A major challenge for higher education academics is to research and publish when faced with substantial teaching responsibilities, higher student numbers, and higher output expectations. The focus of this piece is to encourage publication more generally by educators, and to build publication capacity, which academic developers can facilitate. The…

This article takes up the "special strangeness" of grading practices in the graduate creative writing workshop, based on the author's research, personal experience, and interviews with the faculty of her doctoral creative writing program. Using a structure of notes, the author attempts to make sense of the way grades are understood by both teacher…

Creative writing workshops typically feature a gag rule and emphasize purported flaws. This structure limits students' meaningful engagement with each other's work; positions the author as inherently flawed; and positions other participants as authority figures, passing judgment without articulating their aesthetic standards. I propose an…

Seeks to add another vocabulary to the pedagogy of the creative writing workshop: the language of use and action, of practice and implementation. Investigates how to reform the discursive walls between creativity and theory and ends by suggesting how educators might bring classrooms and communities together. (RS)

Describes a method of helping students to invent characters in the context of a creative writing workshop for undergraduates. Considers how students draw composition characters for which they can write a profile using the surrealist technique of "exquisite corpses." Uses student work to illustrate how such characters feed into the story…

Suggests that the interplay between illustrative objectivity and artistic impression is nearly the same, in essence, in the imagery of poetry and in the imagery of painting. Discusses the nature and function of imagery in poetry and visual art. Describes the dilemma of attempting to convince students to "show" rather than…

With selections from both teachers and students from writers conferences, festivals, and workshops, this anthology brings together a group of "seasoned and fresh writers" for readers/students to savor. The anthology points out that each summer writers conferences are held at Mount Holyoke, Bread Loaf, Sewanee, Iowa City, Port Townsend,…

This paper describes, reflects on, and analyzes the process of engaging student writers in a creative-critical writing workshop in which they not only work toward presenting a portfolio of original work, but are engaged in performance, dramatic intervention, and creative challenges to texts. The paper explains how students are invited to meet…

Because of her unfamiliarity with the culture, an experienced creative writing instructor in her first year of teaching on the big island of Hawaii decided to use the standard writing workshop model. The University of Hawaii Hilo draws a diverse mix of students, returning students, and local students who speak Creole. Some students were uncertain…

This book offers guidance for poets at every stage of development. It is a book about a person's shaping his or her memory and passions, pleasures, obsessions, dreams, secrets, and sorrows into poems. The book contains chapters on the language and music of poetry, the art of revision, traditional and experimental techniques, and how to get poetry…

The cultural production of the free markets has surpassed the commissions of all the monarchs and popes put together. Because the production of art, artifice, and criticism has become so vast and various, almost any hypothesis can be posed about culture--no matter how absurd one's speculation may be--and countless supporting examples and arguments…

Theories of creative writing have been for the most part bound up with theories of art. Both teachers and the general public, however, are dissatisfied with such institutionalized theories. Creative writers should first look to theories of writing rather than infer them from art. Recent composition theories, both cognitive theories and those of…

In a creative writing workshop of seven male and nine female graduate students, two female students became increasingly aware of a sexual bias. Though the male instructor made an effort to create a non-hierarchical, student-centered environment, informal hierarchies developed among students that granted the male instructor and the male students…

The "writing workshop" approach to teaching creative writing, virtually unchallenged throughout the United States, has recently come under fire. Two schools of thought, while agreeing that the traditional workshop needs a thorough overhaul, differ in approaches to that overhaul. One approach, using the theories of Harold Bloom, argues…

Creative writers have moved into the mainstream of English departments without understanding or reviewing their own history, and without reconceptualizing graduate and undergraduate creative writing programs. Such a history can be constructed from sources in three areas: institutional history, creative writing history, and rhetorical history. An…