"Education, Faculty of"@en . "DSpace"@en . "UBCV"@en . "Jamieson, Norma"@en . "2010-02-21T17:47:18Z"@en . "1977"@en . "Master of Arts - MA"@en . "University of British Columbia"@en . "This in-depth examination of the Creative Writing course in the British Columbia secondary schools with accompanying curriculum development guidelines was prompted because of the provincial lack of course survey information and the lack of materials and guidelines for teachers to use when developing their individual Creative Writing curricula. Creative writing is defined as an inextricable combination of both process and product, sufficiently distinct from standard classroom expository writing to warrant a separate label. A separate course in Creative Writing is justified by contemporary studies of talented students which emphasize homogeneous grouping to encourage the particular talent concerned. Creativity, creative writing specifically, is a distinct talent. The provincial survey effected compilation of a list of British Columbia schools offering Creative Writing with the respective teachers. The survey questionnaire included questions concerning methodology and content of the Creative writing course. Tabulated results and teacher comments confirm the great diversity of Creative Writing curricula offered throughout British Columbia, the extreme variation in teacher confidence, and the general lack of prescribed teacher qualifications. The survey emphasized the teachers' need of realistic guidelines for curriculum development. Contemporary creativity research and theory are outlined as they affect the development of Creative Writing curricula. The creative personality, creativity needs and factors inhibiting creativity development are emphasized. Specific and practical curriculum development guidelines, intended for individual teacher use, are approached in a two stage concept that reflects the real world of writing. Stage One: Drafting explores experiential content that is small and ordinary, the teacher's role, journal use and observation skills. Stage Two: Editing and Publishing explores the validity and necessity of student publication, and various publication forms. The implications of publication for curriculum development that are dealt with are peer response, teacher as tutor, revision philosophy, editing of mechanics, form and style. Particular evaluation formats are delineated. Conclusions recommend reworking the Curriculum Guide and the Prescribed Textbook List. Guidelines for curriculum development need to be made available to each Creative Writing teacher, and attention must be directed to making the course an integral part of the writing world outside the classroom."@en . "https://circle.library.ubc.ca/rest/handle/2429/20613?expand=metadata"@en . "THE CREATIVE WRITING COURSE IN THE BRITISH COLUMBIA SENIOR SECONDARY SCHOOL: A TELEPHOTO EXAMINATION WITH ACCOMPANYING CURRICULUM DEVELOPMENT GUIDELINES by NORMA JAMIESON B.A., (Honours E n g l i s h ) A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS i n THE FACULTY OF GRADUATE STUDIES DEPARTMENT OF ENGLISH EDUCATION We a c c e p t t h i s t h e s i s as c o n f o r m i n g t o the r e q u i r e d s t a n d a r d THE UNIVERSITY OF BRITISH COLUMBIA September, 1977 (c) Norma Jamieson, 1977 In p r e s e n t i n g t h i s t h e s i s i n p a r t i a l f u l f i l l m e n t o f the r e q u i r e m e n t s f o r an advanced degree a t the U n i v e r s i t y o f B r i t i s h Columbia, I agree t h a t the L i b r a r y s h a l l make i t f r e e l y a v a i l a b l e f o r r e f e r e n c e and s t u d y . I f u r t h e r agree t h a t p e r m i s s i o n f o r e x t e n s i v e c o p y i n g o f t h i s t h e s i s f o r s c h o l a r l y purposes may be g r a n t e d by the Head o f my Department o r by h i s r e p r e s e n t a t i v e s . I t i s u n d e r s t o o d t h a t p u b l i c a t i o n , i n p a r t o r i n whole, o r the c o p y i n g o f t h i s t h e s i s f o r f i n a n c i a l g a i n s h a l l not be a l l o w e d w i t h o u t my w r i t t e n p e r m i s s i o n . NORMA JAMIESON Department The U n i v e r s i t y o f B r i t i s h Columbia 2075 Westbrook P l a c e Vancouver, Canada V6T 1W5 i i ABSTRACT T h i s i n - d e p t h e x a m i n a t i o n o f the C r e a t i v e W r i t i n g c o u r s e i n the B r i t i s h Columbia s e c o n d a r y s c h o o l s w i t h accompanying c u r r i c u l u m development g u i d e l i n e s was prompted because o f the p r o v i n c i a l l a c k o f c o u r s e s u r v e y i n f o r m a t i o n and the l a c k o f m a t e r i a l s and g u i d e l i n e s f o r t e a c h e r s to use when d e v e l o p i n g t h e i r i n d i v i d u a l C r e a t i v e W r i t i n g c u r r i c u l a . C r e a t i v e w r i t i n g i s d e f i n e d as an i n e x t r i c a b l e c o m b i n a t i o n o f both p r o c e s s and p r o d u c t , s u f f i c i e n t l y d i s t i n c t from s t a n d a r d c l a s s r o o m e x p o s i t o r y w r i t i n g to w a r r a n t a s e p a r a t e l a b e l . A s e p a r a t e c o u r s e i n C r e a t i v e W r i t i n g i s j u s t i f i e d by con-temporary s t u d i e s o f t a l e n t e d s t u d e n t s which emphasize homogeneous g r o u p i n g to encourage the p a r t i c u l a r t a l e n t c o n c e r n e d . C r e a t i v i t y , c r e a t i v e w r i t i n g s p e c i f i c a l l y , i s a d i s t i n c t t a l e n t . The p r o v i n c i a l s u r v e y e f f e c t e d c o m p i l a t i o n o f a l i s t o f B r i t i s h Columbia s c h o o l s o f f e r i n g C r e a t i v e W r i t i n g w i t h the r e s p e c t i v e t e a c h e r s . The s u r v e y q u e s t i o n n a i r e i n c l u d e d q u e s t i o n s c o n c e r n i n g methodology and c o n t e n t o f the C r e a t i v e w r i t i n g c o u r s e . T a b u l a t e d r e s u l t s and t e a c h e r comments c o n f i r m the g r e a t d i v e r s i t y o f C r e a t i v e W r i t i n g c u r r i c u l a o f f e r e d t h r o u g h o u t B r i t i s h Columbia, the extreme v a r i a t i o n i n t e a c h e r c o n f i d e n c e , and the g e n e r a l l a c k o f p r e s c r i b e d i i i t e a c h e r q u a l i f i c a t i o n s . The s u r v e y emphasized the t e a c h e r s ' need o f r e a l i s t i c g u i d e l i n e s f o r c u r r i c u l u m development. Contemporary c r e a t i v i t y r e s e a r c h and t h e o r y a r e o u t l i n e d as they a f f e c t the development o f C r e a t i v e W r i t i n g c u r r i c u l a . The c r e a t i v e p e r s o n a l i t y , c r e a t i v i t y needs and f a c t o r s i n h i b i t i n g c r e a t i v i t y development a r e emphasized. S p e c i f i c and p r a c t i c a l c u r r i c u l u m development g u i d e l i n e s , i n t e n d e d f o r i n d i v i d u a l t e a c h e r use, a r e approached i n a two s t a g e c o n c e p t t h a t r e f l e c t s the r e a l w o r l d o f w r i t i n g . Stage One: D r a f t i n g e x p l o r e s e x p e r i e n t i a l c o n t e n t t h a t i s small and o r d i n a r y , the t e a c h e r ' s r o l e , j o u r n a l use and o b s e r v a t i o n s k i l l s . Stage Two: E d i t i n g and P u b l i s h i n g e x p l o r e s the v a l i d i t y and n e c e s s i t y o f s t u d e n t p u b l i c a t i o n , and v a r i o u s p u b l i c a t i o n forms. The i m p l i c a t i o n s o f p u b l i c a t i o n f o r c u r r i c u l u m development t h a t are d e a l t w i t h are peer r e s p o n s e , t e a c h e r as t u t o r , r e v i s i o n p h i l o s o p h y , e d i t i n g o f mechanics, form and s t y l e . P a r t i c u l a r e v a l u a t i o n formats a r e del i n e a t e d . C o n c l u s i o n s recommend r e w o r k i n g the C u r r i c u l u m Guide and t h e P r e s c r i b e d Textbook L i s t . G u i d e l i n e s f o r c u r r i c u l u m development need to be made a v a i l a b l e to each C r e a t i v e W r i t i n g t e a c h e r , and a t t e n t i o n must be d i r e c t e d to making the c o u r s e an i n t e g r a l p a r t o f the w r i t i n g w o r l d o u t s i d e the c l a s s r o o m . i v I write to join myself. I write because words wait, hands out, to be joined. I will write until I have joined them all every way I can J i l l H andford Matthew McNair S r . Sec. Richmond Grade 11 V TABLE OF CONTENTS Page ABSTRACT i i EPIGRAPH i v TABLE OF CONTENTS v LIST OF TABLES i x ACKNOWLEDGMENTS x INTRODUCTION 1 Chapter 1. CREATIVE WRITING: SOMETHING DIFFERENT 3 2. A SEPARATE COURSE: WHY BOTHER? . . 8 3. PROVINCIAL SURVEY: EXPOSE 16 Q u e s t i o n 1 18 Q u e s t i o n 2 2 1 Q u e s t i o n 3 22 Q u e s t i o n 4 2 2 Q u e s t i o n 5 2 3 Q u e s t i o n 6 2 3 Q u e s t i o n 7 2 4 Te a c h e r Comments 2 4 Q u e s t i o n 8 2 5 Teache r Comments 2 5 Q u e s t i o n 9 2 6 Te a c h e r Comments 26 v i C h apter Page Q u e s t i o n 10 27 Te a c h e r ' Comments 27 Q u e s t i o n 11 28 Te a c h e r Comments 29 Q u e s t i o n 12 30 Te a c h e r Comments 31 Q u e s t i o n 13 31 Te a c h e r Comments 32 Q u e s t i o n 14 33 Te a c h e r Comments 33 Books Suggested 33 Q u e s t i o n 15 . . . . 35 Te a c h e r Comments 35 Q u e s t i o n 16 36 Teach e r Comments 36 Added I n c e n t i v e 37 Survey C o n c l u s i o n s 37 4. CURRICULUM DEVELOPMENT GUIDELINES: VICTORIA, IT'S TIME 4 U 5. STUDIES IN CREATIVITY: IMPLICATIONS FOR CURRICULUM DEVELOPMENT 4 4 The C r e a t i v e P e r s o n a l i t y 51 C r e a t i v i t y Needs . ^5 F a c t o r s I n h i b i t i n g C r e a t i v i t y Development 58 C o n c l u s i o n ^0 v i i C h apter Page 6. SPECIFIC GUIDELINES FOR CURRICULUM DEVELOPMENT OF SENIOR SECONDARY CREATIVE WRITING COURSES: GOOD-BYE MIDNIGHT SLAVERY 62 STAGE ONE: DRAFTING 65 E x p e r i e n c e - B a s e d W r i t i n g 65 Te a c h e r as ' T r a v e l C o u n s e l l o r 1 76 The J o u r n a l 80 O b s e r v a t i o n s 86 Small E x p e r i e n c e s 95 O r d i n a r y E x p e r i e n c e s 1\u00C2\u00B0\u00C2\u00B0 D r a f t i n g Summary 104 STAGE TWO: EDITING AND PUBLISHING 106 V a l i d i t y and N e c e s s i t y o f S t u d e n t P u b l i c a t i o n 1\u00C2\u00B06 P u b l i c a t i o n forms 113 I m p l i c a t i o n s o f P u b l i c a t i o n f o r C r e a t i v e W r i t i n g Programs 121 Peer response 121 Te a c h e r as t u t o r 133 R e v i s i o n p h i l o s o p h y 137 E d i t i n g o f mechanics 141 Form 145 S t y l e 151 P u b l i c a t i o n : end o r a n o t h e r b e g i n n i n g ? 153 E d i t i n g and P u b l i s h i n g Summary 154 v i i i C h apter Page EVALUATION 156 S t r u c t u r i n g C o n t r a c t s 159 T y p i c a l c o n t r a c t components 159 CONCLUSION .163 C r e a t i v e W r i t i n g J o u r n e y Summary . . 163 The L a s t Word . 166 APPENDIX A - PROVINCIAL SURVEY LETTER TO ALL B.C. SUPER-INTENDENTS 169 APPENDIX B - PROVINCIAL SURVEY LETTER TO ALL TEACHERS OF CREATIVE WRITING IN BRITISH COLUMBIA 171 APPENDIX C - SCHOOLS OFFERING CREATIVE WRITING IN 1.977-1.978 WITH THE RESPECTIVE TEACHERS 176 APPENDIX D - PROVINCIAL SURVEY: ADDITIONAL TEACHER COMMENTS . 185 APPENDIX E - WAYS OF KNOWING THE STUDENT 195 APPENDIX F - HELPFUL ARTICLES ON THE PRACTICALITIES OF STUDENT PUBLICATIONS WITH THE SCHOOL 200 APPENDIX G - EXEMPLARY PUBLISHED STUDENT WORK 202 APPENDIX H - MUSTS FOR THE CREATIVE WRITING STUDENT LIBRARY 203 APPENDIX I - WRITERS' MARKET 205 APPENDIX J - WRITING COMPETITIONS 210 BIBLIOGRAPHY 212 i x LIST OF TABLES T a b l e Page 1. C r e a t i v e W r i t i n g i n B.C. Survey (n = 54) 19 X ACKNOWLEDGMENTS I am p a r t i c u l a r l y g r a t e f u l to a l l t h o s e p e o p l e who have made the w r i t i n g o f t h i s t h e s i s an e n l i g h t e n i n g and e n j o y a b l e e x p e r i e n c e f o r me. P r o f e s s o r P h i l i p Penner and Dr. Syd B u t l e r have been c o n s t a n t s o u r c e s o f i n s p i r a t i o n and s o l i d p r a c t i c a l a d v i c e , and I cannot thank them enough. I a l s o acknowledge w i t h g r a t i t u d e P r o f e s s o r Frank Bertram f o r h i s i n t e r e s t and encouragement. I have been g r e a t l y i n f l u e n c e d by two remarkable i n d i v i d -u a l s whose i d e a s have r e v o l u t i o n i z e d E n g l i s h E d u c a t i o n i n the w o r l d a t l a r g e . I thank Stephen Judy f o r s h a r i n g w i t h me h i s s e n s i t i v i t y t o language and h i s e n t h u s i a s m f o r making s t u d e n t w r i t i n g ' r e a l . 