Currently, creative writing and writing studies occupy different disciplinary positions, but this relationship doesn’t need to be adversarial. This study illustrates “line-crossing” pedagogies of two creative writers who teach FYW to further the discussion of creative writing’s place in FYW and to help bridge disciplinary gaps.

0Make, O Muse...0.1 Knowing I was speaking about disruption, I thought what's more disruptive than playing punk music for an academic talk? So I played punk for you. I'll play some more punk for you after the talk. It's hard to be complacent when you listen to punk. If you want, stick that in your head as the soundtrack for today's talk. Punk and disruption may also produce in your mind's eye the image of friends working in a garage or the basement, and I encourage you to keep that image in your head, because whether they're taking a new approach to rock and roll or inventing the Apple computer, the garage tinkerer and inventor is our muse today as we reflect on making disruptive and innovative action in our discipline and our organization.1CCCC1.01 I've been coming to the C's for a long time, since I was a graduate student in the '80s. For me (like many of you, I'm sure), the CCCC is a natural academic home. And it's easy to see why: a wide range of pedagogical approaches visible in the program, all our theories on display, varied interests (FYC, creative nonfiction, creative writing, linguistics, rhetorical theory, history, technical and professional writing), and a general concern about writing both in the classroom and in society. The convention has one of the friendliest and most helpful group of members in higher education. It's a culture of fun (witness C's the Day and its Sparkleponies), and a culture of sharing and learning, where most of us are like Chaucers Clerk in that would we [all] learn and gladly teach1.02 We have an acceptance rate that's stingy-but not too stingy- so that we can put a lot of people on the program. There are workshops on Wednesdays, and we serve as a magnet for other organizations such as TYCA, ATTW, and WPA-GO to meet at the same general time.1.03 And during this same span of time that I've been coming to our convention (which is, unbelievably, almost thirty years), I have seen the C's take steady and meaningful steps to become more than a guild of writing teachers and researchers, but also an organization committed to openness, access, inclusivity:We have established travel and research scholarships that are designed to enable travel to and participation in the convention for both international and domestic scholars who may not have travel support from their institutions. These awards, along with reduced registration fees, have benefited a host of traditionally marginalized scholars, including contingent faculty, graduate students, retired members, Latin American scholars, tribal fellows, LGBTQ scholars, among others. And the one that started it all, the Scholars for the Dream in 1993, includes membership in NCTE/CCCC, travel assistance, and mentoring to help foster future leaders in our organization.We have an inclusive leadership structure, where elected positions on the executive committee, nominating committee, and chair rotation are broadly representative of the diversity of our organization. And we continue to evolve in this respect. Did you know, for example, that we have in the last five years added elected positions on the EC for graduate students and contingent faculty?What sort of new discussions are possible in governance with broader representation?We have created and supported research throughout our organization, rewarding scholars at all levels, from our undergraduate posters to graduate students, our book and article awards, and our wildly successful research initiative.We have taken steps to ensure inclusivity without regard to rank, tenure, job title, or type of institution. We feature undergraduate research posters, a graduate student on the EC, a thriving cross-generational (XGEN) initiative, and SIGs for grad students and retired professors. The program includes papers and roundtables from graduate students, adjunct and contingent faculty, tenure-track faculty, non-academic or alt-ac practitioners-from private institutions, two-year, four-year, regional universities, and R1's. …

Response to Doug Hesse’s “The Place of Creative Writing in Composition Studies” Clyde Moneyhun Response to Clyde Moneyhun Doug Hesse

For different reasons, composition studies and creative writing have resisted one another. Despite a historically thin discourse about creative writing within College Compositionand Communication, the relationship now merits attention. The two fields’ common interest should link them in a richer, more coherent view of writing for each other, forstudents, and for policymakers. As digital tools and media expand the nature and circulation of texts, composition studies should pay more attention to craft and to composingtexts not created in response to rhetorical situations or for scholars.

Responses to Rosalie’ Morales Kearns’s “Voice of Authority: Theorizing Creative Writing Pedagogy” and Johnathan Alexander’s “Gaming Student Literacies and the Composition Classroom: Some Possibilities for Transformation.”

