Published writers of fictional or semi-fictional works entering the academy as doctoral candidates express surprise at the requirements of formal human ethics reviews. Admitting an element of the autoethnographic exists in their writing, they may insist that they possess what Freeman called ‘narrative integrity’. This paper considers the ethics of autoethnography as they apply to both the academy, chiefly within the PhD by artefact and exegesis, and the world of published writers, seeking possible solace from such scholarly concepts as ‘relational ethics’, or ‘ethic of care’. Drawing methodologically on our experience as doctoral supervisor and student and with the permission of writer/students whose stories are inseparable from this work, this study unpacks in ethical terms the problems reported by students whose methodology involves evocative or performative autoethnography. As interpretatist methodologists, autoethnographers maintain it provides insights into the interplay between the personally engaged self and mediated cultural descriptions. Methodologically, it enacts the self and others as data. This connection between the personal and the social makes it difficult for autoethnographers to speak of themselves without speaking of others. Examining autoethnography involves a close scrutiny of the boundaries between the self and the other, a process that is both enlightening and essential for supervisory dyads in creative writing methodologically informed by autoethnography. These aspects of the ethics of autoethnography are crucial, but little attention has been paid to the problematic notion that practiceled research is emergent in practice and that its autoethnography requires a retrospective approach, looking backwards as well as forwards. The reality of applying this methodology in practice-led research clashes with the pro-active nature of ethics procedurals required by universities. The paper identifies nine praxical problems that arise from such clashes, and considers best-practice principles for responding to these problems, drawing strongly on indigenous research. Finally, it offers conclusions relating to consent, transparency and the need to open a dialogue around best practice in autoethnographic research in the academic field of Writing.

There has been little scholarly work looking at the use of creative writing pedagogy within non-creative writing courses. However, ‘Outside the box: Incorporating high stakes creative writing assignments into non-major literature courses, a case study’ demonstrates promising findings when incorporating high stakes creative writing assignments into the curriculum for core English literature courses. This article gives an overview of the Progressive history of ‘creative’ writing in the academy and then outlines contemporary sources that reference the burgeoning field of Creative Writing Studies and how creative writing pedagogy may be used more broadly in classrooms in a variety of disciplines. Then the case study details the assignments and experience of teaching a high stakes creative assignment in a non-major literature course at an undergraduate liberal arts institution. Using 25 representative student responses from among 50 total students over multiple semesters, the article concludes by asserting the findings that the inclusion of a high stakes creative assignment – in this case an original short story that is workshopped by peers and then revised – results in students who note increased confidence and creativity, and who state making connections between the relevance of writing instruction and workshopping to their lives outside of the classroom. While further, more formalized study would be beneficial on this topic, this study provides a useful perspective not just to teachers within the English department but also has ramifications for interdisciplinary scholarship.

Theoretical explanations of learners’ poetry writing development are relatively new and, compared to other genres, rare. Neither the cognitive models of writing development, nor the descriptions of poet-practitioners or inspired experts give a fully nuanced representation of the complexity at play in poetry composition. Also missing from these models is the social context of learning to write poetry. We link Vygotsky’s work on the symbolic function of inner speech to documented accounts of poets ‘answering’ the social world to which they belong. We propose a theoretical model of development in poetry writing that takes into account learners’ fluid social contexts, and which draws on Schultz and Fecho’s survey of writing development. This fusion is a new contribution to theorisations of writing development.

Since the publication of Wendy Bishop’s Released into Language (1990), the disciplinary boundaries of composition and creative writing have been in question. More recently, as Douglas Hesse’s “The Place of Creative Writing in Composition Studies” (2010) suggests, creative writing has been assumed to exist as a subdiscipline of composition despite efforts during the past decade to develop a new discipline, Creative Writing Studies. The research reported on and analyzed here argues for creative writing’s disciplinary status by using Toulmin’s (1972) definition of disciplinarity as a basis for claiming writers’ aesthetic documents as data and reporting those data in an aesthetic form. In our study, 57 students in first-year composition were asked to write a creative piece concerning how they came to the present place in their lives. Students produced 57 artifacts, including 55 poems, one script, and one visual narrative. These data were subsequently represented in fiction—that is, we used a novel to present our findings in an effort to assert the differences between the ways findings might be rendered in composition as opposed to creative writing. This paper examines what each subject area views as evidence and how that evidence might be most profitably analyzed and discussed in an aesthetic document. We suggest that the process of writing the novel is a method, a mode of analysis, with the novel itself as the articulation of the researchers’ analysis of the original data. Using this method, we studied creative writing aesthetically as creative writing and offer a justification for doing so.

