Arts and Humanities Commons^™

An Essential Guide To An Invisible Art: A Review Of The Invisible Art Of Literary Editing, Jennifer Pullen

Journal of Creative Writing Studies

Review of Bryan Furuness and Sarah Layden. The Invisible Art of Literary Editing. London: Bloomsbury Academic, 2023. 152 pages

Craft And Conscience: Writing And Social Justice, Janelle Adsit

Journal of Creative Writing Studies

Review of Kavita Das. Craft and Conscience: How to Write About Social Issues. Beacon, 2022. 320 pages.

Creative Writing In A University Bridging Program For Underprivileged Stem Students, Glen Retief, Yolandi Woest, Nosipho Mthethwa

Journal of Creative Writing Studies

Underprivileged and additional-language students struggle to access university-level STEM instruction in English. Yet efforts to bridge academic readiness gaps often founder on ineffective instructional approaches. This study used student questionnaires and writing sample comparisons to investigate the impact of weekly creative writing lessons on students enrolled in a STEM-focused, university bridging program for high school students in the Black working-class township of Mamelodi, South Africa. Our tentative results suggest that creative writing teaching may have a significant role in building confidence, written communication skills, intellectual community, and improved program retention. However, further research is needed.

Coda -- Or -- Now What?, Abriana Jette, Brandi Reissenweber

Journal of Creative Writing Studies

The special issue editors reflect on the issue's contents and offer further suggestions for moving forward.

Cultivating The Cyborg Voice: Technology In The Creative Writing Classroom, Rebecca Valley

Journal of Creative Writing Studies

This article takes a critical look at pieces generated from a capstone project in a recent mixed-genre Intro to Creative Writing workshop. It was inspired by an open-ended creative project asking students to use technology to generate unconventional works of fiction, poetry, memoir, and theatre. Writer and educator Rebecca Valley's hope when assigning this project was to encourage students to innovate and step outside their standard forms. But beyond mere innovation of form, students surprised her in their capacity to use technology to hybridize their authorial voices – rather than merely changing the form of their own words, they became …

(Re)Considering Craft And Centralizing Cultures: A Revision Of The Introductory Creative Writing Workshop, Zoë Bossiere, Micah Mccrary

Journal of Creative Writing Studies

This article explores options for introductory creative writing curricula that allow for and encourage a greater consideration of personal identity and audience on the part of the student-author. It reaches toward possibilities for revising the introductory creative writing course as a space for student-authors to not only consider the cultural positions of the professional authors they study, but also the ways in which their own subject-positions influence their writing practices, craft choices, and understandings of genre. The article overall proposes a holistic revision to the standard, introductory creative writing curriculum, moving student-authors beyond considerations of “good” creative writing, and toward …

Bad Grades, Making Bank, And Hating Piano: The Divergent Trajectories Of Two Creative Writers’ Semiotic Becomings, Jon Udelson

Journal of Creative Writing Studies

This article challenges lore-based conceptions of creative writers’ becomings by showing how creative writers establish their literate and disciplinary identities not only through modes of learning characterized by curricular-based advancement in their field, but also through complex social and material negotiations with communities, institutions, and engagements outside of the disciplinary domain of creative writing. Drawing primarily from case study interview data, this article argues for a theoretical and empirical approach to studying creative writers’ “semiotic becomings” in order to further inform creative writing studies research, creative writing pedagogy, and the disciplinary benefits of validating creative writers’ extra-literate and extra-disciplinary experiences.

Public Promises, Hazy Vision: What Program Learning Outcomes Tell Us About Creative Writing As An Academic Subject, Tanya Perkins, Lisa Marling

Journal of Creative Writing Studies

: Although creative writing entered undergraduate curricula in the 20^th century primarily as a way to teach literature, the range of current programming suggests that original intent has evolved, as has opinion among faculty and writers about the nature of creative writing as a subject and its role within English programs. This study applies content analysis to 271 creative writing program learning outcomes (PLOs) from 51 undergraduate programs across the US in order to identify prevailing patterns and themes related to creative writing as a teaching subject. As measurable (and public) statements of content, PLOs are informative and accessible …

The Extracurriculum Of Creative Writing, Nancy Reddy

Journal of Creative Writing Studies

So far, the scholarship in the emerging field of Creative Writing Studies has focused primarily on creative writing workshops in colleges and universities. This article argues that Creative Writing Studies should broaden its focus to also include what scholars call the extracurriculum –the writing that people do when it’s not required by school or work, which takes place across a range of community, nonprofit, private, and digital spaces. Qualitative and archival research in the extracurriculum can help us develop a longer and more complex history and a more inclusive pedagogy.