This historical exploration tracks changes in rules concerning figurative language in nineteenth-century composition-rhetoric textbooks. The century’s lessening of millennium-long restriction of the poetic allowed not only creative writing into academia but composition as well, as composition at its beginning was intertwined with creative writing. In order to advance as a discipline, creative writing needs to investigate its history in addition to developing its theory and practice. Understanding the initial but largely overlooked union of creative writing and composition can help reconfigure English studies.

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 alternative structure in which authors lead discussion; the work is treated not as inherently flawed but as “in process”; and discussants articulate their expectations about “good” writing rather than allowing them to function as unspoken norms.

This accessible and versatile text has been used in college English, creative writing, and composition courses, as well as middle and high school classrooms, college remedial and honors programs, graduate seminars, and teacher training courses. Chapters move through the writing process as students find a focus, choose a genre, develop a draft, and find a voice. Murray is professor emeritus of English at the University of New Hampshire. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com)

New Visions of Collaborative Writing, Janis Forman Alice M. Gillam Methods and Methodology in Composition Research, Gesa Kirsch and Patricia A. Sullivan Russel K. Durst Gaining Ground in College Writing: Tales of Development and Interpretation, Richard Haswell Robert Brooke Beyond Outlining: New Approaches to Rhetorical Form, Betty Cain Richard M. Coe Portfolios in the Writing Classroom: An Introduction, Kathleen Blake Yancey Karen L. Greenberg Reading and Writing Essays: The Imaginative Tasks, Pat C. Hoy II David Z. Londow To Make a Poem, Alberta Turner Working Words: The Process of Creative Writing, Wendy Bishop Diane Kendig Teaching Hearts and Minds: College Students Reflect on the Vietnam War in Literature, Barry Kroll Lucille Capra Illumination Rounds: Teaching the Literature of the Vietnam War, Larry R. Johannessen Lucille Capra Vietnam, We’ve All Been There, Eric James Schroeder Lucille Capra

Richards on Rhetoric, Ann E. Berthoff W. Ross Winterowd Balancing Acts: Essays on the Teaching of Writing in Honor of William F. Irmscher , Virginia A. Chappell, Mary Louise Buley-Meissner, and Chris Anderson Sam Watson A Sense of Audience in Written Communication, Gesa Kirsch and Duane H. Roen Chris M. Anson Beyond Communication: Reading Comprehension and Criticism, Deanne Bogdan and Stanley B. Straw Sandra Stotsky The Writing Center: New Directions, Ray Wallace and Jeanne Simpson Muriel Harris Writer’s Craft, Teacher’s Art: Teaching What We Know, Mimi Schwartz Wendy Bishop Teaching Advanced Composition: Why and How, Katherine H. Adams and John L. Adams Richard Jenseth Textbooks in Focus: Creative Writing: Creative Writing in America: Theory and Pedagogy, Joseph M. Moxley Released into Language,Wendy Bishop Writing Poems, Robert Wallace What If?: Writing Exercises for Fiction Writers, Anne Bernays and Pamela Painter The College Handbook of Creative Writing, Robert DeMaria Chuck Guilford Textbooks in Focus: Technical WritingTechnical Writing: A Reader-Centered Approach, Paul V. Anderson Designing Technical Reports: Writing for Audiencesin Organizations, J. C. Mathes and Dwight W. StevensonTechnical Writing and Professional Communication, Leslie A. Olsen and Thomas N. Huckin Technical Writing: A Practical Approach, William S. Pfeiffer Technical Writing: Principles,Strategies, and Readings, Diana C.Reep Design of Business Communications: The Process and the Product, Elizabeth Tebeaux Carolyn R. Miller