1 I thank Paddy C r e b e r f o r i m p a s s i o n i n g me w i t h h i s b e l i e f i n the i n t e r d e p e n d e n c y o f language and s e l f . The mechanics o f the s u r v e y c o n s t i t u t e d demanding t a s k s a t times and I p a r t i c u l a r l y a p p r e c i a t e the e f f o r t s o f Diana C r u t c h l e y and E r n i e Novakowski i n a t t e m p t i n g t o o b t a i n i n f o r m a t i o n from the S t a t i s t i c s Branch o f the Department o f E d u c a t i o n i n V i c t o r i a . I am a l s o most g r a t e f u l t o Cathy A b r o s s i m o f f , J e a n n i e B a l l and t h e i r S e c r e t a r i a l s t u d e n t s f o r t h e i r e x p e r t a s s i s t a n c e . And, w i t h o u t the t h o u g h t f u l r e s p o n s e s o f a l l t he s u p e r i n t e n d e n t s and w r i t i n g t e a c h e r s i n B r i t i s h Columbia who p a r t i c i p a t e d i n the s u r v e y , t h i s t h e s i s c o u l d n e v e r have been completed. x i Acknowledgements a r e a l s o due to the B.C. E n g l i s h T e a c h e r ' s A s s o c i a t i o n f o r t h e i r eager s u p p o r t o f my p r o j e c t and i t s i m p l i c a t i o n s . I must be s u r e t o o f f e r my a p p r e c i a t i o n o f the C r e a t i v e W r i t i n g s t u d e n t s o f Matthew McNair S e n i o r Secondary who c o n s t a n t l y remind me o f the i n d i v i d u a l i t y and the fun o f w r i t i n g . P a r t i c u l a r c r e d i t i s due t o t h o s e s t u d e n t s whose works I have quoted: Marci Cheveldave, D a r l e n e C o r n e l s o n , Donna D e L i s l e , J i l l H a n d f o r d , E l a i n e H u t c h i n s o n , C o l l e e n L a C r o i x , Ann M a r t i n , G e o r g i a Merry, Marjo Mulder, Barb R i t c h i e , Lynda S c o b i e , C o l e t t e Watson, L i n d a W e l t e r , and E l a i n e Uyeno. I am a l s o i n d e b t e d t o Bob Simpson, t h e p r i n c i p a l o f McNair, f o r h i s p r o g r e s s i v e i d e o l o g i e s and concern f o r the s t u d e n t s as i n d i v i d u a l s . I a p p r e c i a t e the freedom o f e x p e r i m e n t a t i o n , the freedom t h a t a l l o w s me c o n t i n u o u s l y to d i s c o v e r -e f f e c t i v e ways o f e n c o u r a g i n g noteworthy C r e a t i v e W r i t i n g . The generous t e c h n i c a l a s s i s t a n c e o f Mrs. E l l i s , who t y p e d the m a n u s c r i p t , and o f Georgi W i l l i n g d o n , I h o l d i n g r e a t esteem. L a s t l y , I d e e p l y thank my husband, Bob, f o r h i s unwaver-i n g u n d e r s t a n d i n g and cheer. INTRODUCTION C r e a t i v e W r i t i n g c o u r s e s i n S e n i o r Secondary s c h o o l s need more a t t e n t i o n and guidance than have been a v a i l a b l e t o d a t e . The C r e a t i v e W r i t i n g t e a c h e r has, by and l a r g e , been l e f t to f e n d f o r h i m s e l f i n a s u b j e c t a r e a where ve r y few m a t e r i a l s a r e a v a i l a b l e t o a s s i s t him. The m a t e r i a l s t h a t are o f s i g n i f i c a n t v a l u e are g e n e r a l l y d i f f i c u l t to l o c a t e , and then must be s o l e l y f i n a n c e d by the s c h o o l i n some manner. The Department o f E d u c a t i o n p r e s c r i b e d t e x t b o o k l i s t and i n t e r i m c u r r i c u l u m guide are p a r t i c u l a r l y weak, and o f n e g l i g i b l e v a l u e . In my endeavour to w r i t e some p r a c t i c a l and r e l e v a n t g u i d e l i n e s f o r s e n i o r s e c o n d a r y t e a c h e r s t o use when each i s d e v e l o p i n g h i s own i n d i v i d u a l C r e a t i v e W r i t i n g c u r r i c u l u m , I found t h a t I had to go back t o the v e r y ' r a i s o n d ' e t r e ' o f a C r e a t i v e W r i t i n g c o u r s e as such. C h a p t e r s One and Two deal w i t h t h i s l i n e o f r e a s o n i n g , s e t t i n g the s t a g e f o r the drama o f my work. However, b e f o r e q u i d e l i n e s can be o f f e r e d , one has t o know what g u i d e l i n e s a r e needed. In o t h e r words, what a r e the C r e a t i v e W r i t i n g t e a c h e r s i n the p r o v i n c e l o o k i n g f o r i n terms o f p h i l o s o p h y , m a t e r i a l s , methodology and so on? Because no i n f o r m a t i o n w hatsoever on C r e a t i v e W r i t i n g Courses i n B r i t i s h Columbia was a v a i l a b l e from 2 V i c t o r i a I l a u n c h e d a p r o v i n c i a l s u r v e y t o d i s c o v e r the a c t u a l s t a t e o f t h e c o u r s e . Why the a l l - i n f o r m a t i v e J-Forms t h a t each s c h o o l d u t i f u l l y f i l l s o u t each y e a r are not t a b u l a t e d and r e c o r d e d on computer tape can o n l y be j u s t i f i e d - o v e r l o o k e d - i g n o r e d by a government b u r e a u c r a c y . N e v e r t h e l e s s , the s u r v e y r e s u l t s a r e most i n f o r m a t i v e , e m p h a s i z i n g once a g a i n , the need f o r r e a l i s t i c g u i d e l i n e s f o r c u r r i c u l u m development. The n e x t s t e p i n w r i t i n g t h e g u i d e l i n e s was t o examine i n depth the contemporary r e s e a r c h and t h e o r i e s o f the c o n c e p t , ' C r e a t i v i t y , 1 e x t r a c t i n g the e s sence o f t h e s e s t u d i e s as i t a p p l i e s t o C r e a t i v e W r i t i n g c u r r i c u l a i n s e n i o r s e c o n d a r y s c h o o l s . C h a p t e r 5 i s an i m p o r t a n t s o u r c e o f i n f o r m a t i o n to t h o s e demanding c o u r s e s which a r e s o l i d l y r o o t e d i n r e s e a r c h . C r e a t i v i t y s t u d i e s combined w i t h c o m p o s i t i o n s t u d i e s ( o b v i o u s l y a b l o o d r e l a t i v e o f C r e a t i v e W r i t i n g ) combined w i t h e x e m p l i f y i n g m a t e r i a l s , y i e l d s C h a p t e r 6, the g u i d e l i n e s f o r each i n d i v i d u a l t e a c h e r to c o n s i d e r when d e v e l o p i n g h i s own c u r r i c u l u m . T h i s f i n a l c h a p t e r i s the c u l m i n a t i o n o f y e a r s o f r e a d i n g r e s e a r c h , t h e o r y and t e s t i m o n i a l , o f c o u n t l e s s d i s c u s s i o n s w i t h C r e a t i v e W r i t i n g t e a c h e r s and s t u d e n t s , and o f t e a c h i n g the s e n i o r s e c o n d a r y C r e a t i v e W r i t i n g c o u r s e , m y s e l f , numerous t i m e s . The f i n a l c h a p t e r i s a s e r i e s o f g u i d e l i n e s which promise the t e a c h e r a more s u c c e s s f u l and dynamic C r e a t i v e W r i t i n g c l a s s and which promises t h e s t u d e n t i n c r e a s e d c r e a t i v e w r i t i n g s k i l l s and an i n s a t i a b l e d e s i r e to w r i t e . 3 CHAPTER 1 CREATIVE WRITING: SOMETHING DIFFERENT? \" C r e a t i v i t y 1 and ' C r e a t i v e W r i t i n g 1 are c o n c e p t s which seem c l e a r and s t r a i g h t f o r w a r d enough u n t i l one i s f a c e d w i t h the t a s k o f d e f i n i n g them. As the eye s t r a i n s i n v a i n t o f o c u s on the v e r y e s s e n c e o f c r e a t i v i t y , i t i s o f some sm a l l c o m f o r t to r e c a l l E a r l e B i r n e y ' s f r u s t r a t i o n s w i t h t h i s d e f i n i t i o n t a s k . He s t a t e s t h a t attempts t o d e f i n e ' C r e a t i v i t y ' o r ' C r e a t i v e W r i t i n g 1 make t h e s e c o n c e p t s b e g i n \" t o s w e l l up l i k e a c l o u d i n t o something t h a t f i l l s the whole sky o f meaning, and darkens i t , and comes to s i g n i f y e v e r y t h i n g o r n o t h i n g . \" I t i s t r u l y i m p o s s i b l e to c o n s i d e r any human a c t as 1 U n c r e a t i v e . 1 Each person i s c o n s t a n t l y i n v e n t i n g and r e c o m b i n i n g i n new p a t t e r n s , t h o u g h t s , works and a c t i o n s . F o l d i n g up the l a u n d r y , s h a v i n g i n the morning, and making l o v e are a l l c r e a t i v e a c t s . L i f e i s c r e a t i v i t y p e r s o n i f i e d . A s a m p l i n g o f a few noteworthy d e f i n i t i o n s o f c r e a t i v i t y r e i n f o r c e the opeh-endedness and d i v e r g e n c y o f the i s s u e . S c h o l a r s from a l l walks o f l i f e , w r i t e r s , s c u l p t o r s , l i n g u i s t s , p h i l o s o p h e r s , and s c i e n t i s t s , each forwards h i s own t e n e t : C r e a t i v i t y i s the e n c o u n t e r o f the i n t e n s i v e l y c o n s c i o u s human b e i n g w i t h h i s w o r l d . ROLLO MAY \"The Nature of Creativity\" The c r e a t i v e p r o c e s s i s the emergence i n a c t i o n o f a novel r e l a t i o n a l p r o d u c t , growing out o f the uniqueness o f the i n d i v i d u a l . CARL B. ROGERS \"Toward a Theory of Creativity\" C r e a t i v i t y i s the o c c u r r e n c e o f a c o m p o s i t i o n which i s both new and v a l u a b l e . HENRY A. MURRAY \"Vicissitudes in Creativity\" C r e a t i v i t y i s d e f i n e d as the a b i l i t y t o make new co m b i n a t i o n s o f s o c i a l worth. JOHN W. HAEFELE \"Creativity and Innovation\" The a b i l i t y to r e l a t e and t o c o n n e c t , sometimes i n odd and y e t i n s t r i k i n g f a s h i o n , l i e s a t the v e r y h e a r t o f any c r e a t i v e use o f the mind, no m a t t e r i n what f i e l d o r d i s c i p l i n e . GEORGE J . SEIDEL \"The Crisis in Creativity\" A f i r s t r a t e soup i s more c r e a t i v e than a second r a t e p a i n t i n g . ABRAHAM MASLOW \"Creativity in Self-Actualizing People\" Many have i n s i s t e d t h a t the i m a g i n a t i v e p r o c e s s i s d i f f e r e n t i n a r t and s c i e n c e . . . On the c o n t r a r y , t he c r e a t i v e a c t o f the mind i s a l i k e i n both c a s e s . DR. R. GERARD \"The Biological Basis of Imagination\" C r e a t i v i t y i s the a b i l i t y t o see ( o r be aware) and t o respond. ERIC FROMM \"The Creative Attitude\" 5 From one man, I l e a r n e d t h a t c o n s t r u c t i n g a b u s i n e s s o r g a n i z a t i o n c o u l d be a c r e a t i v e a c t i v i t y . From a young a t h l e t e , I l e a r n e d t h a t a p e r f e c t t a c k l e would be as a e s t h e t i c a p r o d u c t as a sonn e t and c o u l d be approached i n the same c r e a t i v e s p i r i t . ABRAHAM H. MASLOW \"Creativity in Self-Actualizing People\" We do not ob s e r v e c r e a t i v i t y because the c o n s c i o u s mind i s anchored t o r e a l i t y and s u r v i v a l . But i t i s not the whole mind, nor i s i t v e r y f l e x i b l e mind, and the w o r l d i n which i t must s u r v i v e i s t o t a l l y new e v e r y morning and e v e r y moment . . . Beyond s u r v i v a l i s e v o l u t i o n . EUGENE A. BRUNELLE \"Creative Intelligence and Semantics\" Etc., June 1967 [Fabun, 1968, pp. 3-5] Paul T o r r a n c e , one o f the l e a d i n g r e s e a r c h e r s i n C r e a t i v i t y S t u d i e s f o r m u l a t e s an i m p r e s s i v e and sound d e f i n i t i o n : L e a r n i n g c r e a t i v e l y t a k e s p l a c e i n the p r o c e s s o f becoming s e n s i t i v e t o o r aware o f problems, d e f i c i e n -c i e s , gaps i n knowledge, m i s s i n g e l e m e n t s , d i s h a r m o n i e s , and so on; b r i n g i n g t o g e t h e r i n new r e l a t i o n s h i p s a v a i l a b l e e x i s t i n g i n f o r m a t i o n ; d e f i n i n g t h e d i f f i c u l t y o f i d e n t i f y i n g the m i s s i n g e l e m e n t s ; s e a r c h i n g f o r s o l u t i o n s , making gu e s s e s , o r f o r m u