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Mattie Sempert Mattie Sempert i(11083744 works by)
Gender: Female
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Works By

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1 Methodologically Speaking: Innovative Approaches to Knowledge and Text in Creative Writing Research Mattie Sempert , Louise Sawtell , Peta Murray , Sophie Langley , Craig Batty , 2017 single work criticism
— Appears in: New Writing , May vol. 14 no. 2 2017; (p. 205-222) 'This article considers how creative writers use research to experiment with and expand the written form. Focussing on modes of storytelling for fiction and non-fiction, four current research degree candidates and a supervisor-mentor from RMIT University present snapshots of research works in progress, to reveal how they are negotiating the sticky yet rich relationship between theory and practice. Specifically, they offer innovative ways of expanding the written form to combine creative and critical modes of thought, resulting in distinctive contributions to knowledge and practice that are relevant to their genres, forms and subject matters. The candidates, who are working across the lyric essay, screenwriting, performance writing and radio, are also members of a peer-to-peer group facilitated by the supervisor-mentor, which over a four-year period has supported research training in creative writing and assisted in the formation of new research identities. This collaborative support structure has helped candidates to transform from creative writers to creative writing researchers, encouraging playfulness and experimentation yet underpinned by the needs of academic rigour. This article thus offers a collective, reflective approach to finding innovation in/through creative writing research – methodologically speaking.' (Publication abstract)
1 Panel Play in Three Acts : Or, How (or When) Does a Panel Become a Playpen? Peta Murray , Mattie Sempert , Stayci Taylor , 2017 single work criticism
— Appears in: Axon : Creative Explorations , April vol. 7 no. 1 2017; 'Playwright and novelist Michael Frayn reminds us ‘the world is irregular and confused [and] understanding this is where any inquiry into the nature of things has to begin’ (2006: 37). A conference panel, such as the one that we (the authors) arranged ourselves into in late 2015, would appear to resist such irregularity and confusion. Presenters speak (as we did) in a predetermined order, observing a time limit and, where possible, aiming for coherence in theme, content or field. As creative practice researchers, knee-deep in our doctoral projects, each of us spoke of our recent experiences in different immersive writing environments – residencies, labs and boot camps – proposing there might be such a thing as ‘living in the research project’. Our session was lively and well received. Within our different approaches was room for playfulness and spontaneity. These spilled out into the presentation as a whole: with no prior consultation, we were surprised and delighted by unexpected connections. The residency, lab and, yes, even ‘thesis boot camp’ had playful elements in and of themselves, and perhaps these were the uniting factor. We were encouraged to publish together, expand on the ideas discussed. But, as Francesca Rendle-Short has written, ‘We are too often obsessed with content, the “what” [rather than the “how”]’ (2014: 92). We wondered if there was something further to mine. Had the panel itself become its own playroom? Three HDR candidates decided to assume the role of ‘panel beaters’, slip on some overalls, and find out.' (Introduction)
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