Utilizing Digital Literacy In The Creative Writing Classroom, Sam Meekings

Journal of Creative Writing Studies

This paper will examine contemporary approaches to utilizing the pre-existing skills and knowledge of students in order to reconceptualize the process and reception of writing. Using social media platforms in the Creative Writing classroom presents a range of possibilities for experimenting with character, voice, structure, tone and world-building. This paper will share examples and exercises from a range of resources, and discuss ways of using the technical, formal, and cross-platform innovations of online applications to extend lessons beyond the classroom. Consideration will also be given to the problems inherent in using social media platforms for storytelling.

Basho & Friends Literacy Game For Tablet, Joshua Korenblat

Journal of Creative Writing Studies

Basho & Friends is an in-progress prototype for an interactive children’s book. Here, children ages 8-13 collaborate with young Basho, the legendary founder of haiku poetry, to become poets themselves. This project exemplifies a “convivial tool,” defined by philosopher Ivan Illich as a platform designed to promote creative expression. Here, we imagine new possibilities for reading, sensemaking, and creative writing based on past forms and ideas. Through poetry, Basho promotes meaningful principles of literacy and sustainability today. Children can engage with Basho’s story in an historical context and practice haiku to see themselves as authors of their life stories.

Fanfiction As Performative Criticism: Harry Potter Racebending, Khaliah A. Petersen-Reed

Journal of Creative Writing Studies

Fanfiction anatomizes a text and in this textual nakedness fanfiction writers recognize gaps in their chosen source texts and seek to supplement these deficiencies through literary disruption. This essay focuses on the kind of fanfiction that critically disrupts through artistic cultural production—a practice that I am labeling performative criticism. I look at Racebending fanfiction that intervenes in the gaps of the Harry Potter series—specifically the gaps related to race. Using fanfiction produced by Harry Potter fans, I will show that by reading and writing fanfiction these writers are blurring demarcation between creative writing and literary criticism.

This Is (Not) A Game: The Adjunct Experience As Playable Fiction, Lee Skallerup Bessette

Journal of Creative Writing Studies

How can a never-ending running 8-bit game be a piece of protest art? In examining her own experience in a related netprov protesting the treatment of adjuncts, the artist explores issues of agency, exploitation, and the very nature of games and playing in her artist’s statement on her game, Adjunct Run: https://adjunctrun.readywriting.org/.

“The Machinic Author” Artist’S Statement: The Reading Club, Annie Abrahams, Emmanuel Guez

Journal of Creative Writing Studies

The Reading Club is an online venue for simultaneous, collaborative reading and writing, both of which occur within a precisely defined framework: «reariters» are invited to read a given text and to rewrite it within a set number of characters. The public also gets involved, reading and commenting in a chat field. Performances have been held in various languages (sometimes simultaneously), including the language of code.

Machine Co-Authorship(S) Via Translative Creative Writing, Aaron Tucker

Journal of Creative Writing Studies

This paper argues that machine translation and a symbiotic ecosystem of authorship are central to the poetic works of Aaron Tucker and reveal larger ethical paths for machine-human relationships. In particular, the elements of chance alongside the intersemiotic translative acts that are the nature of human-computer relationships give space to a potential futurity that challenges a human-centric understanding of “reading” and “writing” and generates a type of literature that encourages a reader to better understand their own interactions within their daily digital environments.

The Many Authors Of The Several Houses Of Brian, Spencer, Liam, Victoria, Brayden, Vincent, And Alex: Authorship, Agency, And Appropriation, Zach Whalen

Journal of Creative Writing Studies

The Several Houses of Brian, Spencer, Liam, Victoria, Brayden, Vincent, and Alex is a computer-generated children’s book of 53,651 words and 350 unique illustrations arranged over 800 pages. The text is a cumulative poem in the style of the nursery rhyme “This is the House that Jack Built,” but with a house for each of the eponymous seven individuals, and with each of their houses containing many more types of things. These houses, these things, and these words were chosen by a Python script that I wrote, and the resulting novel--which can be viewed on my Github repository--is …

Atari, Creative Making & Zombie Computers: Robbo. Solucja., Piotr Marecki

Journal of Creative Writing Studies

In 1989, Janusz Pelc wrote the game Robbo on an 8-bit Atari, one of the first personal computers, which enjoyed a cult-like status in Poland before the fall of the Berlin Wall in 1989. Robbo, a small robot, collects screws and has to get through 56 planets. The game has achieved cult status, spawning hundreds of remixes and modifications. Beginning in the 1980s, fans (once mainly young boys, today adult men) played this game, collecting screws and running away from enemies such as bats, flying eyes, devils etc., while drinking beer, smoking cigarettes, eating crisps and telling jokes. One …

Digital Participatory Poetics And Civic Engagement In The Creative Writing Classroom, Liza D. Flum, Emily Oliver

Journal of Creative Writing Studies

This article explores the ways a team-taught course, “Public Poetry in a Digital World,” supported community-building through participatory action and digital creative making. Using digital texts responding to current events, this course fostered students’ civic imagination and invited them to make connections among their own lives, their communities and poetic civic media. This class facilitated critical community engagement through digital pedagogy and final projects in which students performed public scholarship. Ultimately, this course serves as a case study of how teaching born-digital texts with digital tools can expand the capacity of the creative writing classroom.