l a t i n g hypotheses about the problems o r d e f i c i e n c i e s ; t e s t i n g and r e t e s t i n g t h e s e hypotheses and m o d i f y i n g and r e t e s t i n g them; p e r f e c t i n g them, and f i n a l l y , communicating the r e s u l t s . [ T o r r a n c e , 1970, p. 1] T o r r a n c e s t a n d s as the a c c l a i m e d a u t h o r i t y on C r e a t i v i t y . H i s words subsume the m u l t i t u d e s o f o t h e r d e f i n i t i o n s t h a t a r e con c e r n e d w i t h c u r i o s i t y , o r i g i n a l i t y , i m a g i n a t i o n , d i s c o v e r y , i n n o v a t i o n , 6 i n v e n t i o n , r e - c o m b i n i n g i d e a s , s e e k i n g new p a t t e r n s and new r e l a t i o n -s h i p s , and b r e a k i n g out o f the mold o f c o n f o r m i t y . In view o f t h i s d i s c u s s i o n i t i s e v i d e n t t h a t the v e r y a c t o f w r i t i n g , o f e t c h i n g symbols on paper o r s e a s h o r e , i s c r e a t i v e . And the w r i t e r o f an e f f e c t i v e p i e c e o f e x p o s i t i o n i s no l e s s c r e a t i v e than the w r i t e r o f a poem, p l a y , s h o r t s t o r y o r n o v e l . E x p l o r i n g G a r i b a l d i Park i s j u s t as much a work o f the c r e a t i v e i m a g i n a t i o n as i n Great E x p e c t a t i o n s . Each o f t h e s e works depends on the w r i t e r to employ the s k i l l s t h a t T o r r a n c e has i s o l a t e d as b e i n g i n d i c a t i v e o f c r e a t i v e work. S t i l l - - t h e r e remains the unanswered q u e s t i o n \u00E2\u0080\u0094 W h a t i s ' C r e a t i v e W r i t i n g ' ? An u n d e n i a b l e d i f f e r e n c e c e r t a i n l y e x i s t s between works o f e x p o s i t i o n which d e l i n e a t e o b j e c t i v e f a c t and o t h e r works which s u b j e c t i v e l y i n t e r p r e t e x p e r i e n c e . Take note o f John De w i t t McKee who emphasises t h a t the d i s t i n c t d i f f e r e n c e between the two types o f w r i t i n g i s t h a t w h i l e s u b j e c t i v e e x p e r i -mental w r i t i n g must use f a c t as a base f o r both f a c t and f i c t i o n , e x p o s i t i o n must limit i t s e l f t o the f a c t s . I t i s t h i s s u b j e c t i v e w r i t i n g t h a t has become known as ' C r e a t i v e W r i t i n g . ' ' C r e a t i v e W r i t i n g ' encompasses both p r o c e s s and p r o d u c t , hence any work l a b e l l e d C r e a t i v e W r i t i n g must r e f l e c t t h i s i n e x t r i c a b l e p a i r . Kaufman and Powers s u c c i n c t l y l i s t t h e i r t h r e e d e f i n i t i v e c r i t e r i a : 7 F i r s t , a w r i t e r must have some form o f e x p e r i e n c e . Something e n t e r s h i s nervous system and b r a i n . Second, h i s mind does something t o t h a t e x p e r i e n c e . He f e e l s i t o u t by c l a s s i f y i n g , c a t e g o r i z i n g , comparing, c o n t r a s t i n g , o r g a n i z i n g , e x t e n d i n g p o s s i b i l i t i e s , p l a y i n g , s i m p l i f y i n g , m e d i t a t i n g , and so on. T h i r d , he ex p r e s s e s something. He w r i t e s words, s e n t e n c e s and p a r a g r a p h s t h a t t e l l what he wants t o communicate about the p a s t e x p e r i e n c e . [ K a u f m a n a n d P o w e r s > e d . 5 1 9 7 0 , p. 219] C r e a t i v e W r i t i n g does not i s s u e f o r t h from one who s i m p l y gleans v i c a r i o u s e x p e r i e n c e s . Such w r i t i n g c o u l d be l i k e n e d t o an u n c o n t r o l l e d and i n e f f e c t u a l 'news' r e p o r t o f one's l i f e . Nor does C r e a t i v e W r i t i n g ensue from s o l e l y c a p t u r i n g e x p e r i e n c e s i n 'fancy' language. C r e a t i v e W r i t i n g demands t h a t t h e mind, the c r e a t i v e i m a g i n a t i o n , p l a y i t s r o l e . The mind must work i t s magic on the i n i t i a l e x p e r i e n c e , and then provoke the w r i t e r i n t o r e c o r d i n g i t i n e f f e c t i v e language. T h i s , t h e n , p r o c e s s and p r o d u c t , i s C r e a t i v e W r i t i n g . 8 CHAPTER 2 A SEPARATE COURSE: WHY BOTHER? A c c o r d i n g to the p r e v i o u s c h a p t e r C r e a t i v e W r i t i n g i s d i s t i n c t i n c h a r a c t e r from the e x p o s i t o r y w r i t i n g which predomin-a n t l y tends to c h a r a c t e r i z e the c u r r i c u l a o f the t r a d i t i o n a l E n g l i s h 11 and 12 c o u r s e s . But does t h i s d i s t i n c t i o n w a r r a n t y a s e p a r a t e c o u r s e ? Yes, most d e f i n i t e l y ! C r e a t i v i t y can be d e v e l o p e d . I t i s n o t e n t i r e l y a 'have' o r 'have not' s i t u a t i o n . A v a r i e t y o f contemporary s t u d i e s by Samson, T o r r a n c e and o t h e r s ( n o t to mention B i n e t ' s s t u d y o f 1909!) c o n f i r m t h a t a l l mental f u n c t i o n s , e s p e c i a l l y those i n v o l v e d w i t h p r o d u c t i v e t h i n k i n g , r e q u i r e o p p o r t u n i t y f o r g u i d e d p r a c t i c e i n o r d e r to d e v e l o p a h i g h degree. [ B a r t l e t t , 1958; Barnes and, Meadow, 1959, I960; S i n g e r , 1964; Samson, 1965; T o r r a n c e , 1963, 1965] Hence the c r e a t i v i t y s k i l l s o f the i m a g i n a t i o n can be de-v e l o p e d must as can the s k i l l s o f l o g i c a l r e a s o n i n g . T o r r a n c e has p u b l i s h e d e x t e n s i v e games to encourage c r e a t i v e t h i n k i n g as w e l l as t e s t s to measure t h e i r e f f e c t i v e n e s s . These c r e a t i v i t y s k i l l s c annot be t a u g h t e f f e c t i v e l y a l o n g s i d e the s k i l l s o f reason and l o g i c . The s k i l l s a r e a t c r o s s p u r p o s e s . The c r e a t i v i t y s k i l l s a r e b e s t t a u g h t as a .separate package i n o r d e r to become more i n h e r e n t . Hence a s e p a r a t e c o u r s e i s r e q u i r e d . 9 W r i t e r s need time s e t a s i d e f o r w r i t i n g r e g u l a r l y . W r i t i n g i s a d i s c i p l i n e and i f postponed f o r any reason whatsoever, w i l l b e g i n t o assume an e l u s i v e n a t u r e t h a t words a r e a t a l o s s t o c a p t u r e . The w r i t e r must be r i g o r o u s about s e t t i n g up a w r i t i n g s c h e d u l e and b e i n g f a i t h f u l t o i t . As E a r l e B i r n e y so vehemently s t a t e s \"Never postpone the w r i t i n g , o r t h e r e w i l l come a day when you can no l o n g e r w r i t e , I know; I've been through the Canadian academic m i l l s . \" [ B i r n e y , 1966, p. 58] H i s a d v i c e to young w r i t e r s i s to e n r o l l i n a C r e a t i v e W r i t i n g c o u r s e on a p a r t time b a s i s so as to have time t o w r i t e , o r t o take a nondemanding j o b such as se a s o n a l salmon f i s h i n g o r n i n e - t o - f i v e , no homework, b a n k i n g , so as t o have time t o w r i t e . A C r e a t i v e W r i t i n g c o u r s e o f f e r s the r i t u a l i s t i c time d i s c i p l i n e t h a t the w r i t e r so d e f i n i t e l y needs. The w r i t e r a l s o needs t o have the o p p o r t u n i t y t o meet o t h e r w r i t e r s i n o r d e r t o l e a r n from them and t o use them as sounding boards f o r h i s work. W r i t e r s a l s o need each o t h e r f o r s u p p o r t . W r i t i n g i s a l o n e l y endeavour, more o f t e n f r u s t r a t i n g and d e p r e s s i n g than r e w a r d i n g . When a w r i t e r l i k e B r i a n B r e t t , from White Rock, pours f o r t h : My l i f e as an a d u l t i s s t i l l the wrong end o f t h a t northbound h o r s e , i s s t i l l l o o k i n g out through a g l a s s a t the r e a l a n i m a l s o f c o r r u p t i o n and i n -e q u i t y . . . . Whatever happened t o t r u t h and the i d e a l . P o e t r y has become as r e l e v a n t as a h u r r i c a n e i n an i c e age. [ m i S j ] g 7 7 j p > 2 5 g ] he needs the u n d e r s t a n d i n g t h a t o n l y a community o f w r i t e r s can o f f e r . Such a s i t u a t i o n i s most u n l i k e l y t o d e v e l o p i n the 10 o r d i n a r y E n g l i s h c l a s s r o o m w i t h i t s motley a s s o r t m e n t o f s t u d e n t s The a b i l i t y to w r i t e c r e a t i v e l y i s a t a l e n t , and the s t u d e n t o f t a l e n t e d s t u d e n t s by such w e l l known r e s e a r c h e r s as Abraham, Durr, Maltzman, M i c h a e l and Osborne, contend t h a t i t i s i m p o s s i b l e to encourage and r e i n f o r c e t a l e n t o f any bent e f f e c t i v e l y , g i v e n the r e g u l a r c l a s s r o o m and the eve r y d a y c u r r i c u l u m . ' E f f e c t i v e l y * means a l l o w i n g the t a l e n t e d i n d i v i d u a l the o p p o r t u n i t y to d e v e l o p h i s t a l e n t to i t s f u l l e s t . C e r t a i n l y a v a l i a n t attempt can be made, but the t e a c h e r can o n l y s p r e a d h i m s e l f so t h i n , and the t a l e n t e d s t u d e n t can o n l y work on h i s own w i t h minimal t e a c h e r - s t u d e n t i n t e r a c t i o n f o r so l o n g u n t i l i t i s g l a r i n g l y a p p a r e n t t h a t t h i s system can never be e f f e c t i v e . To encourage t a l e n t to blossom u n i n h i b i t e d l y , t h r e e c o n d i t i o n s must be met: f i r s t , the t a l e n t e d s t u d e n t s must be p l a c e d i n a homogeneous s e t t i n g ; second, the c u r r i c -ulum must be e n r i c h e d and a c c e l e r a t e d i n o r d e r to r e f l e c t the needs, i n t e r e s t s and c a p a c i t i e s o f the t a l e n t e d s t u d e n t s ; and t h i r d , the environment must be c o n d u c i v e to optimum l e a r n i n g . These c o n d i t i o n s , when a p p l i e d to the t e a c h i n g o f C r e a t i v e W r i t i n g promise s u c c e s s . C r e a t i v e W r i t i n g s t u d e n t s a r e most s u c c e s s f u l when grouped by t h e m s e l v e s . I d e a l l y , t o t a l s e g r e g a t i o n i s the most e f f e c -t i v e type o f a b i l i t y g r o u p i n g , p r e c i p i t a t i n g s p e c i a l s c h o o l s f o r 11 t a l e n t e d s t u d e n t s as i n B a l t i m o r e , B o s t o n , C h i c a g o , P h i l a d e l p h i a and New York. The New York High School o f S c i e n c e i s the most renowned o f t h e s e s p e c i a l s c h o o l s , a t the s e c o n d a r y l e v e l . The v a l u e o f t h e s e s e g r e g a t e d s c h o o l s i s t h a t the e n t i r e c u r r i c u l u m can be geared t o the l e a r n i n g l e v e l s o f t a l e n t e d s t u d e n t s , s i n c e o t h e r s t u d e n t s a r e not e n r o l l e d . The t a l e n t e d s t u d e n t s can engage i n a c h a l l e n g i n g , r i g o r o u s program d e s i g n e d t o t a k e advantage o f t h e i r unique a b i l i t i e s . These s e p a r a t e s c h o o l s a r e u s u a l l y d e s i g n e d w i t h the purpose o f p r e p a r i n g the s t u d e n t s f o r c o l l e g e and a subsequent c a r e e r i n h i s t a l e n t a r e a . Such s c h o o l s a r e , u n f o r t u n a t e l y , o n l y e c o n o m i c a l l y f e a s i b l e i n d e n s e l y p o p u l a t e d a r e a s . When t h e r e i s a r e l a t i v e l y l a r g e number o f t a l e n t e d s t u d e n t s , but n o t enough t o w a r r a n t s e g r e g a t e d s c h o o l s a 'school w i t h i n a s c h o o l ' may be e s t a b l i s h e d . While t h i s e x i s t s w i t h i n the framework o f a r e g u l a r s c h o o l , a s e p a r a t e f a c u l t y and a d m i n i s t r a t i o n are c o n c e r n e d w i t h the s p e c i a l needs o f the t a l e n t e d s t u d e n t s . A y e t s m a l l e r p o p u l a t i o n o f t a l e n t e d s t u d e n t s w a r r a n t s p a r t i a l g r o u p i n g . T h i s system p r o v i d e s s p e c i a l c l a s s e s f o r the t a l e n t e d s t u d e n t s i n each grade l e v e l o