It's a wonderful and beautiful text, and I always feel like it reconnects me with the 'why' of my writing practice. Not that my 'why' is the same as Cixous's, but because she writes so urgently, and compellingly and searchingly about the 'why' of her own writing that it prompts me on reflect on and refind mine.

The project takes the form of a monthly 1-hour creative walk on and around campus, where we walk together and respond to creative writing prompts, taking a break from our daily work, and cultivating our writing practice in a supportive group. These walks will be held on Wednesday lunchtimes, 13:00-14:00, on the first Wednesday of each month, meeting outside the Entrance to the Advanced Research Centre on the Main Campus. All are welcome!

However, while this book is ostensibly about the art and labour of translation, there's so much in it for writers who want to think deeply about voice, and language, and meaning, and character and textual timbre. It's for writers who want to think about what it means to be a communicator, and how their voice resonates, and how that resonance carries into different contexts, and what it means not just to speak, but to be heard.

Plus, all the contributions come in bite-sized extracts, so it's a perfect place to go for a chunk of inspiration.

Plus, if you have a career you enjoy and a doctorate, you could be an example to researchers! To write for the series, email the team at researchculture@glasgow.ac.uk.

A highlight of Issue 12 (linked) for me was Elaine Ewart's poem 'Application for the post of Professor of Transformation'. Beautiful, thought-provoking and relevant to many of us trying to find a way to bring our own subjectivity into our academic writing practice, and working out how to navigate that complex and shifting line between who we are, and how that translates into our professional lives.

This pod is part of a series called 'Your Brain on Writing', facilitated by Prof Inger Mewburn and Prof Paul Magee as part of the Centre for Public Awareness of Science internship program at ANU.

In the attached text, Macdonald lists 11 things she tells herself when she writes. As you read them, consider: do they translate into your writing contexts?; why/not?; how might you adapt and use these tips for your contexts, and when might they be most relevant to you?

This is a key part of a supportive writing environment, as Robyne writes, and knowing that others fail, that even successful writers fail miserably on a daily basis, can help us find both solidarity, and a way through to the other side of a failure.

In this blogpost, Rachel reflects on the steps she's taken to make that process easier to manage emotionally, and learn how to use feedback constructively to improve her practice.

As well as regular writing retreats hosted by colleagues from the Research Culture & Researcher Development team, the University of Glasgow is part of an inter-institutional virtual writing retreat programme with a number of Universities from across the country. Find out dates, times and hosting institutions by clicking the link above.

What works for each of us as writers is different, and finding out what works best for you may involve a bit of trial and error.

Amelia Tait's article, written for Penguin Books, takes a tongue-in-cheek look at how trying out the writing environment of famous authors affects her writing productivity.

Librarians shared tips and tricks on how to improve your information literacy skills through properly using databases during our Roundtable conversation. If you'd like to hear more, click the link above.

Are you more or less productive when you're cold? Or warm? How does the position of your body when you're writing affect how the work 'flows'?

During our three-part launch event for Walking, we hosted a Writing in movement workshop led by artist Camilla Nelson, where we thought into the connection between our bodies and our writing. We practiced using the various facets of our vision, and wrote from each place to see how this affected our work. In the performance linked above, Camilla engages with some of these same concerns.