The creative writing program through its theory, pedagogy, and praxis in workshops has resisted the inclusion of lived experiences of politically active radical minorities. To mitigate some of these exclusions, I restructured a traditional workshop to integrate critical race studies by including nonwhite writer-activists and writer-centered social movements countering dominant white discourses.

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. …

The Pecha Kucha talk is an effective way to encourage the composition process; to promote the use of effective visuals to explain and engage; and to distribute the expertise in the classroom away from the teacher as the central expert and to the students. In this paper, we describe and give an example of what is called a Pecha Kucha (Japanese for ‘chit chat’). When examined within the frameworks of theorists in the areas of composition, pedagogy, and literacy, this emerging presentation genre is promising for both composer and audience. With this in mind, we first discuss ways that the creator of the Pecha Kucha may benefit from the specific composition space. We then share how this composition exercise is an effective teaching tool. Next, we show ways that this presentation style maximizes learning with image and speech coordination and skills of analysis and synthesis. Then we introduce how Pecha Kuchas give students the opportunity to teach and to work with technological tools in authentic ways. Finally, implications for future practice in developing compositions using oral delivery with visuals are discussed.

The publication of the three works reviewed here relating to creative writing theory and pedagogy mark a point of critical mass for the field of creative writing studies that has been building for decades. This review looks at those books and discusses how they help point the way forward for the discipline.

Both creative writing and composition seek to teach writing, yet their pedagogical approaches are poles apart, especially concerning instructors. Creative writing instructors serve as “mentor-models,” whose authority comes from their writing practice rather than (only) departmental sanction. Despite potential pitfalls, a mentor-model approach could reaffirm composition instructors' identities as writers.

Reviewed are: Writing across Contexts: Transfer, Composition, and the Sites of Writing, by Kathleen Blake Yancey, Liane Robertson, and Kara Taczak, Reviewed by Polina Chemishanova Understanding Language Use in the Classroom: A Linguistic Guide for College Educators, by Susan J. Behrens, Reviewed by Patty Wilde Creative Writing and Education, edited by Graeme Harper, Reviewed by Mitch James

This article examines how creative writing pedagogy and composition pedagogy can be put into productive conversation by using expressivism and social constructionism as a shared frequency, allowing for a deepening of the pedagogical options available to teachers. The end result of this analysis is a proposal for a dual course pairing of composition and creative writing. Within this proposed arrangement, creative writing, on the one hand, would emphasize expressivist pedagogies that grant students centrality in the classroom while still exploring the ideological implications of the writing act. Composition, on the other hand, would focus on scholarship, research, and theory, while still employing creative writing activities that keep student writers from feeling utterly marginalized.

Eight English graduate students and a professor reflect on their semesterlong exploration of community literacy studies. The students, some in a MFA Creative Writing program and some doing doctoral work in literature, rhetoric, or English Education, discuss how the community literacies lens unsettled their relationship to English Studies.

This article illuminates how reading serves as the foundation for writing workshops in both composition and creative writing courses. It discusses cooperative learning and improved student writing as two main goals for workshop and explains how both are completely reliant on student reading. The article introduces a particularly effective way to teach students to read in preparation for workshop and concludes by revealing how asking students to read published and student-produced texts in different ways can inadvertently devalue student writing and limit workshop's effectiveness.

This essay examines high school poetry instruction in the 1920s and 1930s in light of the influence of Hughes Mearns, a teacher who wrote about and lectured on his experiences in teaching what he coined “creative writing” and who played a major role in reconceiving how teachers taught students to read and write poetry. Rather than focusing on memorization and recitation, Hughes enacted an experiential and “emotional” method of teaching students poetry. This student-centered approach reflected major thoughts in pedagogical progressivism of the period at the same time that it conflicted with the education tracking and standardization that also took shape under the name of progressivism. The innovative work of Mearns and teachers who embraced his philosophies is especially important to revisit given the analogies to our own period,where spoken-word programs, for example, exist alongside school standardization measures that often devalue poetry. Understanding the arguments Mearns and other teachers made for the unique value of poetry, as well as some of the shortcomings in their thought, can help educators to better articulate the need for K–12 poetry instruction now.