f each t a l e n t a r e a . In t h i s system the t a l e n t e d s t u d e n t a t t e n d s s p e c i a l c l a s s e s f o r h i s t a l e n t a r e a , and then r e t u r n s to the main stream. T h i s i s the system which i s , a t p r e s e n t , most worka b l e i n B r i t i s h Columbia s c h o o l s , p r e c i p i t a t i n g a s e p a r a t e C r e a t i v e W r i t i n g c o u r s e . As i s s t a t e d , the mere e s t a b l i s h m e n t o f a s e g r e g a t e d homogeneous s e t t i n g , does not ensure the s t u d e n t ' s a t t a i n m e n t o f h i s optimum l e a r n i n g c a p a c i t y . T h i s s e t t i n g o n l y makes i t a 12 p o s s i b i l i t y . The c u r r i c u l u m must be e n r i c h e d and a c c e l e r a t e d i n o r d e r t o r e f l e c t the needs, i n t e r e s t s and c a p a c i t i e s o f the t a l e n t e d s t u d e n t s . An example o f such a c u r r i c u l u m i s the c u r r i c u l u m o f the New York High School o f S c i e n c e . Because one a r e a o f knowledge i s emphasized, the o t h e r a r e a s a r e c e r t a i n l y not n e g l e c t e d , o r t r e a t e d as t a l e n t f i e l d s . In the Freshman y e a r (Grade 8) s t u d e n t s t a k e a l l the o t h e r academic c o u r s e s . In the Sophomore and J u n i o r y e a r s (Grades 9 & 10) s t u d e n t s p r e p a r e themselves f o r meeting the a d m i s s i o n r e q u i r e m e n t s o f f i r s t - r a t e c o l l e g e s and t e c h n i c a l s c h o o l s . In the S e n i o r y e a r (Grade 12) the s t u d e n t s s p e c i a l i z e and pursue any s p e c i a l i n t e r e s t , i n t h e i r t a l e n t f i e l d , which they have a c q u i r e d d u r i n g t h e i r more g e n e r a l e d u c a t i o n y e a r s . [ M i c h a e l , 1958] Such programs a r e a l s o i n e x i s t e n c e f o r o t h e r t a l e n t a r e a s , such as Music, A r t , and P e r f o r m i n g A r t s . With t h i s emphasis on a d i f f e r e n t c u r r i c u l u m , e n r i c h m e n t and a c c e l e r a t i o n , i t must not be f o r g o t t e n t h a t t a l e n t e d s t u d e n t s must a l s o master the fundamental l e a r n i n g s t h a t w i l l a l l o w them t o o p e r a t e e f f e c t i v e l y i n a b s t r a c t realms. The v a l u e o f a homogeneous s e t t i n g and a p p l i c a b l e c u r r i c u l u m i s t h a t f a r l e s s time i s r e q u i r e d f o r such mastery, and the s t u d e n t s do not have t o b e a r the deadening i n f l u e n c e s o f o v e r t e a c h i n g . They can move on to spend t h e i r time e x p l o r i n g . t h e i r t a l e n t s . Such a c u r r i c u l u m p l a n i s i d e a l , i n d e e d , but most u n r e a l i s t i c f o r B r i t i s h Columbia s c h o o l s a t p r e s e n t . But the f o u n d a t i o n o f t h i s i d e a l c u r r i c u l u m can be i n c l u d e d i n a s e p a r a t e 13 C r e a t i v e W r i t i n g c l a s s . The s t u d e n t s ' needs, i n t e r e s t s and c a p a c i t i e s can be met i n a unique and a p p r o p r i a t e c u r r i c u l u m . A l s o , the s t u d e n t s can spend e x t r a time, a p a r t from a l l t h e i r o t h e r s t u d i e s , e x p l o r i n g and d e v e l o p i n g t h e i r i n d i v i d u a l C r e a t i v e W r i t i n g t a l e n t s . The t e a c h e r s s e l e c t e d to work w i t h t a l e n t e d s t u d e n t s must themselves be t a l e n t e d i n t h e i r c o n t e n t a r e a and a l s o t a l e n t e d i n t e a c h i n g g i f t e d s t u d e n t s . As Durr [1964] i n s i s t s i n g r o s s understatement: \"The o p p o r t u n i t y to work w i t h t a l e n t e d s t u d e n t s i s n o t a reward g i v e n s i m p l y f o r l o n g and f a i t h f u l s e r v i c e o r a compensation f o r h a v i n g t a u g h t \"slow\" l e a r n e r s i n a p r e v i o u s y e a r . \" The t e a c h e r o f C r e a t i v e W r i t i n g must no t o n l y w r i t e e x t e n s i v e l y h i m s e l f , b u t must a l s o be t a l e n t e d i n meeting the s p e c i f i c and v e r y unique l e a r n i n g needs o f s t u d e n t s w i t h a c r e a t i v e bent. In C h a p t e r 5, S t u d i e s i n C r e a t i v i t y : I m p l i c a t i o n s f o r C u r r i c u l u m Development, I e l a b o r a t e on t h i s i m p o r t a n t c o n c e r n . I c a n n o t s t a t e s t r o n g l y enough t h a t the t e a c h e r d e t e r m i n e s the s u c c e s s o r f a i l u r e o f the s e t t i n g and c u r r i c u l u m . I f the t e a c h e r f a i l s to c r e a t e a c o n d u c i v e environment f o r optimum l e a r n i n g , the e n t i r e program w i l l l i k e w i s e f a i l . W hile a l l s t u d e n t s must have these a f o r e m e n t i o n e d o p p o r t u n i t i e s , i t i s p a r t i c u l a r l y i m p o r t a n t f o r t a l e n t e d s t u d e n t s to p a r t i c i p a t e i n such a d i s t i n c t i v e e d u c a t i o n . I t i s the 14 t a l e n t e d p e o p l e t h a t , i f p r o v i d e d w i t h adequate e d u c a t i o n a l exper-i e n c e s , have the p o t e n t i a l t o be the f u t u r e problem s o l v e r s , i n n o -v a t o r s and e v a l u a t o r s o f o u r c u l t u r e . C o l e r i d g e s h a r e s t h i s b e l i e f i n the w o r l d l y s i g n i f i c a n c e o f w r i t i n g : Thus much i s e f f e c t e d by works o f i m a g i n a t i o n ; - - t h a t they c a r r y t he mind out o f s e l f , and show the p o s s i b l e o f the good and the g r e a t i n the human c h a r a c t e r . . . . In the i m a g i n a t i o n i s the d i s t i n g u i s h i n g c h a r a c t e r i s t i c o f man as a p r o g r e s s i v e b e i n g : and I r e p e a t t h a t i t ought t o be c a r e f u l l y g u i d e d and s t r e n g t h e n e d as the i n d i s p e n s a b l e means and i n s t r u m e n t o f c o n t i n u e d a m e l i o r a t i o n and r e f i n e m e n t . [ C o l e r i d g e , \"Essays and L e c t u r e s , \" Everyman, 1909, p. 300] W i l l i a m F a u l k n e r i n h i s a c c e p t a n c e speech f o r the Nobel P r i z e i n 1950 e l o q u e n t l y s t a t e s : I d e c l i n e t o a c c e p t the end o f man. I t i s easy enough t o say t h a t man i s immortal s i m p l y because he w i l l e ndure; t h a t when the l a s t ding-dong o f doom has changed and f a d e d from the l a s t w o r t h l e s s rock hanging t i d e l e s s i n the l a s t r e d and d y i n g e v e n i n g , t h a t even then t h e r e w i l l s t i l l be one more sound: t h a t o f h i s puny i n e x h a u s t i b l e v o i c e , s t i l l t a l k i n g . I r e f u s e t o a c c e p t t h i s . I b e l i e v e t h a t man w i l l not merely endure: he w i l l p r e v a i l . He i s immo r t a l , not because he a l o n e among c r e a t u r e s has a n . i n e x h a u s t i b l e v o i c e , b u t because he has a s o u l , a s p i r i t c a p a b l e o f compassion and s a c r i f i c e and endurance. The p o e t ' s , the w r i t e r ' s , duty i s t o w r i t e about t h e s e t h i n g s . I t i s h i s p r i v i l e g e t o h e l p man endure by l i f t i n g h i s h e a r t , by rem i n d i n g him o f the courage and honor and hope and p r i d e and compassion and p i t y and s a c r i f i c e which have been the g l o r y o f h i s p a s t . The p o e t ' s v o i c e need n o t me r e l y be the r e c o r d o f man, i t can be one o f the p r o p s , the p i l l a r s t o h e l p him endure and p r e v a i l . [Judy, u n p u b l i s h e d monograph, 1976] W r i t i n g has import and s i g n i f i c a n c e . The g r e a t e r the e x t e n t t h a t t h e s e c r e a t i v e w r i t i n g c a p a c i t i e s do not d e v e l o p , the g r e a t e r t he 15 l o s s to the i n d i v i d u a l w r i t e r , and a l s o to o u r s o c i e t y and t o o u r c u l t u r e . C r e a t i v e t a l e n t can o n l y be encouraged and r e i n f o r c e d i f e d u c a t o r s a r e s e n s i t i v e t o the needs, i n t e r e s t s and c a p a c i t i e s o f s t u d e n t w r i t e r s . With due r e s p e c t f o r economical r e a s o n s , one cannot j u s t i f y any e d u c a t i o n a l program t h a t condemns t a l e n t e d s t u d e n t s , be they C r e a t i v e W r i t i n g s t u d e n t s o r Woodworking s t u d e n t s , t o the everyday s i t u a t i o n . T a l e n t e d s t u d e n t s have s p e c i a l a b i l i t i e s , and r e q u i r e s p e c i a l s c h o o l s o r a t l e a s t , s p e c i a l c l a s s e s , s p e c i a l c u r r i c u l a and s p e c i a l t e a c h e r s . C r e a t i v e W r i t i n g t a l e n t must be encouraged and r e i n f o r c e d , not d e s t r o y e d by the l e v e l i n g i n f l u e n c e s o f s c h o o l p r e s s u r e s which l e a d to c o n f o r m i t y and i m i t a t i o n . C r e a t i v e w r i t e r s must be g i v e n the o p p o r t u n i t y f o r s u c c e s s , and t h i s can o n l y be a c h i e v e d through a d i s t i n c t l y s e p a r a t e C r e a t i v e W r i t i n g program. 16 CHAPTER 3 PROVINCIAL SURVEY: EXPOSE T h i s s u r v e y r e p r e s e n t s the f i r s t c o m p i l a t i o n o f i n f o r m a t i o n on the s t a t e o f C r e a t i v e W r i t i n g c o u r s e s i n B r i t i s h Columbia. Not even a l i s t o f s c h o o l s o f f e r i n g W r i t i n g 11 i s a v a i l a b l e from V i c t o r i a , though each y e a r s c h o o l s r e l i g i o u s l y f i l l o u t a J-Form which l i s t s a l l c o u r s e s the s c h o o l o f f e r s , a l o n g w i t h the s t u d e n t e n r o l l m e n t i n t h e s e c o u r s e s . T h i s i n f o r m a t i o n must be b u r i e d i n t h e r e c e s s e s o f some o b s c u r e f i l e c a b i n e t a c c e s s i b l e o n l y t o s p i d e r s and b e e t l e s . I n i t i a l l y , l e t t e r s were s e n t t o e v e r y d i s t r i c t s u p e r i n -t e n d e n t i n the p r o v i n c e , r e q u e s t i n g a l i s t o f the s c h o o l s i n t h a t p a r t i c u l a r d i s t r i c t which o f f e r W r i t i n g 11. S u p e r i n t e n d e n t s were a l s o r e q u e s t e d t o s u p p l y the name, o f the t e a c h e r and a l s o the p a r t i c u l a r branch o f W r i t i n g 11 o f f e r e d : C r e a t i v e W r i t i n g , J o u r n a l i s m , o r B r o a d c a s t i n g . See Appendix A. Most o b l i g e d i n t h i s r e s p e c t . A f t e r a second s e t o f l e t t e r s was m a i l e d t o s t r a g g l e r s , a 100% r e t u r n was r e c e i v e d . The next s t a g e i n the s u r v e y was t o send a q u e s t i o n n a i r e to e v e r y t e a c h e r i n e v e r y s c h o o l which o f f e r s W r i t i n g 11 . See Appendix B. The r e t u r n on t h e s e q u e s t i o n n a i r e s , by s c h o o l s s u r v e y e d , i s 71% and by t e a c h e r s s u r v e y e d i s 65%. Ninety-two s c h o o l s and 107 17 t e a c h e r s were s e n t s u r v e y forms. A n o t h e r b a t c h o f l e t t e r s w i l l be s e n t i n September t o improve the r e t u r n p e r c e n t a g e as the l i s t o f names o f s c h o o l s and t e a c h e r s i s d e s i r e d by the B.C. E n g l i s h T e a c h e r s ' A s s o c i a t i o n f o r workshop purpo s e s . Undoubtedly, most o f the q u e s t i o n n a i r e s not r e t u r n e d r e p r e s e n t o p t i o n s o f the W r i t i n g 11 c o u r s e o t h e r than C r e a t i v e W r i t i n g . Hence, the r e t u r n as i s , i s v a l i d and from t h i s r e t u r n the s u r v e y r e s u l t s a r e c o m p i l e d . W r i t i n g 11 has many o p t i o n s open t o the s c h o o l . The most common a r e C r e a t i v e W r i t i n g , J o u r n a l i s m and B r o a d c a s t i n g . A t times W r i t i n g 11 becomes a c a t c h - a l l l a b e l f o r l o c a l l y d e v e l o p e d c o u r s e s which have not r e c e i v e d a p p r o p r i a t e a d m i n i s t r a t i v e a p p r o v a l . The c o u r s e o p t i o n s