Toward Disruptive Creation In Digital Literature Instruction, Michael D. Clark

Journal of Creative Writing Studies

Given the multimodal and collaborative nature of digital literature along with the ways it often embodies the theories informing its artistic production, approaches to exploring both the creation and study of the form must abandon legacy pedagogies in favor of disruptive, student-driven course experiences. This work must further include explorations of digital culture, means of production, multimodal literacies, and connections with various definitions of literature ranging from print to auditory to visual forms. To accomplish this, instructors must move from more traditional hierarchical roles to those of facilitator and participant, committing consistently to returning decision-making work to the students.

Creative Writing Across Mediums And Modes: A Pedagogical Model, Saul B. Lemerond Phd

Journal of Creative Writing Studies

This is a creative practice (pedagogy) paper outlining the current formulation of my multimodal introduction to creative writing course. In this paper, I describe the course in detail, address the tensions, tradeoffs, and workarounds inherent in abandoning the traditional workshop model, describe instances of student engagement and success to illuminate this process, and endeavor to explain why high amounts of engagement and enthusiasm I get from my students concerning the content of my course is justified. My multimodal course is a generative course where my students are required to produce work in different creative modes on a near weekly basis. …

Serious Interactive Fiction: Constraints, Interfaces, And Creative Writing Pedagogy, Robert Terry, Lisa Dusenberry

Journal of Creative Writing Studies

To better understand how serious interactive fiction (IF) fits into creative writing pedagogy, we first consider how interface offers both affordances and constraints to the writer. Second, we discuss the ways teaching serious IF foregrounds the benefit of digital tools for creative writing. Third, we examine the interrelationship among research, interface, and procedural rhetoric. Fourth, we present findings from our research study by summarizing and discussing examples from roundtable feedback. We focus on students’ perception of serious IF’s affordances, concluding with how serious IF provides productive constraints for creative writing practice.

Editor’S Note, Trent Hergenrader

Journal of Creative Writing Studies

One of the primary goals of the field of creative writing studies is to examine creative writing lore. Lore is anecdotal knowledge, often passed down through generations as informal advice and traditional knowledge that is often framed as appealing to our common sense. Lore is not necessarily wrong or bad; indeed, it usually has more than a grain of truth to it, which is why it survives and continues to be shared, like a folk remedy for the common cold.

Schemes And Sense: Teaching Creative Writing With Design In Mind, Ben Gunsberg

Journal of Creative Writing Studies

This essay proposes a theoretical conception of design particularly suited for the creative writing classroom and suggests teaching strategies that enhance what I refer to as students’ design sense. Drawing upon the work of Francis Christensen, I highlight instructional approaches that reposition and reformat texts on the page such that the functional relationships between sentence elements are made more concrete and thus more comprehensible to students. I argue that by helping students see the subtle part-to-part and part-to-whole dynamics within sentences, creative writing teachers inspire students to move beyond their usual stylistic and syntactical tendencies.

What’S Creative About Creative Writing? Critical Pedagogy And Transversal Creativity, Erick Piller

Journal of Creative Writing Studies

As creative writing studies emerges as a field, scholars should interrogate the meanings and possibilities of creativity in the educational contexts of creative writing. This article draws from the ideas of Gilles Deleuze and Félix Guattari to propose the concept of transversal creativity, which emphasizes agency and self-invention through a realized meshing of discourses and identities—ways of speaking, writing, thinking, and being that cut across and run between established discourses and subject positions. Conceived in this light, creativity can bring critical pedagogy into the creative writing course.

Measuring Writing Engagement And Emotional Tone In L2 Creative Writing: Implications For Interdisciplinarity, Justin Nicholes 5361162

Journal of Creative Writing Studies

In response to calls for systematic exploration of the creative writing field, this study employed a quantitative design to address two research questions: Do second language (L2) writers who enjoy creative writing in English feel different levels of narrative-writing engagement between autobiographical and critical consciousness-raising creative writing? and Does autobiographical creative writing evoke a different emotional tone from critical consciousness-raising creative writing? Statistical and computational-linguistic analysis of short story and survey data of 30 multilingual creative writers at one U.S. public university answered each question. The data presented show narrative-writing engagement for autobiographical creative writing (M = 5.35, SD …