{"text_format":"2","workbook":"xls","n_sheets":1,"sheets":["report2"],"not_rendered":{"charts":0,"images":0,"macros":0,"external_links":1,"defined_names":1,"comments":0,"pivot_tables":0},"unopened":[],"bounds":{"document_bytes":16777216,"sheet_cells":100000,"run_cost":"one","rows_first":2000,"rows_last":500,"rows_between":2000,"halvings":0,"cell_chars":16384,"cell_head_chars":4096},"cells_cut":0,"cells_raw":0,"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":17,"n_cols":5,"rows_kept":17,"cut":false,"hidden":false,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[2,4,2,5],[3,2,3,3],[4,2,4,3],[5,2,5,3],[6,2,6,3],[7,2,7,3],[12,2,12,3],[13,2,13,3],[15,2,15,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNINA9910483490303321"]
[null,null,"Autore",null,"Živković Zoran"]
[null,null,"Titolo",null,"The Clay Writer : Shaping in Creative Writing / / by Zoran Živković"]
[null,null,"Pubbl/distr/stampa",null,"Cham : , : Springer International Publishing : , : Imprint : Springer, , 2019"]
[null,null,"Edizione",null,"[1st ed. 2019.]"]
[null,null,"Descrizione fisica",null,"1 online resource (XII, 136 p. 3 illus., 2 illus. in color.)"]
[null,null,"Disciplina",null,"808.02"]
[null,null,"Soggetti",null,"Creative writing"]
[{"$nulls":4},"Literature"]
[{"$nulls":4},"Fiction"]
[{"$nulls":4},"Creative Writing"]
[{"$nulls":4},"Popular Science in Literature"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Part I Essays -- The Clay Writer -- Annotations 1 -- Part II Fiction -- The Telephone -- Sherlock Holmes’ Last Case: The Letter.-Fingernails -- Lost Illusions -- The First Loop -- Infernal Library -- Annotations 2."]
[null,null,null,"Sommario/riassunto","This concise book by the well-known Serbian writer and literary researcher summarizes his decade-long experience of teaching creative writing at the Faculty of Philology, University of Belgrade. Always offering attendees four good reasons for not attending his course, or, in a broader perspective, discouraging them from professional writing altogether, the author reflects ultimately on what it really takes to become a writer of literary fiction. This essay, which makes up the first part of this work, is complemented by a selection of witty short stories, forming the second part, and which have been used as templates in the teaching context."]