a c r o s s the p r o v i n c e a r e : C r e a t i v e W r i t i n g J o u r n a l i s m C r e a t i v e W r i t i n g - J o u r n a l ism Combination B r o a d c a s t i n g C r e a t i v e W r i t i n g - J o u r n a l i s m - B r o a d c a s t i n g Combination G r a p h i c A r t s F i l m Study T e l e v i s i o n P r o d u c t i o n T e c h n i c a l W r i t i n g C r e a t i v e W r i t i n g - F u n c t i o n a l W r i t i n g Combination Remedial W r i t i n g C r e a t i v e W r i t i n g - J o u r n a l ism-Remedial W r i t i n g Combination Double Programmed w i t h L i t e r a t u r e 12 The s c h o o l s o f f e r i n g C r e a t i v e W r i t i n g i n 1977-78, w i t h the r e s p e c t i v e t e a c h e r s a r e l i s t e d i n Appendix C. A t p r e s e n t 49 s c h o o l s o f f e r 18 C r e a t i v e W r i t i n g . I t s t r i k e s me t h a t the l a b e l W r i t i n g IT i s in a d e q u a t e and vague. The c o u r s e s s h o u l d be l a b e l l e d w i t h t he s p e c i f i c name o f the c o u r s e o p t i o n . I t i s a l s o e v i d e n t t h a t because o f the extreme v a r i a t i o n i n c o u r s e s r e p r e s e n t e d h e r e , s t u d e n t s s h o u l d be a b l e t o r e c e i v e c r e d i t f o r more than one o f them. A t p r e s e n t t h i s i s n o t t h e c a s e , because t h e y a l l f a l l under the same c o u r s e l a b e l . The s u r v e y q u e s t i o n n a i r e i n c l u d e d q u e s t i o n s c o n c e r n -i n g methodology and c o n t e n t o f the C r e a t i v e W r i t i n g c o u r s e . The q u e s t i o n s were asked i n such a manner as t o evoke a d i r e c t answer. Room was a v a i l a b l e f o r comments. A l l t a b u l a t i o n s a r e based on numbers o f C r e a t i v e W r i t i n g t e a c h e r r e t u r n s , r a t h e r than s c h o o l r e t u r n s . P e r c e n t a g e s a re t a b u l a t e d by u s i n g t he number o f C r e a t i v e W r i t i n g t e a c h e r r e t u r n s (54 r e t u r n s ) as a c o n s t a n t denominator. See T a b l e I. Q u e s t i o n 1: Yes 70.4% \"Does y o u r c l a s s ' p u b l i s h ' a 'book'? Some Years 3.7% No 24.0% Us i n g s c h o o l d i t t o machines? Yes 37.0% U s i n g t he s c h o o l o f f s e t p r e s s ? Yes 35.2% Us i n g o u t s i d e p u b l i s h e r s ? Yes 9.3% Do you s e l l y o u r p u b l i c a t i o n ? \" Yes 27.8% Othe r p u b l i c a t i o n d e v i c e s t h a t were s u g g e s t e d : U s i n g s c h o o l board Xerox machine 3.7% Us i n g s c h o o l paper 5.6% U s i n g l o c a l newspaper 3.7% U s i n g s c h o o l annual 3.7% Us i n g p r i v a t e a n t h o l o g i e s 3.7% 19 TABLE I C r e a t i v e W r i t i n g i n B.C. Survey ( n = 5 4 ) Q u e s t i o n Yes No 1. Does y o u r c l a s s p u b l i s h a book? 74.1% 24.0% U s i n g s c h o o l d i t t o machines? 37.0% U s i n g the s c h o o l o f f s e t p r e s s ? 35.2% U s i n g o u t s i d e p u b l i s h e r s ? 9.3% Do you s e l l y o u r p u b l i c a t i o n ? 27.8% 2. Does y o u r c o u r s e r e v o l v e about a s e r i e s o f assignments? 27.8% Or, do the s t u d e n t s w r i t e what the y wish? 7.4% Combination o f the two? 64.8% 3. Do you s e t d e a d l i n e s ? 88.9% 9.3% 4. Do you i n s i s t s t u d e n t s mimic the form o f o u t s t a n d i n g w r i t e r s ? 27.8% 68.5% 5. Do you i n s i s t s t u d e n t s t r y w r i t i n g i n v a r y i n g genres? 87.0% 11.1% 6. Do you i n s i s t on r e v i s i o n ? 83.3% 16.7% 7. Do you mark i n d i v i d u a l p i e c e s o f w r i t i n g ? 90.7% 9.3% I f so -- e v e r y p i e c e ? 59.3% 8. Do you i n s i s t on s i l e n c e i n y o u r c l a s s ? 20.4% 74.1% 20 T a b l e I ( c o n t i n u e d ) Q u e s t i o n Yes No 9. Do s t u d e n t s d i s c u s s o t h e r s t u d e n t s ' works? I f so -- o n l y as a p r e s c r i b e d p a r t o f the co u r s e ? Or o n l y c a s u a l l y and s p o n t a n e o u s l y among i n d i v i d u a l s ? Combination o f the two. 96.3% 27.8% 27.8% 40.7% 10. Do you p r e s c r i b e r e a d i n g ? 79.6% 18.5% 11. Do you have r e a d i n g s ? I f so \u00E2\u0080\u0094 by the s t u d e n t s ? \u00E2\u0080\u0094 by community w r i t e r s ? 74.1% 68.5% 33.3% 24.1% 12. Do you i n s i s t t h a t s t u d e n t s keep a d a i l y j o u r n a l ? 37.0% 61.1% I f so \u00E2\u0080\u0094 do you i n s p e c t i t ? 31.5% 11.1% \u00E2\u0080\u0094 do you mark i t ? 9.3% 33.3% 13. Do you i n v o l v e the s t u d e n t s i n o t h e r modes o f e x p r e s s i o n ? 64.8% 20.4% 14. Do you use any t e x t s ? 50.0% 46.3% 15. Does y o u r s c h o o l o f f e r C r e a t i v e W r i t i n g 12? 16.7% 83.3% 16. Do you f e e l more d i r e c t i o n from the Department o f E d u c a t i o n i s needed f o r t h i s c o u r s e ? 25.9% 70.4% 21 I t i s e x c i t i n g t o d i s c o v e r t h a t most C r e a t i v e W r i t i n g c l a s s e s a r e i n t e g r a t i n g p u b l i c a t i o n i n t o t h e i r c u r r i c u l a . The l a r g e numbers o f c l a s s e s u s i n g the o f f s e t p r e s s t e l l o f the h e a l t h y i n t e r d e p a r t m e n t a l l i a i s o n between the C r e a t i v e W r i t i n g Departments and the G r a p h i c Departments. And the numbers o f c l a s s e s s e l l i n g t h e i r p u b l i c a t i o n s bespeaks o f r e a l l i f e p u b l i c a t i o n . How e n l i g h t e n i n g i t would be f o r s t u d e n t s and t e a c h e r s a l i k e t o s e t up a C r e a t i v e W r i t i n g P u b l i c a t i o n Exchange, through the B.C. E n g l i s h T e a c h e r s ' A s s o c i a t i o n . Q u e s t i o n 2: \"Does y o u r c o u r s e r e v o l v e about a s e r i e s o f a s s i g n m e n t s ? Yes 27.8% Or, do the s t u d e n t s w r i t e what they w i s h ? \" Yes 7.4% Combination 64.8% The c l a s s e s t h a t employ a c o m b i n a t i o n o f assignments and f r e e c h o i c e v a r y from s t r e s s i n g e i t h e r end o f the continuum t o a 50/50 s p l i t . The numbers o f c l a s s e s t h a t r e v o l v e s t r i c t l y around assignments i s very d i s t u r b i n g . C u r r i c u l a o f t h i s o r d e r go a g a i n s t a l l c r e a t i v i t y r e s e a r c h and t h e o r y t h a t have been c o m p i l e d o v e r the l a s t t h i r t y y e a r s . Such c o u r s e s must be h e a v i l y s t r e s s i n g the s t r u c t u r e o f w r i t i n g , as t h i s i s the a r e a o f w r i t i n g most e a s i l y packaged i n t o l e a r n i n g u n i t s . 22 Q u e s t i o n 3: \"Do you s e t d e a d l i n e s ? Yes F l e x i b l e Ones No Those r e t u r n s t h a t f a v o u r the use o f d e a d l i n e s v a r y from a few e x c l a m a t o r y Y e s l ' s t o a more w i d e s p r e a d i n s i s t e n c e on d e a d l i n e s f o r major assignments o n l y . There e x i s t s an overwhelming c o n t e n t i o n t h a t c r e a t i v e w r i t i n g s t u d e n t s need a w o r k a b l e framework w i t h i n which t o d i s c i p l i n e t h e m s e l v e s . 81.5% 7.4% 9.3% Q u e s t i o n 4: \"Do you i n s i s t s t u d e n t s mimic the form o f o u t s t a n d i n g w r i t e r s ? \" Yes 27.8% No 68.5% Those t e a c h e r s t h a t r e p l y i n the a f f i r m a t i v e range from making i t p e r f e c t l y c l e a r t h a t the m i m i c k i n g i s a l o n e assignment t o s t a t i n g t h a t the m i m i c k i n g i s a s t y l e u n i t . The l a r g e number o f n e g a t i v e r e s p o n s e s i n d i c a t e t h a t most t e a c h e r s a r e more c o n c e r n e d w i t h o t h e r a s p e c t s o f w r i t i n g . The n e g a t i v e r e s p o n s e s may a l s o r e f l e c t the l o a d e d c o n n o t a t i o n s o f the word 'mimic.', Perhaps ' i m i t a t e ' would have been a b e t t e r word c h o i c e . 23 Q u e s t i o n 5: \"Do you i n s i s t s t u d e n t s t r y w r i t i n g i n v a r y i n g g e n r e s ? \" Yes 87% No 11.1% A c o u p l e o f the t e a c h e r s i n d i c a t e they do encourage e x p e r i -m e n t a t i o n w i t h v a r y i n g g e n r e s , though they do not i n s i s t upon i t . T e a c h e r s , on the whole, seem t o be bent on b r o a d e n i n g the s t u d e n t w r i t e r s ' h o r i z o n s . Q u e s t i o n 6: \"Do you i n s i s t on r e v i s i o n ? \" Yes 83.3% No 16.7% Of the t e a c h e r s t h a t do i n s i s t on r e v i s i o n , some s t a t e t h a t they o n l y do so o c c a s i o n a l l y . One t e a c h e r i n d i c a t e s t h a t r e v i s i o n i s e f f e c t e d i n groups. A n o t h e r s t a t e s t h a t the r e v i s i o n i s i n s i s t e d upon w h i l e the s t u d e n t i s wor k i n g on the work; not a f t e r i t i s completed. Other t e a c h e r s a r e most adamant i n s t a t i n g t h a t the s t u d e n t has the f i n a l word; i t i s h i s c r e a t i o n . However, the overwhelming m a j o r i t y o f t e a c h e r s b e l i e v e t h a t the a c t o f r e v i s i o n i s n e c e s s a r y . 24 Q u e s t i o n 7: \"Do you mark i n d i v i d u a l p i e c e s o f w r i t i n g ? Yes 90.7% No 9.3% I f so - - - e v e r y p i e c e ? Yes 59.3% I f not \u00E2\u0080\u0094 e x p l a i n . \" T e a c h e r Comments: - No mark ( l e t t e r grade) i s a s s i g n e d u n t i l June. The r e s t o f the co u r s e i s e v a l u a t e d by comment/discussion w i t h the s t u d e n t . - S t u d e n t s choose what they wish marked. - The marking i s , i n i t i a l l y , s u b j e c t i v e and done i n c o n j u n c t i o n w i t h d i s c u s s i o n o f the work. There i s a mark g i v e n f o r each r e p o r t c a r d . - J o u r n a l s a r e c o n s i d e r e d o n l y from the view o f q u a n t i t y . - Most work i s marked. Volume sometimes p r e v e n t s marking a l l work. - There i s n o t enough time o r i n c l i n a t i o n t o mark e v e r y t h i n g . - Some works are d i s c u s s e d and/or marked by the s t u d e n t s . - O c c a s i o n a l l y s t u d e n t s mark each others', o r t h e i r own a t a l a t e r d a t e . Some t h i n g s may never be marked. - Sometimes I mark; sometimes I me r e l y read and comment. - I mark i n the sense o f i n s t r u c t i v e comments. - I e d i t work. S t u d e n t s then may p i c k the b e s t from each term's p r o d u c t i o n t o submit f o r a grade. - I mark the e n t i r e p o r t f o l i o o f C r e a t i v e W r i t i n g w i t h one l e t t e r grade (One p o r t f o l i o p er s t u d e n t ) . 25 I t i s amazing the number o f t e a c h e r s who not o n l y f e e l o b l i g e d , but a c t u a l l y manage, to mark e v e r y p i e c e o f w r i t i n g o f e v e r y s t u d e n t . Research s t a t e s t h a t t h e s e t e a c h e r s a r e o v e r -w orking themselves f o r no r e t u r n . C r e a t i v i t y s t u d i e s r e v e a l t h a t , i d e a l l y , judgement s h o u l d be suspended u n t i l t h e l a s t p o s s i b l e minute o f the c r e a t i v e p r o c e s s . There i s a danger t h a t s t u d e n t w r i t e r s become i n h i b i t e d by e v a l u a t i o n mania. And, i n r e a l i t y , p u b l i c a t i o n r e sponse i s the o n l y e v a l u a t i o n t h a t i s s i g n i f i c a n t . Q u e s t i o n 8: \"Do you i n s i s t on s i l e n c e i n y o u r c l a s s ? \" Yes 20.4% No 74.1% T e a c h e r Comments: - Sometimes a c o n v e r s a t i o n can h e l p . - While w r i t i n g i s b e i n g a t t e m p t e d , s i l e n c e i s a must. - S i l e n c e i s mandatory o n l y when someone 'has the f l o o r , ' e i t h e r m y s e l f o r a n o t h e r s t u d e n t . ( I t ' s c a l l e d manners). - We have s i l e n c e e x c e p t on I n f o r m a t i o n and D i s c u s s i o n Day o r Reading Day. - Reasonable q u i e t i s e x p e c t e d . - S i l e n c e u s u a l l y p r e v a i l s when s t u d e n t s a r e wor k i n g t h e i r h a r d e s t . - S i l e n c e i s a p e a c e f u l s i t u a t i o n . - I i n s i s t on s i l e n c e but I never g et i t . - I use music t o s t i m u l a t e w r i t i n g . 