Kim Wilkins

In the 21st century, the rapid advance of technology and the existential threat of climate breakdown mean the real world increasingly resembles something out of fiction, filled with ambiguity and uncertainty. Such challenges need imaginative, creative solutions. To find them, teams of experts must pool their knowledge, make new connections, and forge paths forward. In Story Thinking, award-winning authors Helen Marshall, Kim Wilkins, and Lisa Bennett show how the principles of science fiction and fantasy writing – which speculate about and imagine different futures, people, and worlds - can enrich research in such areas as government policy, technology innovation, and healthcare within universities and various industries. When transferred to research, story thinking as a method can help to build teams with a shared sense of purpose, offer new patterns of thought for improvisation, rapid perspective shifts, worldbuilding, pleasure and playfulness. Split into two parts - conceptualizing story thinking and story thinking as it has been employed in the field - Marshall, Wilkins and Bennett bring together theories of creativity from business, psychology, futures studies, gaming, and medicine among others, with 4 key practices from SFF storytelling – envisioning, engaging, inhabiting, and empathizing. They then provide practical tools for collaborative problem solving alongside case studies of their own successful applications of Story Thinking in various fields, including defense innovation and future scenario modelling with world governments; developing empathy and enhancing well-being in medical education; designing gaming and simulation tools for researchers; and futureproofing digital identity technologies with the UNHCR, the agency responsible for protecting and aiding refugees Showing how writing can be adapted for new and exciting contexts, Story Thinking bridges the gap between the humanities and outside fields and lays the foundations for more creative approaches that more deeply engage in the process of making a better future.

In the 21st century, the rapid advance of technology and the existential threat of climate breakdown mean the real world increasingly resembles something out of fiction, filled with ambiguity and uncertainty. Such challenges need imaginative, creative solutions. To find them, teams of experts must pool their knowledge, make new connections, and forge paths forward. In Story Thinking, award-winning authors Helen Marshall, Kim Wilkins, and Lisa Bennett show how the principles of science fiction and fantasy writing – which speculate about and imagine different futures, people, and worlds - can enrich research in such areas as government policy, technology innovation, and healthcare within universities and various industries. When transferred to research, story thinking as a method can help to build teams with a shared sense of purpose, offer new patterns of thought for improvisation, rapid perspective shifts, worldbuilding, pleasure and playfulness. Split into two parts - conceptualizing story thinking and story thinking as it has been employed in the field - Marshall, Wilkins and Bennett bring together theories of creativity from business, psychology, futures studies, gaming, and medicine among others, with 4 key practices from SFF storytelling – envisioning, engaging, inhabiting, and empathizing. They then provide practical tools for collaborative problem solving alongside case studies of their own successful applications of Story Thinking in various fields, including defense innovation and future scenario modelling with world governments; developing empathy and enhancing well-being in medical education; designing gaming and simulation tools for researchers; and futureproofing digital identity technologies with the UNHCR, the agency responsible for protecting and aiding refugees. Showing how writing can be adapted for new and exciting contexts, Story Thinking bridges the gap between the humanities and outside fields and lays the foundations for more creative approaches that more deeply engage in the process of making a better future.

Works of genre fiction are a source of enjoyment, read during cherished leisure time and in incidental moments of relaxation. This original book takes readers inside popular genres of fiction, including crime, fantasy, and romance, to reveal how personal tastes, social connections, and industry knowledge shape genre worlds. Attuned to both the pleasure and the profession of producing genre fiction, the authors investigate contemporary developments in the field—the rise of Amazon, self-publishing platforms, transmedia storytelling, and growing global publishing conglomerates—and show how these interact with older practices, from fan conventions to writers' groups. Sitting at the intersection of literary studies, genre studies, fan studies, and studies of the book and publishing cultures, Genre Worlds considers how contemporary genre fiction is produced and circulated on a global scale. Its authors propose an innovative theoretical framework that unfolds genre fiction's most compelling characteristics: its connected social, industrial, and textual practices. As they demonstrate, genre fiction books are not merely texts; they are also nodes of social and industrial activity involving the production, dissemination, and reception of the texts.

