Collaboration Models in Online Fiction-Writing Communities

2020 ◽  
pp. 223-246
Author(s):  
Alan Tapscott ◽  
Joaquim Colàs ◽  
Josep Blat
2015 ◽  
Vol 2 (2) ◽  
pp. 26-28
Author(s):  
Gunasekaran N ◽  
Bhuvaneshwari S

Salman Rushdie remains a major Indian writer in English. His birth coincides with the birth of a new modern nation on August 15, 1947. He has been justly labelled by the critics as a post-colonial writer who knows his trade well. His second novel Midnight’s Children was published in 1981 and it raised a storm in the hitherto middle class world of fiction writing both in English and in vernaculars. Rushdie for the first time burst into the world of fiction with subversive themes like impurity, illegitimacy, plurality and hybridity. He understands that a civilization called India may be profitably understood as a dream, a collage of many colours, a blending of cultures and nationalities, a pluralistic society and in no way unitary.


2017 ◽  
Vol 1 (1) ◽  
pp. 391-394
Author(s):  
Lania Knight

Abstract The article traces the notion of empathy in fiction writing and how Cervantes’s treatment of characters in Don Quixote initiated a tradition which is ongoing in literature even today. The path of the writer is examined as a means for understanding how a writer must develop empathy for others, beginning with quotes from writers Helene Cixous and Henry James. Next, within the current political context of global upheaval and shift following on from the election of Donald Trump as president of the U.S.A. as well as the vote for Brexit in the U.K., the article argues for the relevance of Cervantes’s novel, not as a dated work of fiction, but as a text relevant both in form and in content for the modern political climate. Finally, the connection is made between fiction writers’ ability to feel empathy for others and create characters which readers will feel empathy for. The article follows on to proclaim the revolutionary and timely role of the fiction writer to help save us from ourselves in a tumultuous political landscape made unpredictable by social media-generated confirmation bias and insularity.


2017 ◽  
Vol 10 (3) ◽  
pp. 242-251 ◽  
Author(s):  
Jarod Roselló

For the past seven years, I've worked on completing an illustrated novel based on my experiences as a child growing up in a sometimes violent and unpredictable home. At first, I planned only to use the details of my life as a way of grounding the story, but the more I wrote and drew, the more I remembered new events and sensations of my childhood. This paper explores the process of writing and drawing as a way of revisiting, reexamining, and making new meanings of childhood experiences. Through fiction writing, I rearrange and reinterpret the past, constructing knowledge through causality and reasoning. Through drawing, I externalize and render visible sensations of childhood that had been previously inaccessible. Ultimately, I consider the ways writing and drawing function as a form of active remembering that reconstructs and reclaims the past.


English Today ◽  
2019 ◽  
pp. 1-7
Author(s):  
Gang Sui

When delivering a speech at a meeting of the Writers’ Congress, Ernest Hemingway said as a fiction writer: A writer's problem does not change. He himself changes, but his problem remains the same. It is always how to write truly and having found what is true, to project it in such a way that it becomes part of the experience of the person who reads it. (1937) Does this statement still ring true today? If it does, what approach should and can be taken for Chinese university students to write ‘truly’ during their fiction writing workshops in English when they know what they try to accomplish is indeed something fictional or self-evidently ‘untrue’? What characterises the main thematic and stylistic elements of Chinese students’ short stories written in English as creative outcomes?


Lexicon ◽  
2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Farhani Nurhusna

The use of sentence fragments is generally discouraged in good English writing because they lack one or more essential components of a sentence, namely a subject and/or a predicate, and thus are grammatically unacceptable. However in fiction writing, the use of sentence fragments is not only quite common in dialogue, but in narration as well. The present study analyses sentence fragments in the narration of the first novel of the young-adult science-fiction trilogy The Hunger Games written by Suzanne Collins, to investigate the types of fragments employed in the novel and their classification based on syntactic structure in the form of dependent-clause fragments and phrase fragments. The sentence fragments were further analysed for their use based on the context of their preceding sentences. The use of sentence fragments in the novel basically serves the function of creating emphasis or stressing important points in the story.


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