26 The v a s t m a j o r i t y o f C r e a t i v e W r i t i n g t e a c h e r s r e c o g n i z e the w r i t e r ' s needs t o communicate w i t h h i s f e l l o w w r i t e r . T h i s i s where a g r e a t p a r t o f the c o u r s e ' s v a l u e stems from. Q u e s t i o n 9: \"Do s t u d e n t s d i s c u s s o t h e r s t u d e n t s ' works? Yes 96.3% I f so -- ( o n l y ) as a p r e s c r i b e d p a r t o f the c o u r s e ? Yes 27. 8% Or, o n l y c a s u a l l y and s p o n t a n e o u s l y among i n d i v i d u a l s ? \" Yes 27. 8% Both p r e s c r i b e d and s p o n t a n e o u s l y . Yes 40. 7% T e a c h e r Comments: - Spontaneous d i s c u s s i o n s d e v e l o p n a t u r a l l y i n t o a p e r i o d s e t a s i d e f o r c r i t i c i s m \u00E2\u0080\u0094 a t l e a s t one p e r e i g h t day c y c l e . - One must be a t t e n t i v e t o not e m b a r r a s s i n g a s t u d e n t . - R e g u l a r seminars o c c u r i n which work i s r e a d t o the group by the a u t h o r , o r exchanges a r e made among s e v e r a l a u t h o r s who comment and e d i t the work they r e a d . - We have worksheets o f s t u d e n t s ' work. E n e r g e t i c s t u d e n t w r i t e r s soon d i s c o v e r the v a l u e o f d i s c u s -s i n g t h e i r works w i t h t h e i r f e l l o w w r i t e r s . Most t e a c h e r s have a l s o r e a l i z e d the v a l u e o f such p e e r feedback and have a t t e m p t e d t o work t h i s l e a r n i n g d e v i c e i n t o the c u r r i c u l u m . 27 Q u e s t i o n 10: \"Do you p r e s c r i b e r e a d i n g ? Yes 79.6% I f so \u00E2\u0080\u0094 s p e c i f y \" No 18.5% Teacher Comments: - We read works f o r models; Joyce Cary's S p r i n g Song i s a model. - I p r e s c r i b e a r e a d i n g l i s t f o r the y e a r which c o v e r s t h e d i f f e r e n t genre s t y l e s . - I ask them t o read s e l e c t i o n s from w e l l known w r i t e r s t o 'get the f e e l ' o f mood, f l o w , imagery, e t c . - We have r e a d i n g p e r i o d s , and t h e s t u d e n t s g e n e r a l l y s e l e c t t h e i r own m a t e r i a l t o read. - I o n l y p r e s c r i b e r e a d i n g i n the 'Major Poet S t u d y 1 t h a t i s r e q u i r e d t o pass the c o u r s e . - My God. I p r e s c r i b e masses o f contemporary s t u f f : l i t t l e magazines, u n i v e r s i t y l i t e r a r y p u b l i c a t i o n s l i k e P r i s m . - A r t i s t and P e r s o n a l p u b l i s h e d by Ginn and Co. i s p r e s c r i b e d . - C u r r e n t p a p e r s , magazines, reviews a re p r e s c r i b e d . - I u s u a l l y s e t a r t i c l e s o u t o f the s t u d e n t e d i t i o n o f the A t l a n t i c ; - -a l s o p o e t r y and s h o r t s t o r i e s from the same p u b l i c a t i o n . - I r e a d to them what I f i n d s t i m u l a t i n g . - I f e e l t h a t i n s p i r a t i o n i s g a i n e d through c o n t e m p l a t i o n o f the w r i t i n g s o f o t h e r s i n a l l a s p e c t s o f t h e w r i t t e n word. - Sometimes I recommend a s p e c i f i c book t o an i n d i v i d u a l i f I t h i n k he w i l l e n j o y i t , o r i f the a u t h o r ' s s t y l e echoes t h a t o f the s t u d e n t . 28 - Whenever s u i t a b l e m a t e r i a l i s found i t i s put on d i t t o and passed o u t . - To h e l p the s t u d e n t ' p l a c e ' h i s own work, I do p r e s c r i b e r e a d i n g . - I p r e s c r i b e a book r e p o r t on one o f the c u r r i c u l u m books ( s t u d e n t ' s c h o i c e ) f o r each s t u d e n t . Reports a r e g i v e n o r a l l y . There tends t o be a wide d i v e r s i t y i n p r e s c r i b e d r e a d i n g t e n d e n c i e s . S i x t e e n p e r c e n t o f the t e a c h e r s s i m p l y do not a s s i g n any r e a d i n g whatsoever, w h i l e a p p r o x i m a t e l y the same number go so f a r as t o p r e s c r i b e y e a r l y r e a d i n g l i s t s which i n c l u d e a l l the g e n r e s . About the same number o f t e a c h e r s a g a i n , p r e s c r i b e c l a s s r e a d i n g f o r model s t u d y , w h i l e the r e m a i n i n g q u a r t e r t e n d t o be more i n d i v i d u a l i s t i c and spontaneous when s u g g e s t i n g r e a d i n g f o r t h e i r s t u d e n t s . Q u e s t i o n 11: \"Do you have r e a d i n g s ? I f so \u00E2\u0080\u0094 by the s t u d e n t s ? -- by community w r i t e r s ? S p e c i f y . \" * The r e a d i n g s r e f e r r e d to here a r e o r a l r e a d i n g s . Yes 74.1% No 24.1% Yes 68.5% Yes 33.3% 29 T e a c h e r Comments: - We do not have many r e s i d e n t w r i t e r s i n T r a i l , so such r e a d i n g s a r e r a r e . - S t u d e n t s have the c h o i c e t o have t h e i r m a t e r i a l r e a d a l o u d . - U s u a l l y I b e g i n by f r e q u e n t l y r e a d i n g the works the s t u d e n t s submit. They, i n t u r n , u s u a l l y r e a d t h e i r own works. I do not f o r c e the more i n t r o v e r t e d s t u d e n t s t o r e a d t h e i r sub-m i s s i o n s , a l t h o u g h most do not o b j e c t t o my r e a d i n g o f t h e i r works. - We have v i s i t s from community r e s o u r c e p e o p l e ; amateur p o e t s , e d i t o r s , i n t e r e s t i n g c i t i z e n s ; I t r y f o r a t l e a s t f o u r g u e s t s p e a k e r s p e r semester. - Few p r a c t i c i n g w r i t e r s a r e a v a i l a b l e i n C h i l l i w a c k . No h o n o r a r -ium i s a v a i l a b l e e i t h e r . ( W r i t e r s i n the boondocks a r e s t a r v i n g o r mercenary, o r b o t h ) . - We s h a r e p e r i o d s once a week f o r s t u d e n t r e a d i n g s . I t i s v e r y e x c i t i n g . - The Canadian League o f Poets p e o p l e are good f o r r e a d i n g s , e.g., Leona Gom, F r e d e r i c k C a n d e l a r i a , P a t r i c k Lane. - I would l i k e t o i n v i t e w r i t e r s but we have no budget. - Fotheringham and Paul S t . P i e r r e have been our g u e s t s . - L o u i s Dudek was i n the c i t y and came t o the s c h o o l i n f o r m a l l y t o t a l k t o s t u d e n t s and s t a f f . 30 - We have s t u d e n t r e a d i n g s i n c o n j u n c t i o n w i t h group c r i t i c i s m . - We do not have gu e s t w r i t e r s due t o o u r remoteness i n Vanderhoof. - Mike Doyle and P.K. Page have been our g u e s t s . - Former s t u d e n t s have r e t u r n e d as guest p o e t s . - Rosenthal and Hodgins came t o t a l k t o the c l a s s . - The w r i t i n g c l a s s p a i d f o r the w r i t e r t o come. - Kevin Roberts (from M a l e s p i n a ) and Gary Geddes have v i s i t e d us. - We have had s e v e r a l Canadian w r i t e r s b r o u g h t i n by the l o c a l A r t s A l l i a n c e . Many o f thos e t e a c h e r s r e p l y i n g n e g a t i v e l y s t a t e t h a t they a r e l o o k i n g f o r w a r d t o t r y i n g t o get community w r i t e r s i n t o t he s c h o o l s . Remoteness and f u n d i n g a r e c o n s i d e r a b l e o b s t a c l e s , b ut can be overcome w i t h energy and p e r s i s t e n t c o n t a c t s . I t i s e x c i t i n g t o see t h a t s e v e r a l s c h o o l s use the r e s i d e n t w r i t e r s w i t h i n the s c h o o l t o g i v e r e a d i n g s t o o t h e r s t u d e n t s . In a d d i t i o n t o a l l the b e n e f i t s o f s t u d e n t r e a d i n g s , t h i s i s an e x c e l l e n t method o f a d v e r t i s i n g f o r the f o l l o w i n g y e a r ! Q u e s t i o n 12: Yes 37.0% \"Do you i n s i s t t h a t s t u d e n t s keep a d a i l y O p t i o n a l 9.3% j o u r n a l ? No.. 51.8% I f \".so \u00E2\u0080\u0094 do you i n s p e c t i t ? Yes 31.5% No 11.1% \u00E2\u0080\u0094 do you mark i t ? Yes 9.3% No 33.3% 31 T e a c h e r Comments: - The j o u r n a l i s overworked by the E n g l i s h Department I use an o b s e r v a t i o n j o u r n a l : F l o r a one week, emotions n e x t , a r c h i t e c t u r e a n o t h e r , e t c . - I i n s p e c t t he j o u r n a l f o r q u a n t i t y , not q u a l i t y . - I comment on the s t u d e n t s ' j o u r n a l s . - I o n l y i n s p e c t t he j o u r n a l i f the s t u d e n t a l l o w s i t . - I b e l i e v e a j o u r n a l i s p r i v a t e and w h i l e a s t u d e n t may l e t me read i t , i t must be h i s / h e r d e c i s i o n . - I i n s i s t t h e y keep a j o u r n a l t w i c e weekly. The t e a c h e r s a r e more o r l e s s e v e n l y s p l i t on the p r a c t i c e o f h a v i n g the s t u d e n t s keep a j o u r n a l . Those t h a t do use the j o u r n a l t e c h n i q u e a re almost unanimous i n s t a t i n g t h a t t h e y do i n s p e c t i t , b u t do n o t mark i t . T h i s p r a c t i c e can o n l y r e f l e c t the con-t e n t i o n t h a t t he j o u r n a l i s the s t u d e n t ' s p e r s o n a l , p l a c e and s h o u l d be r e s p e c t e d as such. Q u e s t i o n 13: \"Do you involve''the s t u d e n t s i n o t h e r modes o f e x p r e s s i o n ? Yes 64.8% I f so -- s p e c i f y . \" No 20.4% T e a c h e r Comments: - taped r e a d i n g s , r a d i o s c r i p t s - i l l u s t r a t i o n o f some work - add music t o w r i t i n g s f o r e f f e c t - v i d e o o f t e l e v i s i o n s c r i p t s , commercials - f i l m s , s l i d e s - c a r t o o n s - o r a l communication i n c l a s s d i s c u s s i o n , s h o r t speeches and r e a d i n g s - some r o l e p l a y i n g f o r purposes o f a s t i m u l u s - r e s p o n s e s i t u a t i o n i n t h e c l a s s r o o m - m u l t i - m e d i a p r e s e n t a t i o n s - c o l l a g e s , montages - p o s t e r poems - p o s t u r e , g e s t u r e , dance - c l o t h i n g , a r c h i t e c t u r e - performance o f s k i t s and p l a y s t h a t s t u d e n t s have w r i t t e n - performance o f song l y r i c s t h a t s t u d e n t s have w r i t t e n - puppet t h e a t r e - s t u d e n t s a r e i n s p i r e d by music, p a i n t i n g s , s l i d e s , f i l m s - s t u d e n t s a r e i n s p i r e d by any l o c a l a r t e x h i b i t i o n s a v a i l a b l e , and by g o i n g t o p l a y s - p a r t i c i p a t i o n i s e x p e c t e d i n debates i n the form o f a combined e f f o r t . 