Works of genre fiction are a source of enjoyment, read during cherished leisure time and in incidental moments of relaxation. This original book takes readers inside popular genres of fiction, including crime, fantasy, and romance, to reveal how personal tastes, social connections, and industry knowledge shape genre worlds. Attuned to both the pleasure and the profession of producing genre fiction, the authors investigate contemporary developments in the field—the rise of Amazon, self-publishing platforms, transmedia storytelling, and growing global publishing conglomerates—and show how these interact with older practices, from fan conventions to writers' groups.Sitting at the intersection of literary studies, genre studies, fan studies, and studies of the book and publishing cultures, Genre Worlds considers how contemporary genre fiction is produced and circulated on a global scale. Its authors propose an innovative theoretical framework that unfolds genre fiction's most compelling characteristics: its connected social, industrial, and textual practices. As they demonstrate, genre fiction books are not merely texts; they are also nodes of social and industrial activity involving the production, dissemination, and reception of the texts.

The path to happiness in writing is always in the process: the imagining and the writing.In these essays, Kim Wilkins-the celebrated author behind Daughters of the Storm, Giants of the Frost, and (as Kimberley Freeman) Wildflower Hill and Stars Across The Ocean-offers the collected writing wisdom she's accumulated across her career.Drawing on years of experience delivering workshops, lectures, and articles, Headstrong Girl features Wilkins's collected advice on both living the life of a writer and telling great stories, including topics such as the importance of persistence, turning off social media, anchoring scenes for your audience, and creating an effective protagonist and supporting casts for your novel.With over three million words of fiction in print across multiple genres and pen names, this is a chapbook jam-packed with writing advice from one of Australia's preeminent experts in genre fiction. Ideal for existing fans seeking a glimpse behind the scenes, or new writers looking for a sound foundation to build upon while working towards a long and successful career.

While the term 'bestseller' explicitly relates books to sales, commercially successful books are also products of individual creative work. This Element presents a new perspective on the relationship between art and the market, with particular reference to bestselling writers and books. We examine some existing perspectives on art's relationship to the marketplace to trouble persistent binaries that see the two in opposition; we break down the monolith of the marketplace by thinking of it as made up of a range of invested, non-hostile participants such as publishing personnel and readers; we articulate the material dimensions of creative writing in the industry through the words of bestselling writers themselves; and we examine how the existence of bestselling books and writers in the world of letters bears enormous influence on the industry, and on the practice of other writers.

Since the late 1990s a new language has emerged in film scholarship and criticism in response to the popularity of American directors such as Wes Anderson, Charlie Kaufman, and David O. Russell. Increasingly, adjectives like ‘quirky’, ‘cute’, and ‘smart’ are used to describe these American films, with a focus on their ironic (and sometimes deliberately comical) stories, character situations and tones. Kim Wilkins argues that, beyond the seemingly superficial descriptions, ‘American eccentric cinema’ presents a formal and thematic eccentricity that is distinct to the American context. She distinguishes these films from mainstream Hollywood cinema as they exhibit irregularities in characterization, tone, and setting, and deviate from established generic conventions. Each chapter builds a case for this position through detailed film analyses and comparisons to earlier American traditions, such as the New Hollywood cinema of the 1960s and 1970s. American Eccentric Cinema promises to challenge the notion of irony in American contemporary cinema, and questions the relationship of irony to a complex national and individual identity.

Young adult fantasy (YA fantasy) brings together two established genres - young adult fiction and fantasy fiction - and in so doing amplifies, energises, and leverages the textual, social, and industrial practices of the two genres: combining the fantastic with adolescent concerns; engaging passionate online fandoms; proliferating quickly into series and related works. By considering the texts alongside the way they are circulated and marketed, this Element aims to show that the YA fantasy genre is a dynamic formation that takes shape and reshapes itself responsively in a continuing process over time.

Since the late 1990s a new language has emerged in film scholarship and criticism in response to the popularity of American directors such as Wes Anderson, Charlie Kaufman, and David O. Russell. Increasingly, adjectives like ‘quirky’, ‘cute’, and ‘smart’ are used to describe these American films, with a focus on their ironic (and sometimes deliberately comical) stories, character situations and tones. Kim Wilkins argues that, beyond the seemingly superficial descriptions, ‘American eccentric cinema’ presents a formal and thematic eccentricity that is distinct to the American context. She distinguishes these films from mainstream Hollywood cinema as they exhibit irregularities in characterization, tone, and setting, and deviate from established generic conventions. Each chapter builds a case for this position through detailed film analyses and comparisons to earlier American traditions, such as the New Hollywood cinema of the 1960s and 1970s. American Eccentric Cinema promises to challenge the notion of irony in American contemporary cinema, and questions the relationship of irony to a complex national and individual identity.