Screencasting is a technology that enables the user to record screen activity on video while also capturing audio or video narration of the lecturer demonstrating that screen activity. This technology has improved over the years, and has now become streamlined enough to be integrated easily in popular learning platforms like Blackboard, Desire2Learn, and Moodle. The technology’s high usability factor and the varieties of screencasting software now available as open source makes screencasting appealing to writing instructors, not only as a means to improve teaching, but also as a tool for students to create and engage with multimedia texts that facilitate the acquisition of contemporary literacy skills. In the United States, the National Council of Teachers of English proposes that 21st century definitions of literacy must, among other things, include the ability of writers and readers to analyze, create, and interact with multimedia texts and to gain proficiency with the use of modern technologies. I argue that screencasting is a practical and creative technology that can be used for a variety of purposes: to address 21st century literacy requirements in writing classes, to improve teaching effectiveness in both online and “flipped classroom” learning, and to enhance the instructor’s social presence in online learning environments. I give examples from my own teaching experience using Camtasia and ScreenFlow software, as well as review some popular applications of screencasting technology currently in use in academic environments.

Real Writing Interactive: A Brief Guide to Writing Paragraphs and Essays, by Susan Anker, Reviewed by Mark Blaauw-HaraAfter the Public Turn: Composition, Counterpublics, and the Citizen Bricoleur, by Frank Farmer, Reviewed by Jill Darley-VanisRhetoric of Respect: Recognizing Change at a Community Writing Center, by Tiffany Rousculp, Reviewed by Glenn Hutchinson Jr. and Paula GillespieTeaching Creative Writing, edited by Heather Beck, Reviewed by John Reilly

There is increasing usage of creative writing in the ESL/EFL classroom based on the argument that this pedagogy develops writer’s voice, emotional engagement, and ownership. Within the context of teaching poetry writing to second language learners, the current article develops a scientific approach to ways in which voice can be measured and then empirically explores the claim that voice is present within poetry written by second language learners. The study explored this question: Do second language poetry writers have a discernable voice in their written poetry? This issue was investigated in two different ways: (a) utilizing human reader ratings of the likelihood that two poems were written by the same poet and (b) using computational linguistic methodology to explore systematic differences in specific linguistic features in poetry written by second language poets. The data presented here show that poetry written by the same L2 writer is more readily recognized as such and that relevant linguistic items have patterns of frequency of usage that are different for different poets. Together the two studies provide a compelling case that voice is measureable and present in the poetry written by second language learners.

Common Core Standards involve an increased emphasis on non-fiction reading and writing. Across grade bands, students are expected to read and compose a variety of non-fiction texts as well as develop age appropriate research skills. With this in mind, the author worked with a 1st grade teacher to use Jerry Pallotta’s Who Would Win? series in a class non-fiction writing project that was standards-based. The class consisted of a wide range of ability levels, so the author and teacher frequently used cooperative learning strategies throughout the entire process. Using the series as a model, the students were guided through the writing process, from pre-writing to publishing, with the culminating activity being a meeting with Pallotta where students presented him with their class authored Who Would Win? book. As a result of the writing unit, students were able to experience non-fiction texts on a variety of levels and craft a quality piece of literature that was authentic, relevant, and personal.

This article addresses the current nationwide emphasis on job-readiness programs by (1) pointing to the “utility” of studying creative writing and (2) outlining a plan for including engagement strategies in the construction of a two-year creative writing degree.

Preview this article: Editorial: Introduction to Creative Writing Special Issue, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/tetyc/42/2/teachingenglishinthetwo-yearcollege26251-1.gif

Brandt an Bigalk respond to each other's articles.

By growing creative writing courses and programs, community colleges can improve retention while also fostering supportive communities of student and faculty writers.

Preview this article: Poem: Creative Writing Professor as Iron Worker, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/tetyc/42/2/teachingenglishinthetwo-yearcollege26263-1.gif

Brandt an Bigalk respond to each other's articles.

Creative writing is divided between instructors upholding New Critical emphasis on texts and those challenging the goals of the discipline. While innovators propose reform, reconceptions put instructors at odds with one another and with students. In compromise, I propose praxes that incorporate lore-based methodology with innovations from critical and rhetorical theory.

Rethinking Creative Writing in Higher Education Programs and Practices That Work Stephanie Vanderslice (2011) Ely, U.K.: Professional and Higher Partnership Ltd. pp.143 ISBN-13, 978-1907076312

Negotiating the Personal in Creative Writing Carl Vandermeulen (2011) ISBN-13: 978-1-84769-437-9. Pp. xx + 229 The Creativity Market Creative Writing in the 21st Century Dominique Hecq (ed.) (2012) ISBN-13: 978-1-84769-709-7. Pp. xiv + 229 Key Issues in Creative Writing Dianne Donnelly and Graeme Harper (eds.) (2013) ISBN-13: 978-1-84769-846-9. Pp. xxvi + 182

The pedagogical technique of “extreme puppet theater” is posited as a collaborative and novel learning tool for motivating students to study texts by creating new ones. Examples are provided of how this approach has worked in university courses in literature, composition, and creative writing. By extension, extreme puppet theater can be applied to other subjects, at all levels of academia, in order to offer an effective and engaging alternative to traditional teaching conventions.