33 T e a c h e r s o f C r e a t i v e W r i t i n g a c r o s s the p r o v i n c e a r e c e r -t a i n l y c r e a t i v e i n s u g g e s t i n g a l t e r n a t e modes o f e x p r e s s i o n . Do those t e a c h e r s who a b s t a i n from such d i v e r s i t y do so because t h e y haven't thought o f i t , o r because they a r e w r i t i n g p u r i s t s ? In t h i s m u l t i - m e d i a age the s t u d e n t s a r e e a g e r t o augment t h e i r w r i t i n g w i t h t h e s e f a m i l i a r modes o f e x p r e s s i o n . Q u e s t i o n 14: \"Do you use any t e x t s ? Yes I f so \u00E2\u0080\u0094 s p e c i f y . \" No 46.3% T e a c h e r Comments: - I use a l l t he books I can f i n d on C r e a t i v e W r i t i n g f o r my own e d i f i c a t i o n . - I make my own handouts. - T e x t s a re used o n l y as r e s o u r c e m a t e r i a l . F or example, the s e c t i o n on \" P o i n t o f View\" i n S t o r y and S t r u c t u r e has proven e x t r e m e l y u s e f u l . - I use the government i s s u e t e x t s f o r r e f e r e n c e o n l y . - I use the government i s s u e t e x t s because they a r e r e a d i l y a v a i l a b l e . Books Suggested: P r e s c r i b e d books: How W r i t e r s W r i t e W r i t e r s a t Work The Elements o f S t y l e S t o p , Look and W r i t e 34 W r i t e r s Guide and Index t o E n g l i s h C r e a t i v e W r i t i n g Other: Canadian A u t h o r and Bookman The P r a c t i c e o f P o e t r y So You Want t o be a W r i t e r Dreams and C h a l l e n g e s W r i t i n g I n c r e d i b l y S h o r t S t o r i e s , Poems, P l a y s C r i t i c a l Reading W r i t e Now L e a r n i n g t o W r i t e A r t i s t and P e r s o n a l D i s c o u r s e W r i t e r s Workshop W r i t i n g f o r T e l e v i s i o n Modern R h e t o r i c Sentence C r a f t L i t e r a r y C a v a l c a d e P r e s s Time The Young W r i t e r a t Work While a v e r y few t e a c h e r s use the p r e s c r i b e d t e x t s , the v a s t m a j o r i t y have abandoned them, s e e k i n g more r e l e v a n t and i n s p i r i n g m a t e r i a l s . The g r e a t v a r i e t y i n books used by t h o s e who do a b i d e by t e x t s i n d i c a t e s t h a t t h e r e e x i s t s no c o r e book o r books t h a t a r e w h o l l y adequate. C o n s e q u e n t l y , many t e a c h e r s have taken to u s i n g a g r e a t number o f books as r e s o u r c e m a t e r i a l s f o r the needs o f i n -d i v i d u a l s t u d e n t s . The government p r e s c r i b e d t e x t s , by t h e i r non-use, are o b v i o u s l y i n a d e q u a t e . I t i s d i s a p p o i n t i n g t o see the l a c k o f book t i t l e s t h a t would r e a l i s t i c a l l y h e l p a w r i t e r improve 35 h i s a r t , and i n f o r m him o f the t e c h n i q u e i n g e t t i n g h i s work pub-l i s h e d . I t i s a l s o d i s a p p o i n t i n g t o note the l a c k o f t i t l e s o f t e a c h e r r e s o u r c e m a t e r i a l s . A need i s n o t b e i n g met. Q u e s t i o n 15: \"Does y o u r s c h o o l o f f e r C r e a t i v e W r i t i n g 12? Yes 16.7% I f so -- what i s i t l a b e l l e d on the s t u d e n t s ' t r a n s c r i p t s ? No 83.3% T e a c h e r Comments: - Our t r a n s c r i p t l a b e l i s W r i t i n g and D i r e c t i n g 12. - We u n o f f i c i a l l y l a b e l i t L i t e r a t u r e 12. - We have a p p r o v a l f o r W r i t i n g 12. - I'd l o v e an advanced c o u r s e , but t h e r e j u s t a r e n ' t enough s t u d e n t s t o o f f e r i t . - Can you do t h i s ? I have s e v e r a l who want i t , but we are t o l d i t cannot be a c r e d i t c o u r s e . Most s c h o o l s , f o r whatever r e a s o n , do n o t o f f e r the f o l l o w -up to C r e a t i v e W r i t i n g 11. A c o u p l e o f s c h o o l s have gone the r o u t e o f g e t t i n g l o c a l s c h o o l b o a r d a p p r o v a l f o r the c o u r s e , w h i l e a c o u p l e o f o t h e r s c h o o l s u n o f f i c i a l l y use s u b s t i t u t e l a b e l s . Though t h e r e are seldom enough s t u d e n t s a t the 12 l e v e l w a n t i n g the c o u r s e t o w a r r a n t a whole c l a s s , t h e s e advanced s t u d e n t s can e a s i l y be accommodated i n the r e g u l a r W r i t i n g 11 c l a s s . The Department o f E d u c a t i o n s h o u l d be encouraged to r e c o g n i z e C r e a t i v e W r i t i n g 12. 36 Q u e s t i o n 16: \"Do you f e e l more d i r e c t i o n from the Depart-ment o f E d u c a t i o n i s needed f o r t h i s c o u r s e ? \" Yes 25.9% No 70.4% T e a c h e r Comments: - God f o r b i d ! - We need good r e s o u r c e m a t e r i a l s . - I have more i d e a s now than I can p o s s i b l y use and am c o n s t a n t l y t h i n k i n g o f new ones. I do n o t want a p r e s c r i p t i o n . The c h a l l e n g e l i e s i n b e i n g i n n o v a t i v e as a t e a c h e r w r i t e r / g u i d e . - C r e a t i v i t y i s d i f f i c u l t to b u r e a u c r a t i z e . - More d i r e c t i o n i s needed i n terms o f l e a r n i n g outcomes, and s u g g e s t i o n s f o r p r a c t i c a l a c t i v i t i e s . - More s u g g e s t i o n s are needed, but freedom i s e s s e n t i a l . - An e x c i t i n g p r a c t i c a l t e x t would be n i c e . - T h i s c o u r s e needs t o be r e c o g n i z e d and c a t e r e d t o . - Leave the c o u r s e to the c l a s s r o o m t e a c h e r and the E n g l i s h Department. A t e a c h e r who wishes to t e a c h i t w i l l have i d e a s o f h i s own. - A y e a r l y l i s t o f new t e x t s and a c o m p i l a t i o n o f s m a l l p r e s s pub-l i c a t i o n s i n B r i t i s h Columbia w i t h c u r r e n t a d d r e s s e s , produced by the Department o r a n o t h e r s o u r c e would be v e r y h e l p f u l . - Leave i t a l o n e , e x c e p t t o s p o n s o r workshops. - I would l i k e l o c a l money to buy t e x t s . - The Department i s too d i r e c t i v e a l r e a d y . 37 Though some t e a c h e r s wish more d i r e c t i o n from the Department o f E d u c a t i o n , they g e n e r a l l y o n l y d e s i r e more a p p l i c a b l e r e s o u r c e m a t e r i a l s . The g r e a t m a j o r i t y o f t e a c h e r s q u i t e e m p h a t i c a l l y echo t h i s need, but are a l s o emphatic about r e t a i n i n g t h e i r freedom i n d e v e l o p i n g the C r e a t i v e W r i t i n g c u r r i c u l u m as they see f i t . The word \" d i r e c t i o n \" i n the q u e s t i o n seems t o s e t o f f n e g a t i v e v i b r a t i o n s i n most t e a c h e r s , who i n t e r p r e t the word as h a v i n g o v e r t o n e s o f p r e s c r i p t i o n and mandate r a t h e r than sugges-t i o n and g u i d a n c e . Added I n c e n t i v e Many t e a c h e r s have n o t o n l y completed the q u e s t i o n n a i r e i n d e t a i l but have a l s o added p r o f u s e comments. I t i s i m p r e s s i v e to see the c o n c e r n t h a t t h e s e t e a c h e r s have f o r d e v e l o p i n g the c o u r s e c u r r i c u l u m . A p p r e c i a t e d i s t h e i r time and energy taken t o s h a r e t h e i r c o n c e r n s . Noted a r e some o f t h e s e comments i n Appendix D because they more f u l l y r e f l e c t the s t a t e o f the C r e a t i v e W r i t i n g c o u r s e i n B r i t i s h Columbia than do the i s o l a t e d s u r v e y q u e s t i o n s . Survey C o n c l u s i o n s There i s a g r e a t d i v e r s i t y o f c u r r i c u l a o f f e r e d t h r o u g h -o u t the p r o v i n c e . Some c l a s s e s t e n d to be v e r y s t r u c t u r e d , w i t h y e a r l o n g r e a d i n g l i s t s , p r e s c r i b e d c l a s s a s s i g n m e n t s , and emphasis 38 on grammar, mechanics and form. O t h e r c l a s s e s t e n d to be more l o o s e l y o r g a n i z e d , where s t u d e n t s f o l l o w t h e i r own b e n t , and to c o i n an o l d c l i c h e , 'do t h e i r own t h i n g , ' and the t e a c h e r i s con-c e r n e d o n l y t h a t some p r o c e s s i s o c c u r r i n g i n the s t u d e n t ' s head even i f i t n e v e r g e t s to paper. T h i s i s n o t even to mention the c o u r s e s t h a t a re t a u g h t under the t i t l e o f W r i t i n g 11, but t h a t b e a r no resemblance to i t whatsoever. W r i t i n g 11 cannot be d e s c r i b e d , p r o v i n c i a l l y , i n terms o f e i t h e r an e x p e c t e d p r o d u c t , o r even an e x p e c t e d p r o c e s s . There a re no departmental expec-t a t i o n s t o speak o f , and the d i v e r s i t y o f C r e a t i v e W r i t i n g c u r r i c u l a r e f l e c t s t h i s s t a t e . Some t e a c h e r s a re c o n f i d e n t t h e i r approach i s e f f e c t i v e , to the p o i n t o f b e i n g exemplary, w h i l e o t h e r s would welcome any s u g g e s t i o n whatsoever. However, a l l agree t h a t r e l e v a n t r e s o u r c e s a r e d r a s t i c a l l y needed. The s t u d e n t s a r e w r i t e r s and need w r i t e r s ' r e s o u r c e s . Many t e a c h e r s are o v e r f l o w i n g w i t h i d e a s , and see a g r e a t demand f o r s p e c i a l B.C. E n g l i s h T e a c h e r s ' A s s o c i a t i o n workshops where C r e a t i v e W r i t i n g t e a c h e r s can exchange i d e a s and l e a r n from w r i t e r s and p u b l i s h e r s t h e m s e l v e s . T h i s s u r v e y cannot h e l p but b r i n g t o the f o r e the co n c e r n t h a t the m a j o r i t y o f C r e a t i v e W r i t i n g t e a c h e r s are not q u a l i f i e d to t e a c h the c o u r s e . What does such q u a l i f i c a t i o n c o n s i s t o f ? Courses from a U n i v e r s i t y Department o f C r e a t i v e - W r i t i n g ? Courses i n methodology from a U n i v e r s i t y F a c u l t y o f E d u c a t i o n ? Simply b e i n g a 39 w r i t e r ? S u g g e s t i o n : a t l e a s t the l a t t e r two s h o u l d be the n e c e s s a r y p r e - r e q u i s i t e s f o r t e a c h i n g C r e a t i v e W r i t i n g . The E d u c a t i o n F a c u l t i e s . c e r t a i n l y s h o u l d augment t h e i r c o u r s e o f f e r -i n g s to i n c l u d e a C r e a t i v e W r i t i n g methods c o u r s e . C r e a t i v e W r i t i n g i s d i s t i n c t from E n g l i s h 11 and 12 i s s u f f i c i e n t l y d i s t i n c t and needs to be approached w i t h a unique t r a i n i n g and a unique mind s e t . 40 CHAPTER 4 CURRICULUM DEVELOPMENT GUIDELINES: VICTORIA, IT'S TIME The W r i t i n g 11 C u r r i c u l u m Guide, C r e a t i v e W r i t i n g o p t i o n , though p h i l o s o p h i c a l l y 'on t r a c k , ' i s s k e t c h y and l a c k i n g i n the c o n c r e t e guidance t h a t C r e a t i v e W r i t i n g t e a c h e r s need when d e v e l o p -i n g t h e i r c u r r i c u l a . The Foreward t o the Guide s t a t e s : A t t e n t i o n i s a l s o drawn to the f a c t t h a t h i s guide i s b e i n g p r i n t e d i n i n t e r i m form t o a l l o w f o r m o d i f i c a -t i o n s i n the l i g h t o f e x p e r i e n c e w i t h the c o u r s e . [p. U T h i s t h r e e page ' i n t e r i m form' was p u b l i s h e d i n 1970. I t i s 1977 now, due time f o r some u p d a t i n g and augmenting to get underway. The b a s i c p h i l o s o p h y e v i d e n t i n the i n t e r i m Guide i s sound. The a u t h o r s r e c o g n i z e the importance o f the s t u d e n t \" u s i n g h i s own l i f e and e x p e r i e n c e as a most v a l i d s o u r c e o f w r i t i n g m a t e r i a l f o r him.\"[p. 7] The Guide a l s o s t a t e s t h a t s t u d e n t s s h o u l d \"be g i v e n e v e r y o p p o r t u n i t y t o p r a c t i c e and w r i t e i n the genre o f t h e i r c h o i c e \" [p. 9] and the o p p o r t u n i t y t o p u b l i s h t h e i r works i n some form. The i n s t r u c t i o n a l methodology recommended \" s h o u l d be as f r e e and u n s t r u c t u r e d as p o s s i b l e \" [p. 8] w i t h s p e c i a l c o n s i d e r a t i o n g i v e n to the number o f s t u d e n t s a c c e p t e d i n t o the c o u r s e . T e a c h e r s c o n c u r w i t h t h e s e g u i d e l i n e s , but a r e ^ q u i c k 41 p o i n t out the b r e v i t y o f the e x p l a n a t i o n s and s u g g e s t i o n s . Even the p r e s c r i b e d t e x t b o o k s are o f l i t t l e v a l u e to the C r e a t i v e W r i t i n g t e a c h e r w i t h r e s p e c t to c u r r i c u l u m development. The W r i t e r s a t Work s e r i e s and E a r l e B i r n e y ' s The C r e a t i v e W r i t e r c o n s t i t u t e i n t e r e s t i n g and i n f o r m a t i v e r e a d i n g f o r the t e a c h e r as w e l l as f o r the s t u d e n t , but a r e o n l y m i n i m a l l y b e n e f i c i a l i n terms o f a c t u a l p r a c t i c a l s u g g e s t i o n s f o r d e v e l o p i n g a h i g h s c h o o l C r e a t i v e W r i t i n g c o u r s e . The r e m a i n i n g p r e s c r i b e d t e x t b o o k s f o r s t u d e n t use gen-e r a l l y miss the mark by some d i s t a n c e , and c o n s e q u e n t l y are seldom used. The W r i t e r ' s Eye and S t o p , Look & W r i t e a r e both aimed a t s t u d e n t o b s e r v a t i o n p r a c t i c e but are poor s u b s t i t u t e s f o r r e a l -l i f e o b s e r v a t i o n . The o t h e r t e x t s (The Technique o f C l e a r W r i t i n g and W r i t e r s Guide and Index t o E n g l i s h ) which p u r p o r t to t e a c h the r u l e s o f model w r i t i n g , do j u s t t h a t . C r e a t i v e W r i t i n g i s not a c l a s s i n s t a n d a r d c o m p o s i t i o n 'do's' and 'don'ts.' Though a t times the t e a c h e r may need a c c e s s t o a summary o f t h e s e r u l e s , i t i s h i g h l y u n l i k e l y t h a t a s t u d e n t would s e a r c h out any i n f o r m a -t i o n i n such a book. The Elements o f S t y l e , i n t e n d e d f o r use as a s t u d e n t handbook, would be v a l u a b l e i f s t u d e n t s would r e f e r t o i t . T h i s book i s noteworthy f o r i t s b r e v i t y and c o n c i s e n e s s . U n d e r s t a n d i n g F i c t i o n i s a t y p i c a l l i t e r a r y a n a l y s i s o f the s h o r t s t o r y , which i s o f l i t t l e v a l u e to a C r e a t i v e W r i t i n g s t u d e n t . W r i t i n g and a n a l y s i s a r e two v e r y d i f f e r e n t s k i l l s . W r i t i n g i s a s y n t h e s i z i n g a c t i v i t y . I t i s no wonder t h a t t h e s e books seldom l e a v e the c l a s s r o o m s h e l v e s . 