What Is English?, Peter Elbow Sheryl Finkle and Charles B. Harris The Right to Literacy, Andrea A. Lunsford, Helene Moglen, and James Slevin Marilyn M. Cooper Textual Carnivals: The Politics of Composition, Susan Miller David Bartholomae Rhetoric and Philosophy, Richard A. Cherwitz James Comas Rhetoric in American Colleges, 1850–1900, Albert R. Kitzhaber Sharon Crowle A Short History of Writing Instruction: From Ancient Greece to Twentieth-Century America, James J. Murphy Sue Carter Simmons Politics of Education: Essays from Radical Teacher, Susan Gushee O’Malley, Robert C. Rosen, and Leonard Vogt Myron C. Tuman Not Only English: Affirming America’s Multilingual Heritage, Harvey A. Daniels Perspectives on Official English, Karen L. Adams and Daniel T. Brink Alice M. Roy Textbooks in Focus: Cross-Cultural Readers Across Cultures: A Reader for Writers, Sheena Gillespie and Robert Singleton American Mosaic: Multicultural Readings in Context, Barbara Roche Rico and Sandra Mano Emerging Voices: A Cross-Cultural Reader, Janet Madden-Simpson and Sara M. Blake Intercultural Journeys Through Reading and Writing, Marilyn Smith Layton Writing About the World, Susan McLeod, Stacia Bates, Alan Hunt, John Jarvis, and Shelley Spear Nancy Shapiro Textbooks in Focus: Great Ideas Readers Current Issues and Enduring Questions: Methods and Models of Argument, Sylvan Barnet and Hugo Bedau Theme and Variations: The Impact of Great Ideas, Laurence Behrens and Leonard J. Rosen The Course of Ideas, Jeanne Gunner and Ed FrankelA World of Ideas: Essential Readings for College Writers, Leo A. Jacobus Great Ideas: Conversations Between Past and Present, Thomas Klein, Bruce Edwards, and Thomas Wymer Casts of Thought: Writing In and Against Tradition, George Otte and Linda J. Palumbo Eleanor M. Hoffman Teaching Writing that Works: A Group Approach to Practical English, Eric S. Rabkin and Macklin Smith Janis Forman Released into Language: Options for Teaching Creative Writing, Wendy Bishop Will Wells

The American Community College, Arthur M. Cohen and Florence B. Brawer Nell Ann Pickett Rescuing the Subject.: A Critical Introduction to Rhetoric and the Writer, Susan Miller The Written World: Reading and Writing in Social Contexts, Susan Miller Joseph Harris Writing as Social Action, Marilyn M. Cooper and Michael Holzman Deborah Brandt The Double Perspective: Language, Literacy, and Social Relations, David Bleich Joyce Irene Middleton Writing and Response: Theory, Practice, and Research, Chris M. Anson Anne Ruggles Gere Technical and Business Communication: Bibliographic Essays for Teachers and Corporate Trainers, Charles H. Sides Alice Philbin Writing and Technique, David Dobrin Deborah H. Holdstein Worlds of Writing. Teaching and Learning in Discourse Communitieast Work, Carolyn B. Matelene Stephen A. Bernhardt Creative Writing in America. Theory and Pedagogy, Joseph M. Moxley D. W. Fenza

time, encouragement, and craft of two master teachers and writers-are attitudes and skills that extend beyond poetry and fiction writing. To value self-investment, to avoid premature closure, to see revision as discovery, to go beyond the predictable, to risk experimentation, and, above all, to trust your own creative power are necessary for all good writing, whether it is a freshman theme, a poem, a term paper, or a 4 C's paper. Yet in academic writing, except perhaps for the dissertation, these are not integral to the pedagogy. Few of us reward risk-taking that fails with a better grade than polished but pedestrian texts. We are more product-oriented, judging assignments as independent of one another rather than as part of a collective and ongoing body of work. No wonder that students interpret our message as Be careful, not creative!