Why would an English professor enroll in an upper-level biology class? This article describes an experiment in interdisciplinarity: an English professor takes a class titled Scientific Imaging in order to enhance her teaching of nature writing. The author outlines thirteen specific lessons imparted by her experience as a student in a class devoted to photographing elements of the natural world and creating images suitable for scientific presentation, and then she explains how she adapted the principles from Scientific Imaging for use in a creative nonfiction class focusing on nature writing. The article concludes with a discussion of the results of this interdisciplinary experiment and suggestions for promoting interdisciplinary learning as a mode of faculty development.

This article identifies and examines a digital arm of creative writing studies and organizes that proposal into four categories through which to theorize the “craft” of creative production, each borrowed from Tim Mayers’s (Re)Writing Craft: Composition, Creative Writing, and the Future of English Studies: process, genre, author, and institutionality. Using research from composition studies and literary studies, the article examines the concerns each of these categories is beginning to confront as more and more creative texts recruit digital technologies. As such, the argument outlines four tiers that each work as a line of inquiry regarding the valuable—indeed necessary—ways to imagine concerns regarding craft in twenty-first- century creative writing studies.

This article explores the prospects for internationalizing the Master of Fine Arts (MFA) in Creative Writing, a degree that has gained considerable popularity in the United States in the past half century but has yet to gain much of a foothold in other countries. As part of this exploration, we describe the experiences of establishing the first low-residency Master of Fine Arts in Creative Writing in Asia at City University of Hong Kong, explaining the justification for setting up such a program with reference to the history of teaching creative writing and the current conditions for literary writing in English in Asia and globally. We also reflect upon the processes of planning, curriculum design, and administrative negotiation and that went into setting up the program and report on feedback from the first cohort of students. The experience of setting up this program is used as the basis for raising a number of more general issues regarding the teaching of creative writing in English in international contexts.

Writing trips overseas are recalled and proposed as a valuable source of inspiration for budding writers when they are thrown into a new context. The focus of discussion is on a program that takes a creative writing class abroad as part of the university curriculum.

This article integrates a research foundation in creativity with practical applications to writing pedagogy. A creativity assessment based upon the work of Torrance and Guilford and designed for diagnosing rather than predicting individual creative thinking strengths is presented along with tools and techniques for enhancing creative writing pedagogy and an analysis of student comments from an online Master’s program in Creativity and Innovation.

This article discusses creativity within the classroom with a focus on creative writing. First, it reviews concepts of creativity in the educational literature and a previous study on how science teachers fostered “small c” creativity in their classrooms. Small-c creativity values the kind of thinking that produces new ideas in learners but is not necessarily historically important to any field or domain. It can be argued that when educators help their students excel at thinking creatively every day, it assists them in more frequently producing creative products. Using this theoretical lens, an analytical study framework was developed from a review of the literature stating that teachers who foster small-c creativity: (1) support divergent thinking; (2) accept learning artifacts that are novel; (3) nurture collaboration in which individual kinds of creativity are supported; (4) provide choices in what is an acceptable response; and (5) include lesson guidelines that enhance learning and self-confidence. Findings of the science study were applied to the writing classroom, as five poet-teachers were interviewed regarding their beliefs about small-c creativity. The themes that emerged within the teacher interviews are discussed. The piece concludes with recommendations for writing teachers geared to help them foster small-c creativity in their classrooms.

Olivia Archibald's essay ("Representation, Ideology, and the Form of the Essay") arguing for a turn away from the formal, Baconian essay and towards the more creative and personalized Montaignian form of writing that was the original essai, and, in the most recent issue (volume 4.1), Douglas Heil's essay ("TV Writing and the Creative Writing Workshop: Shaping Practice across Disciplinary Boundaries") arguing for a meshing of the approaches of creative writing in English departments and scriptwriting pedagogy in mass communication. The current issue brings together the perspectives of creative writers, writing teachers, and creativity scholars to offer a novel examination of creativity for writing pedagogy. In combining reflections on the nature of

More than mere mathematical form, the fractal and other processes of chance can be used to help spur creative writing in new directions. From the inception of the I Ching, some form of constraint and the use of chance operations have been employed for centuries to free the creative impulse from overdetermination. This essay explores how one writer uses the flux of chaos both in the classroom and in his own writing, from collaborations to specifically designed writing exercises that help free the unconscious mind while still providing a sturdy architecture for perception.

