Congratulations to SR Contributor Alexandria Peary on the release of the book she co-edited with Tom C. Hunley, Creative Writing Pedagogies for the Twenty-First Century (Southern Illinois University Press). The collection offers new perspectives on old methods and guidelines on how to apply them in the classroom from 16 contributors. Alexandria’s creative nonfiction work is featured in Issue 12.
“Borrowing from established critical approaches—composition studies, rhetoric, critical literacy, writing center theory, basic writing, feminism—the compilation as a whole provides ample resources for creative writing instructors to reconsider the dynamics and aims of the creative writing classroom and its students. Each chapter describes or provides an appendix for specific activities and assignments that can be used as supplements in established courses; in addition, some of the contributors offer glimpses of radically transformed creative-writing learning spaces.”—CHOICE magazine
Pedagogy is deeply important for creative writing for a reason beyond teacher professional development or the legitimizing of creative writing as an academic discipline. While pedagogy certainly helps in those areas, students are the main reason for its importance.
It’s not news to say that the traditional workshop model has been critiqued for its lack of a nuanced or evolving pedagogy. (I think of it as a “mono pedagogy” in the way a bra fitter once told me during my impoverished graduate student days that a sports bra is “mono mammary.”)
Organized as it is around exchanging drafts (usually at a fairly advanced stage) and the giving and receiving of feedback, the workshop model makes certain assumptions about where the student is located in his or her writing process.
Typically, the workshop model pays sparse attention to prewriting, early drafting, and the actual implementation of that feedback to revise. The workshop approach casts light onto a fairly limited stretch of the writing experience, leaving radio silence before and afterwards.
The workshop model also operates from a certain set of assumptions about the context (the who-what-where-why-and how) of a creative writing education. It assumes the student is:
someone who’s authored a fairly advanced draft
someone who’s fully ready for peer feedback and doesn’t require training in the earlier moments of the writing process
someone whose intent is the production of belletristic and possibly publishable texts
someone who writes in response to literary models
someone who’s sitting in a classroom.
One of this year’s AWP panels on pedagogy, “Creative Writing Is for Everyone: Pedagogies for the Twenty-First Century,” strives to dismantle these assumptions.
The five panelists present a sample of pedagogies from the 2015 collection Creative Writing Pedagogies for the Twenty-First Century (Southern Illinois University Press): Steve Healey, Tom C. Hunley, Tim Mayers, Stephanie Vanderslice, and Alexandria Peary (moderator and presenter). Panelists discuss service learning; process and rhetorical pedagogy; Creative Writing-Across-the-Curriculum; and creative literacy.
By rethinking the individuals, purpose, and location of creative writing instruction, speakers in this panel point to the ways creative writing can be relevant not only to those on a path to becoming literary writers, but to every other student as well. Pedagogy is a matter of access: it determines which students receive the benefits of an education in creative writing. While sticking to the workshop model potentially disenfranchises students, the reverse is also the case:
creative writing can assist many types of learners in other majors
creative writing can be learned and practiced by individuals outside the university
creative writing can show students ways to lessen the mystery of finding ideas through a time-honored rhetorical tradition
creative writing can celebrate the writer of the unfinished as much as the writer of the polished product.
This AWP session occurs at AWP on Friday, April 1, from 3:00-4:15 PM in Gold Salon 1, JW Marriott LA, First Floor. Copies of Creative Writing Pedagogies for the Twenty-First Century will be available at the Southern Illinois University Press booth. Southern Illinois University Press will be offering a 30% conference discount on Creative Writing Pedagogies for the Twenty-First Century to people who attend the panel and AWP; the promo code will be valid for 1 1/2 weeks after AWP.
The winner will receive a publication contract with Southern Illinois University Press, and will be awarded a $2000 prize. The winner will also receive $1500 as an honorarium for a reading at Southern Illinois University at Carbondale.
A first book of poems will be selected for publication from an open competition of manuscripts, in English, by a U.S. citizen or permanent resident who has neither published, nor committed to publish, a volume of poetry 48 pages or more in length in an edition of over 500 copies* (individual poems may have been previously published; for the purposes of the Crab Orchard Series in Poetry, a manuscript which was in whole or in part submitted as a thesis or dissertation as a requirement for the completion of a degree is considered unpublished and is eligible). Current or former students, colleagues, and close friends of the final judge, and current and former students and employees of Southern Illinois University and authors published by Southern Illinois University Press are not eligible. For questions about judging, please visit http://CrabOrchardReview.siu.edu/conpo3.html.)