Five very different sisters team up against their stepbrother to save their kingdom in this Norse-flavored fantasy epic--the start of a new series in the tradition of Naomi Novik, Peter V. Brett, and Robin Hobb. FIVE ROYAL SISTERS. ONE CROWN. They are the daughters of a king. Though they share the same royal blood, they could not be more different. Bluebell is a proud warrior, stronger than any man and with an ironclad heart to match. Rose's heart is all too passionate: She is the queen of a neighboring kingdom who is risking everything for a forbidden love. Ash is discovering a dangerous talent for magic that might be a gift--or a curse. And then there are the twins--vain Ivy, who lives for admiration, and zealous Willow, who lives for the gods. But when their father is stricken by a mysterious ailment, these five sisters must embark on a desperate journey to save him and prevent their treacherous stepbrother from seizing the throne. Their mission: find the powerful witch who can cure the king. But to succeed on their quest, they must overcome their differences and hope that the secrets they hide from one another and the world are never brought to light. Because if this royal family breaks, it could destroy the kingdom. The saga continues in . . . SISTERS OF THE FIRE Praise for Daughters of the Storm " Daughters of the Storm] is a twisty high fantasy . . . exploring political machinations and the relationships between sisters; betrayal lurks at every turn."--The Washington Post "This fantastic series opener, powered by an engaging, female-led cast of characters, is riveting from page one right through to the end, with almost every scene bringing new excitement and intrigue. All of the five leading women are richly drawn, with distinct voices and multidimensional personalities that never slip into caricature. Kim] Wilkins sketches these royals with nuance and sensitivity, making even the vexing characters like careless Ivy and the villainous Wylm feel worthy of our sympathy. . . . Wilkins has struck gold with her thrilling high fantasy world. Book two can't arrive soon enough "--RT Book Reviews "Readers who enjoy epic journeys and strong female protagonists will enjoy Wilkins's first installment of her new Sisters of the Fire series."--Booklist

One English village. Two thousand years of stories.People have always come to make wishes at the Silver Well: in Pagan times and Christian, during revolution and war. When Rosie arrives in the tiny village of Cerne Abbas with a broken heart, she becomes connected across the centuries with others who have yearned for something. Seven stories, set in seven time periods, reveal the deepest longings of the human heart."One tale at a time, Kate Forsyth and Kim Wilkins immerse us in the fabled waters of Cerne Abbas, plunging us deeper and deeper into the lore of this village, further and further into its past. Here we meet a cast of characters whose lives span two millennia--charming artists and shopkeepers, forsaken lovers, cunning-women, severe Puritans, proud warriors, shell-shocked soldiers, bereft parents, fierce and fragile children, and many generations of Brightwells. Across the ages we hear their carefully hidden thoughts. Their worries and fears. Their hopes and losses." -- From the introduction by Lisa L. Hannett

One English village. Two thousand years of stories.People have always come to make wishes at the Silver Well: in Pagan times and Christian, during revolution and war. When Rosie arrives in the tiny village of Cerne Abbas with a broken heart, she becomes connected across the centuries with others who have yearned for something. Seven stories, set in seven time periods, reveal the deepest longings of the human heart."One tale at a time, Kate Forsyth and Kim Wilkins immerse us in the fabled waters of Cerne Abbas, plunging us deeper and deeper into the lore of this village, further and further into its past. Here we meet a cast of characters whose lives span two millennia--charming artists and shopkeepers, forsaken lovers, cunning-women, severe Puritans, proud warriors, shell-shocked soldiers, bereft parents, fierce and fragile children, and many generations of Brightwells. Across the ages we hear their carefully hidden thoughts. Their worries and fears. Their hopes and losses." -- From the introduction by Lisa L. Hannett

From the author of The Autumn Castle comes a dark tale of immortal love and loss that brings together Norse gods and mortals.

In this first volume of Wilkins' Europa Suite, a woman's world is turned upside down when her childhood friend, abducted as a young girl into a place of magic and myth, rerturns. But now jealousies and betrayals threaten to destroy them both.