Many writers begin as avid readers: reading can be the impetus and inspiration for their own work. In addition, many writers teach in undergraduate creative writing programs where they are confronted with students who do not share their relationship to reading or to language. This situation creates two problems: students aren’t engaged enough by language to make creative use of their reading and they lack a sense of authority that might allow them to be helpful critics of one another’s work. This essay explores and explains one strategy I have used in my undergraduate creative writing courses to address both issues. By asking my students to write creative responses to each other’s work, they learn to read more closely and carefully and also gain a sense of authority and competence in providing constructive criticism.

Alexis Brown , University of Wisconsin-Madison Enculturation : http://enculturation.net/the-algo-numeric-daughter ( Published: September 27, 2012 ) Click this image to read Alexis Brown's "Algo-Numeric Daughter" This comic attempts to allegorize the relationship between myself and my algo-numeric double. I examined the effects of orality, literacy, and numeracy in the context of familial relations, with each character drawn directly from the results of my signature, or the results that a Google search of my name generated. I wanted to examine whether my parents could legitimately connect with me through my algo-numeric double. For instance, what is the relation between me and my algo-numeric double, and how much control over it do I have? Does it represent some facet of me, or has it been so abstracted by numeracy that the information connected to my name now bears almost no connection to me at all? And in an age where information now exists in a realm of its own, could my algo-numeric double in some sense replace me? Could it be manipulated by others through algorithms to create some better version of myself? This project appealed to me in part because it was very different than my usual work in the English department. Instead of implementing theoretical concepts to analyze literature, I used them to provide framework for what might almost be termed creative writing. At the same time, this project also made the theories of Scott McCloud, Eric Havelock, and others more personal—I found myself examining the connections between these theories and my life.

This study applies Ivanic’s (2004) extension of Lea and Street’s (1998) model of approaches to the teaching of writing, to a body of student texts produced over a six-month period. Its purpose is to assess the impact of different kinds of feedback on iterative samples of academic writing. However, rather than analysing the texts of a number of different student writers, it examines different texts produced by the same writer. Using extracts from one early-career research student’s writing, supervisor notes and email messages, it argues that actual writers may continue to need and demand engagement in a variety of pedagogic practices on their way to developing their own voice. The possibility of inconsistent development with occasional lapses is accepted, with progress through Ivanic’s model being seen not in a developmental Piagetian way, but through a Vygotskian process of socialisation. In this sense, the position adopted is social constructionist. In particular, writers’ production of narrative around their research topic in the form of creative writing – one of Ivanic’s additions to the discourses in the Lea and Street model – may provide useful stimulus material (e.g. Clandinin and Connelly 2000: 41); and the application of Hatton and Smith’s (1995) framework of levels of reflection to the outcome may provide an indication of the timeliness of Ivanic’s other teaching approaches.

This essay argues that creative writing and mass media programs have much to learn from each other. In its use of roundtable writing and serialized storylines that parallel 19th century literature, prime-time television writing is a natural fit for programs that intertwine creative writing workshops with the study of literature; institution within the curriculum is urged. Mass media programs – while perhaps already offering TV writing – can bolster this subject through the incorporation of creative writing workshop traditions.

This article interrogates the commonly used creative writing workshop model, calling for a higher degree of process-oriented work in the classroom and bringing to light process-oriented models already in place in universities across the country. This discussion can serve as a springboard for classroom development of alternative teaching models.

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

Review Article| April 01 2011 What's Right and Wrong with the Workshop: A New Collection of Essays Examines the Effectiveness of the Creative Writing Workshop Does the Writing Workshop Still Work? Edited by Dianne Donnelly. Tonawanda, NY: Multilingual Matters, 2010 Adam Breckenridge Adam Breckenridge Search for other works by this author on: This Site Google Pedagogy (2011) 11 (2): 425–430. https://doi.org/10.1215/15314200-1218148 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Adam Breckenridge; What's Right and Wrong with the Workshop: A New Collection of Essays Examines the Effectiveness of the Creative Writing Workshop. Pedagogy 1 April 2011; 11 (2): 425–430. doi: https://doi.org/10.1215/15314200-1218148 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2011 by Duke University Press2011 Article PDF first page preview Close Modal Issue Section: Reviews You do not currently have access to this content.