University of the Punjab

Department of English and Applied Linguistics

Submitted to:
Dr. Nadia Majid
Submitted by:
Noor Tarik (1345)
Sharjeel Abbas (1308)
Mirza Hussain (1330)
Subject:
Creative Writing

Summary of Theories of creative writing

AND
Writing pedagogy
INTRODUCTION
Creative writing as an academic field has grown rapidly with dedicated courses, professors focused on
original creative work, and scholarly journals. While relatively new, it’s expanding in the US, UK, and
beyond. Scholars like Moxley, Bishop, Ostrom, and Meyers have documented its emergence. The field
explores the creative process and effective teaching methods. Understanding its history, pedagogical
approaches, and classroom applications helps grasp its current state.

The history of creative writing as an academic pursuit

Creative writing has become a widespread practice in colleges and universities in the US, where students
actively critique each other’s poems and stories. This is a formal part of higher education, with English
departments often having creative writers on staff. Similar programs are found in the UK, Australia,
Ireland, Canada, Korea, Mexico, Spain, Norway, and the Philippines. Even high school students in the US
and UK are frequently exposed to creative writing as part of their English studies.
The inclusion of creative writing in US academia was a recent development, as colleges lacked resident
writers and creative writing emphasis until around 1965. Early writers often supported themselves
through non-writing jobs. The University of Iowa played a transformative role by establishing a creative
writing program in the midst of the 1920s, despite the conservative setting. It nurtured various artistic
disciplines and gained prominence during the economic depression. The program gained stature when
Mary Hoover Roberts’ poetry collection became the first creative writing master’s thesis. Writers like
Wallace Sterner and Paul Engle followed suit, with Engle jump-starting the Iowa Writers Workshop,
which became influential under his leadership from 1943. This institution left a lasting impact on the
global writing community.
Paul Engle, a determined and visionary individual, played a pivotal role in shaping the Iowa Writers’
Workshop and the International Writing Program. He transformed a small group of students into a
prominent program with 250 graduate students at its peak. Engle’s decisions, like dividing the Workshop
into poetry and fiction genres, his personal involvement with students, and his mentorship, defined the
field. He brought renowned writers like Dylan Thomas and W. H. Auden to campus and established the
International Writing Program to spread literary enthusiasm worldwide. Engle’s model of rigorous
workshops, close-knit communities, and respected visiting writers became the standard.
Iowa Workshop graduates established their own writing programs, leading to a proliferation of creative
writing programs across universities. The UK also saw growth in creative writing in academia, with the
University of Lancaster offering the first MA in creative writing in 1969. Over time, academic job
opportunities for writers increased, with hundreds of graduate and undergraduate programs listed.
Creative writing courses expanded across the US and the UK, and low-residency MFA programs
emerged, allowing students to maintain existing jobs while participating in the program. Specialization
also developed, such as Seattle Pacific University’s MFA program focusing on spirituality in writing.
In 2006, Chatham College and Iowa State University aimed to introduce MFA degrees in creative writing
and the environment, with Iowa State emphasizing this mission for its creative writing program.
“Under the broad rubric of ‘environment’, our MFA program in Creative Writing and the Environment
would offer an original and intensive opportunity for gifted students of nonfiction, fiction, poetry, and
drama to document, meditate on, celebrate, and mourn the reciprocal transformation of humanity and our
world/s. (Iowa State University 2005: 2)”
Creative writing education is evolving, with UK universities offering Mas, MPhils, and PhDs in various
forms. Pedagogical approaches are shifting, moving away from the traditional workshop model,
experimenting with new methods, techniques, and structures. Publications like “New Writing” and
discussions in “Can It Really Be Taught?” challenge conventional lore and encourage reframing creative
writing education. International writing workshops have become common, allowing writers to study
abroad, while some MFA programs now provide pedagogical training. As creative writing gains academic
standing, its programs are expanding globally in response to increasing academic options.

Approaches to creativity and pedagogy

The Iowa Writers’ Workshop acknowledges that while writing cannot be entirely taught, they believe in
developing talent. The program aligns with the Romantic myth of creativity, emphasizing individualism,
inspiration, and beauty. However, openly stating that writing cannot be taught risks the program’s
academic credibility. Brent Royster criticizes the Romantic myth’s dominance, suggesting that creativity
is influenced by social and cultural systems, as supported by Csikszentmihalyi’s model. This approach
views inspiration as a dynamic process involving both the individual writer and external forces,
promoting a multi-vocal workshop-based classroom that values both individual and collective creativity.
The University of Cardiff and Antioch University of Los Angeles offer graduate programs in Creative
Writing that incorporate teaching. The relationship between the Romantic myth and teaching writing
generates diverse approaches and debates. Reading and understanding existing literature are crucial for
writers, as it provides models and tools for their own work. While some recent literary theory questions
the importance of authors, writers can still draw inspiration from past works. Literary criticism tends to
focus on readers and interpretation, rather than the writing process itself. Composition and creative
writing share connections, with some educators advocating for similar approaches in both fields. Creative
writing has its own theories and approaches, influenced by disciplines like linguistics and cognitive
science. It’s suggested that creative writing could contribute to discussions about creativity and enhance
pedagogical practices based on cognitive theories.
The workshop-based creative writing classroom is an interactive approach where students actively engage
in writing, become aware of decision-making’s impact on their work, and share informed criticism. This
approach is supported by cognitive science findings. Traditional methods often fail due to students’
existing knowledge structures. Cognitive science also explains procedural memory, which is slowly
internalized knowledge through practice. Inspiration in writing is seen as a cognitive event that requires
fostering conditions for it. Creative writing has a unique pedagogy known as “signature pedagogies” that
teach novices to think, perform, and act with integrity in their field. Defining, supporting, and improving
this pedagogy is essential. Ultimately, both teachers and students bear the responsibility and opportunity
to write.

Applying theory to practice in creative writing courses

Creative writing in academia emerged with a rebellious agenda, challenging hierarchies and traditional
teaching methods. The workshop format, where students critique each other’s work, encourages growth
and revision. The focus is on process over product, emphasizing the complexities of the creative arts.
Literature reading complements writing, offering insight and techniques. Textbooks on technique have
also emerged. Creative writing professors often prioritize writing over teaching and are valued for their
published work.
Creative writing faces challenges in academia, including scepticism about its validity. Professors struggle
to define their role and articulate their teaching methods. There’s recognition that technique can be taught,
but the essence of writing remains mysterious. To address this, educators make generalizations and
exchange teaching practices. Changes in student demographics and technology require adapting teaching
methods, especially for online courses. However, the decline in readership impacts opportunities for new
writers. Despite challenges, creative writing programs continue refining curricula and contributing to
literary excellence.

Conclusion
Creative writing has evolved into an academic discipline with a rich history that has shaped its theories
and practices. It encompasses diverse curricula, moving from literary scholarship to workshops and even
online formats. Borrowing from various disciplines, creative writing offers a rigorous academic
experience, fostering both talent and valuable skills. Despite challenges, the field has grown significantly
over the last few decades, solidifying its place within academia. In the words of Dorothea Brande, the
pursuit of creative writing remains an endeavour where earnest learners can make substantial progress in
a short time, contributing to the field’s ongoing development