Last year I became a student writer again-and a novice at that. For although I'd been teaching and writing nonfiction for years-both academic articles and feature stories-I never wrote much fiction. And although I dabbled in poetry, even had a few poems published once, I never before took a course in poetry writing. Frankly, I didn't have the guts in college, never thought of myself as creative enough to risk such public exposure. The budding confidence I felt in fourth grade when my suspense thriller, Thunderstorm, was published in a class booklet had been buried under too many years of exposition, both for school and work. I didn't really recover it until long after graduation, when I received a fellowship that gave me released time from full-time teaching in order to take two creative writing courses at Princeton University: one in fiction writing with Russell Banks, author of the much-acclaimed Continental Drift; the other in poetry writing, with Pulitzer-Prize winning poet, Carolyn Kizer. These were undergraduate courses incidently, because that's all Princeton offers, so except for three other older women (i.e., over 40) in the poetry class, the rest of my peers were under 22. It was a remarkable experience-to wear the shoe on the other foot and be a student again. For one thing, I realized how much more I enjoy learning now than I did at 20 when my future loomed before me like a huge, unmarked field. And how much more focused I am in energy once scattered on a million other concerns. For another thing, I've toughened up over the years. Twenty-five additional years of living and writing have helped me know and risk more, personally and intellectually, than I would ever have dared, even ten years ago. I have more of life to draw upon and more laurels to rest upon, as needed. These assets, I've found, are shared by other over-30 adults--even if, like many of my returning students, their extra writing experiences are mainly in letter or report writing. Life experience and writing success notwithstanding, I was surprised at my own vulnerabilities as a writer. Many of my fears, confusions, and needs were not as different from my younger counterparts' as I would have predicted. Remembering what it

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Several months ago, a colleague and I presented a proposal to the Ph.D. graduate committee at Arizona State University for a new concentration on the Ph.D. level in rhetoric, composition, and linguistics. Our proposal seemed reasonable enough. What we were proposing was that graduate students be given a series of options on the Ph.D. level, so that those whose primary interest was belles lettres could choose from among the traditional areas of English and American literature. However, those whose primary interest was language, or a broader conception of letters as exemplified by the bonae litterae of the Renaissance, could do half of their work in the traditional areas of literature and half of their work in rhetoric, composition, and linguistics. We argued that students seeking degrees in order to teach and to do research face a job market very different from the one that students encountered as recently as eight or nine years ago, and drastically different from what most teachers encountered when they began. We reminded the committee of the results of the MLA Job Information List, published in the February 1978 ADE Bulletin, which showed a preponderance of job opportunities for people in the areas of rhetoric, composition, and linguistics. For example, of the 405 jobs advertised in '76-'77 for people with Ph.D.'s in English, 56 of those jobs were in rhetoric and composition, 53 in linguistics, and 29 in creative writing. Then in descending order, there were 18 openings in American Literature, 18 in Black Studies, 17 for generalists, 15 each in Old and Middle English Literature, 19th Century British Literature, and American Studies, 13 in Renaissance Studies, 8 in 19th Century American Literature, 7 in Colonial Literature, and so forth. We emphasized that the opportunity for serious research and scholarship in rhetoric and composition has never been better. The professional membership in the Conference on College Composition and Communication has increased dramatically over the past few years. The MLA has recognized the

Here, then, are six different reasons students are drawn to writing classes. Some students may be touched by only one, others by a combination. They lead to different types of creativity, but each can serve as a dynamic catalyst. 1. Partially conscious therapy: Of course the protagonist isn't really my father but .. . Such writers may be highly neurotic and aware of it, struggling perhaps with a vague angst. Or they may be relatively stable but working with a difficult personal problem: a separation, a rejection, a death in the family. Vague and ill-defined moods often take on the distortion and lack of co-

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Creative Writing in the Composition/Communication Course, College Composition and Communication, Vol. 8, No. 3, General Session, Panel, and Workshop Reports. Conference on College Composition and Communication, 1957 (Oct., 1957), pp. 137-138

Imaginative Writing in Advanced Composition: The Report of Workshop No. 14, College Composition and Communication, Vol. 6, No. 3, Workshop and Panel-Discussion Reports of the 1955 Conference on College Comosition and Communication (Oct., 1955), pp. 153-155

Imaginative Writing in the Freshman Course: The Report of Workshop No. 14, College Composition and Communication, Vol. 5, No. 3, Workshop Reports of the 1954 Conference on College Composition and Communication (Oct., 1954), pp. 121-123