The writer walking the dog: creative writing practice and everyday life

作家在日常生活中写作，但日常生活、职责和活动在塑造写作实践中的作用还没有被很好地理解。这项研究探讨了作家每天遛狗的琐事如何有助于作家和社会认同；塑造所写的内容-以及如何塑造；以及阻碍、支持和塑造工作日的技巧和节奏。它基本上是一个反思性的项目，提供了对作家自己的创作实践的研究，基于日常写作和对一系列步行的反思，为其他从业者和步行者提供了一个理解、情境和发展自己的生活和实践的模式。步行一直是文化和人文地理学家、社会理论家和艺术运动的一个关键主题，从地理学家到实地学家再到心理地理学家和当代艺术家。尽管散步作为一种文化和审美实践受到了很大的关注，但这将是第一次研究遛狗作为一种工具或工具在创造性写作实践中的作用。这种日常琐事对写作的日常事务有何影响？这仅仅是工作完全停止的中断或休息吗？它是否提供了冥想或思考的空间。写作可以在散步过程中发生吗？这项活动的性质--在一年中的特定时间沿着既定的路线走过熟悉的风景--如何影响作家的思维和工作方式？这项研究探索了一些相关的文学传统，包括山水诗、浪漫主义、心理地理学、流浪汉、乡村、旅行和回忆录写作，以及一些比喻，如梦境、想象中的行走和孤独的行走，以及一系列特定作家的作品，包括弗朗西斯·基尔弗特、理查德·杰弗里、哈丽特·塔洛、伊恩·辛克莱、彼得·迪兹伯里、WG·塞博尔德和VS奈保尔，以了解作家自己的写作实践并进一步发展。它还考虑了作家、艺术家和文化地理学家用来记录他们行走的各种技术，并使用这些技术制作了一本书长的创造性散文，描述了一系列想象中的行走。该项目的目的不仅仅是反思作家自己的日常生活和写作实践，而且为其他作家如何结合他们日常生活的节奏和例行公事来思考他们的作品提供一个案例研究和模式。通过这种方式，它开辟了一个探索创造性实践的未开发领域。特别是，通过将行走本身视为一种社会文化实践，并将其视为一种有助于创作努力的实践，它表明了作家和艺术家可能协商日常生活和创造性生活中相互竞争的需要的方式，以及他们自己和他人可能看到的不同方式。

Writers write inside the routine of their daily lives, but the role of daily routines, duties and activities in shaping writing practice is not well understood. This study explores how the writer's daily chore of walking the dog contributes to writerly and social identity; shapes what is written - and how; and impedes, supports and shapes the techniques and rhythms of the working day. It is fundamentally a reflective project which offers a study of the writer's own creative practice, based on daily writing and reflection on a series of walks, providing a model for other practitioners and walkers to understand, contextualise and develop their own lives and practices.Walking has been a key topic for cultural and human geographers, social theorists, and artistic movements from the flâneurs to the Situationists to the psychogeographers and contemporary artists. Although much attention has been paid to walking considered as a cultural and aesthetic practice, this will be the first study of the role of dog-walking as a tool or instrument in creative writing practice. How does this daily chore impact on the daily business of writing? Is it simply an interruption or break in which work ceases entirely? Does it provide space for meditation or thinking things through. Can writing happen during the walk itself? And how does the nature of the activity - walking through a familiar landscape along established routes at particular times throughout the year - feed into the way the writer thinks and works?The study explores a number of relevant literary traditions, including landscape poetry, the Romantics, psychogeography, the picaresque, and rural, travel and memoir writing, and on a number of tropes such as dreams, imaginary walks, and lone walking, as well as the work of a range of specific writers including Francis Kilvert, Richard Jefferies, Harriet Tarlo, Iain Sinclair, Peter Didsbury, WG Sebald and VS Naipaul, in order to situate the writer's own writing practice and develop it further. It also considers the various techniques which writers, artists and cultural geographers have used to record their walking, and uses these to produce a book length piece of creative prose describing a series of imaginary walks.The aim of the project is not simply to reflect on the writer's own daily life and writing practice, but to provide a case study and a model for how other writers can think about their work in relation to the rhythms and routines of their daily lives. In this way it opens up an undeveloped area of enquiry into creative practice. In particular, by considering walking as both a socio-cultural practice in its own right and as a contributory practice to creative endeavour, it indicates ways in which writers and artists might negotiate the competing imperatives of daily and creative life and the different ways they might be seen by themselves and others.