionally recognised subject.) . How much creative writing does the institutio ghd ireland store n offer? . Is it offered as practical training to write or as an adjunct to help illuminate another subject? . Who will be teaching it: are there specialised staff, are they publishing writers, or are they specialists in English or another discipline? If you?ve already embarked on your course, it?s still worth asking THE CONTEXT yourself these questions, so that you can be clear about your own motivation, what you need from your course and what you?re likely to get at your current institution. Once you?re clear about what you want or need, you?ll be better equipped to get it, either from your course or by researching other ways of securing the support you need from outside. Summary .http://ghdireland.info/ghd-iv-mini-styler-p-206.html Creative writing is a relatively young and fast-growing academic discipline. . This can make it

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