Creative writing most often focuses on an individual creative writer's own project, and is generated by that creative writer's personal desire to discover and develop knowledge that can assist their creative practice -specifically for the project at hand, but often with continuing use in future work. Creative writing research is both creative and critical in nature. The range of evidence of creative writing has been only marginally considered by 'post-event' arts and humanities subjects, most particularly literature study, and, until recently, creative writing has often been relegated to the role of a satellite to such post-event research. There is now a strongly developing body of understanding about the nature of creative writing, and considerable articulation of the nature of creative writing research, its knowledge base and understanding. This is aided, not least, by the circa 400 students per annum that are undertaking Creative Writing doctoral research degrees in the United Kingdom alone, by the circa 10,000 creative writers in academe that attend subject association conferences every year, and by a deepening subject knowledge supported by contemporary academic and governmental interest in creative practice.Creative writing, as a research field, incorporates the practice of writing creatively and critical responses to that practice. The varieties and styles of creative writing are relatively straightforward. Though varied, vast and most often determined by individual as well as cultural interpretation, this practice, or collection of practices, focuses primarily on the production of new, creative work. In recent years, the ways in which this practice, and the results of these practices, can be discussed has increasingly been clarified and developed.In clarifying how we discuss creative writing, some challenges have occurred to notions that have informed those 'post-event' arts and humanities subjects that deal with the products of creative writing practice. 'Postevent' arts and humanities subjects are those that locate their discourse, and their knowledge, primarily (indeed, often solely) in analysis occurring after the act or actions of creative practice. In contrast, creative writing locates its discourse, its knowledge and its understanding in the act and actions of writing creatively.Creative writing practice can be defined as actions or a set of acts, often referred to as 'process' and leading to the completion, partial completion or sometimes the temporary or permanent abandonment of a piece of creative writing. Whatever the end result -anywhere from 161 JVAP 7 (2) pp. 161-171

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Oxford Economics, 'a commercial venture with Oxford University's business college' projects a $US92.7 billion decline in revenue for the Creative Industries in the United Kingdom in 2020 (over 2019 revenue) as a result of the COVID-19 pandemic. 1 As with anything concerning COVID-19, this number is staggering. Project these decreases in revenue globally and the impact of COVID-19 on the creative industries is almost beyond comprehension. Of course, the pandemic's impact on human life goes well beyond industrial revenues. Acknowledging any discussion of COVID-19 begins with thoughts for those who have lost their lives, as lock downs continue, and as the race for a vaccine enters its sixth month, we might ponder what the creative industries might look like post-COVID-19, and even what strengths there are in the sector that might assist as we move beyond the pandemic. Without doubt, the creative industries sector (replete with its numerous sub-sectors) is varied, and therefore has not one set of strengths and one set of weaknesses but collections of these. A good proportion of the sector has been dependent on audiencesin spaces, places and experiences that involve physical proximity. But not all the sector has relied on this. Much of the sector involves entertainment where producers of that entertainment (actors, musicians, dancers) have most often interacted closely with each other. But not all the sector has relied on this. Some of the sector involves experiences where close proximity to and display of the creative results is core to success (fashion designers, architects, visual and material artists). But not all of the sector has relied on this. And so on … As with every economic sector involving peopleand there are relatively few that do notthe creative industries will emerge from COVID-19 impacted upon in so many ways, and it would be trite to suggest that an enhanced ability to be creative, to invent and to imagine, will make the CI sector more resilient than others. When we list those sub-sectors of CI that rely on audiences, entertainment and experiences where people, together, doing things is core, we see both a preponderance impacted upon considerably and variation where some sub-sectors of CI are not as obviously directly affected. The question of what strengths across the sector might come to the fore will be pressing, as we rebuild, reestablish and most likely evolve in the post-COVID-19. With that in mind, we could take the sector's strengths to be these: Strong investment in technologies that allow for and support 'remote' delivery of CI products and services, and often involve leading applications of such technological tools; A workforce that varies from the 'craft' worker, the sole creator, to large corporations but a great many of the workforce being capable of innovation, encouraged to do it, and regularly in pursuit of it, within their daily working lives; Integration with lifestyle choices that make the CI sector popular with consumers, whether as relief from situations where detachment from da...

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Sustainable development and the creative economyon November 8, 2019, the General assembly of the United Nations declared 2021 would be the "international Year of Creative Economy for Sustainable development":Acknowledging that creative industries can help to foster positive externalities while preserving and promoting cultural heritages and diversity, as well as enhance developing countries' participation in and benefit from new and dynamic growth opportunities in world trade … (General assembly, 2)