42 The p r e s c r i b e d t e x t b o o k l i s t s h o u l d i n c l u d e p u b l i c a t i o n s t h a t a r e v a l u a b l e t o the t e a c h e r i n d e v e l o p i n g h i s c o u r s e c u r r i c u -lum, and p u b l i c a t i o n s t h a t a re v a l u a b l e t o the s t u d e n t i n h e l p i n g him f u r t h e r h i s w r i t i n g c r a f t . The t e a c h e r needs a book much l i k e the l a s t c h a p t e r o f t h i s t h e s i s , a c t u a l p r a c t i c a l s u g g e s t i o n s r e l e v a n t t o the t a s k a t hand. The s t u d e n t s ' needs a r e d i v e r s e . N e i t h e r c o m p o s i t i o n t e x t s , nor the 'You, t o o , can be a W r i t e r i n 10 Easy S t e p s ' p u b l i c a t i o n s a r e what s t u d e n t s need. Numerous s u b s c r i p t i o n s t o contemporary magazines a r e c r u c i a l . P u b l i c a t i o n o f i n t e r v i e w s w i t h w r i t e r s who a r e p r e s e n t l y p u b l i s h i n g and w i t h whom the s t u d e n t s can i d e n t i f y i s mandatory [ W r i t e r s a t Work i s a good model, but n o t contemporary enough.] M a n u s c r i p t p r e p a r a t i o n and p u b l i c a t i o n i n f o r m a t i o n i s a l s o i m p o r t a n t . Each s t u d e n t s h o u l d a l s o be i s s u e d a d i c t i o n a r y and a t h e s a u r u s . S p e c i f i c t i t l e s o f i n v a l u a b l e books a r e r e c o r d e d i n C h a p t e r 6. In view o f t h i s e x a m i n a t i o n o f the i n t e r i m C u r r i c u l u m Guide and the p r e s c r i b e d t e x t b o o k s , t h e r e i s much work t o be done i n V i c t o r i a . The s u c c e s s f u l C r e a t i v e W r i t i n g c l a s s e s i n B r i t i s h Columbia a r e p r e d o m i n a n t l y a p r o d u c t o f t e a c h e r s t h a t who, w h i l e f r a n t i c a l l y g r o p i n g about i n the dark, stumbled upon some r e l e v a n t m a t e r i a l s and have combined t h i s i n f o r m a t i o n w i t h t h e i r own i n t u i t i o n and w r i t e r ' s sense . In a l l c o r n e r s o f B r i t i s h Columbia t h i s g r o p i n g i s b e i n g r e p e a t e d . The C r e a t i v e W r i t i n g c o u r s e needs some s p e c i f i c a t t e n t i o n v e r y soon. The p r e s c r i b e d t e x t b o o k l i s t needs to be t o t a l l y revamped. C u r r i c u l u m g u i d e l i n e s are needed, though not i n the format o f p r e s c r i b e d c u r r i c u l u m , but i n the for m a t o f p r a c t i c a l s u g g e s t i o n s and r e s e a r c h - b a s e d p h i l o s o p h y , t h a t the i n d i v i d u a l t e a c h e r can c o n s i d e r when d e v e l o p i n g h i s p a r t i c u l a r c u r r i c u l u m . 44 CHAPTER 5 STUDIES IN CREATIVITY: IMPLICATIONS FOR CURRICULUM DEVELOPMENT Contemporary s t u d i e s i n c r e a t i v i t y i n c r e a s e the u n d e r s t a n d -i n g o f the c r e a t i v e p r o c e s s , the p e r s o n a l i t y o f the c r e a t i v e p e r s o n , and the n a t u r e o f the mental a b i l i t i e s i n v o l v e d i n c r e a t i v e b e h a v i o u r . C o n s e q u e n t l y i t becomes e v i d e n t t h a t c r e a t i v e s t u d e n t s have needs which a r e g r e a t l y i n f l u e n c e d by d e f i n i t e f a c t o r s which i n h i b i t c r e a t i v e b e h a v i o u r , and c o n v e r s e l y , methodology which f a c i l i t a t e s c r e a t i v e b e h a v i o u r . C r e a t i v i t y s t u d i e s n o t o n l y have i m p l i c a t i o n s f o r t a l e n t e d c r e a t i v e s t u d e n t s ; t h e y have i m p l i c a t i o n s f o r 'average' s t u d e n t s who are t o y i n g w i t h t h e i r c r e a t i v i t y . However, the more c r e a t i v e a s t u d e n t i s , the more c o m p e l l i n g h i s needs and t h e more s i g n i f i c a n t l y the s t u d i e s a p p l y . A l t h o u g h s t u d i e s o f c r e a t i v i t y p u r p o r t to p r e c i p i t a t e u n i v e r s a l t r u t h s , i t i s mandatory t o keep i n mind t h a t t h e r e are g r e a t i n d i v i d u a l d i f f e r e n c e s i n p e r s o n a l i t y , c r e a t i v e p r o c e s s , and needs. C o n s e q u e n t l y , a l l g e n e r a l i z e d d e s c r i p t i o n s must not be r e -graded as p r o f i l e s o r e x c l u s i v e ways o f l e a r n i n g f o r a l l c r e a t i v e s t u d e n t s - - n o r f o r any i n d i v i d u a l s t u d e n t . However, a few g e n e r a l bases upon which i n d i v i d u a l i z a t i o n can be worked, a r e most h e l p f u l . D e v e l o p i n g c r e a t i v i t y r e q u i r e s l e a r n i n g a c t i v i t i e s which r e i n f o r c e the many ty p e s o f c r e a t i v e a b i l i t i e s . In a d d i t i o n to the a b i l i t i e s o f r e c o g n i t i o n , memory, and l o g i c a l r e a s o n i n g (--the a b i l i t i e s f r e q u e n t l y a s s e s s e d by t r a d i t i o n a l i n t e l l i g e n c e t e s t s and measures o f s c h o l a s t i c a p t i t u d e ) , d e v e l o p i n g c r e a t i v i t y r e q u i r e s 45 a t t e n t i o n t o such a b i l i t i e s as c u r i o s i t y , e v a l u a t i o n ( s e n s i t i v i t y to problems, i n c o n s i s t e n c i e s and and m i s s i n g e l e m e n t s ) , d i v e r g e n t p r o -d u c t i o n ( e . g . , f l u e n c y , f l e x i b i l i t y , o r i g i n a l i t y , and e l a b o r a t i o n ) , and r e d e f i n i t i o n . Each o f t h e s e a b i l i t i e s i s viewed by G u i l d f o r d , T o r r a n c e and s i g n i f i c a n t o t h e r s as a s e p a r a t e t h i n k i n g s k i l l . (With these, s k i l l s i n mind i t i s e v i d e n t why i t i s o f t e n s a i d t h a t a c r e a t i v e p e r s o n i s u s u a l l y ' i n t e l l i g e n t 1 but t h a t an i n t e l l i g e n t p e r s o n i s not n e c e s s a r i l y ' c r e a t i v e ' ) . A prime goal i s to have t e a c h e r s i n v o l v e d i n c r e a t i v i t y (be i t music, w r i t i n g o r d r e s s - d e s i g n ) knowing t h e s e s k i l l s , so as t o have much more d e f i n i t e o b j e c t i v e s a t which t o have t h e i r s t u d e n t s aim. G u i l d f o r d , i n p a r t i c u l a r , contends t h a t an awareness o f t h e s e c r e a t i v e a b i l i t i e s g i v e s the t e a c h e r f a r b e t t e r g u i dance than the t r a d i t i o n a l , s t i m u l u s - r e s p o n s e models t h a t have dominated e d u c a t i o n a l p s y c h o l o g y . Stages o f C r e a t i v i t y The p r o c e s s o f both a r t i s t i c and s c i e n t i f i c c r e a t i v i t y can be p l o t t e d i n terms o f s e q u e n t i a l s t a g e s . Not a l l o f the s t a g e s a r e n e c e s s a r i l y p a r t o f e v e r y c r e a t i v e a c t ; c e r t a i n l y some c r e a t i v e a c t s a r e p a r t i c u l a r l y f o r t u i t o u s i n terms o f chance o r l u c k . I t a l s o s h o u l d be emphasized t h a t the mechanism u n d e r l y i n g the sequence i s o n l y p a r t i a l l y u n d e r s t o o d . There a r e smorgasbords o f f u r t h e r s t u d i e s i n t h i s a r e a . The r e s e r v a t i o n 46 must be r e s t a t e d c o n c e r n i n g o v e r g e n e r a l i z i n g mental s t r a t e g i e s . As H e r b e r t Fox s t a t e s i n \"A C r i t i q u e on C r e a t i v i t y i n the S c i e n c e s \" : I t would seem q u i t e a p p a r e n t t h a t t h e r e i s no one c r e a t i v e p r o c e s s , and t h e r e may w e l l be as many c r e a t i v e p r o c e s s e s as t h e r e a r e c r e a t i v e p e o p l e . [Fabun, 1968, p. 6] N e v e r t h e l e s s , knowledge o f the g e n e r a l p r o c e s s o f c r e a t i v i t y undoubtedly l e a d s t he t e a c h e r to d e v e l o p i n g a f a r more e f f e c t i v e c u r r i c u l u m i n C r e a t i v e W r i t i n g . The f i r s t s t a g e i n the c r e a t i v i t y p r o c e s s i s DESIRE. The person must, f o r some r e a s o n , want to c r e a t e . He may want t o e x p r e s s a p e r s o n a l e x p e r i e n c e , s o l v e a problem t h a t i s b o t h e r i n g him, o r make more money through the i n t r o d u c t i o n o f a new i n v e n t i o n , p r o c e s s o r t e c h n i q u e . R i c h a r d W i l b u r p h i l o s o p h i z e s about t h i s s t a g e o f d e s i r e : The need t o w r i t e a poem a r i s e s , I t h i n k , from the f e e l i n g t h a t the w o r l d i s g e t t i n g o u t o f hand, t h a t i t ' s s h a k i n g i t s e l f f r e e from t he names and v a l u e s and p a t t e r n s t h a t t he poet has p r e v i o u s l y imposed on i t . T h i s may happen f i v e minutes a f t e r you've w r i t t e n a poem. In o t h e r words, the mother o f i n v e n t i o n f o r the poet i s an i n n e r n e c e s s i t y t o r e a s s e r t h i s i m a g i n a t i v e c o n t r o l o v e r the w o r l d . A poem be g i n s w i t h a f e e l i n g o f inadequacy. [Kaufman and Powers, ed., 1970, p. 304] Whatever the r e a s o n , c r e a t i v i t y s t a r t s w i t h m o t i v a t i o n . The second s t a g e i s PREPARATION. Both r e l e v a n t and i r r e l e v a n t i n f o r m a t i o n a r e g a t h e r e d . Whether through the d e v i c e s 47 o f r e s e a r c h , e x p e r i m e n t a t i o n o r exposure to e x p e r i e n c e , t h i s s t a g e i s a n a l y t i c a l , c o n c e r n e d w i t h making the s t r a n g e f a m i l i a r . The j o u r n a l , d i s c u s s e d l a t e r i n d e t a i l , i s an i n v a l u a b l e d e v i c e f o r i n f o r m a t i o n g a t h e r i n g . The t h i r d s t a g e i s MANIPULATION. Once a l l the m a t e r i a l has been amassed, i n h i s mind, on s c r a p s o f paper, o r on a workbench, the c r e a t i v e person becomes i n v o l v e d i n t r y i n g t o f i n d a new p a t t e r n by m a n i p u l a t i n g the i n f o r m a t i o n i n many d i f f e r e n t ways. The goal i s to make the f a m i l i a r s t r a n g e . The f o u r t h s t a g e o f INCUBATION i n v o l v e s an outward abandonment o f the c r e a t i v e t a s k . The w r i t e r drops h i s novel and goes on to something e l s e . Yet, f o r reasons not f u l l y u n d e r s t o o d , the s u b c o n s c i o u s c o n t i n u e s t o dwell on the t a s k , w r e s t l i n g w i t h the problems i n v o l v e d w i t h i t s e x p r e s s i o n . R i c h a r d W i l b u r d e s c r i b e s h i s e x p e r i e n c e o f the i n c u b a t i o n s t a g e o f c r e a t i v i t y : The i n c u b a t i o n p e r i o d o f a poem may be s h o r t o r l o n g , but f o r me i t i n v o l v e s f i r s t a r e t r e a t from l a n g u a g e , the c u l t i v a t i o n o f a s t a t e o f a p p a r e n t s t u p i d i t y . D uring t h i s time the mind r e t r e a t s as f a r as p o s s i b l e i n t o a p r e v e r b a l c o n d i t i o n , and moves around among i t s fundamental images: b r i g h t n e s s , d a r k n e s s , f a l l i n g , r i s i n g , t h a t k i n d o f t h i n g . I suppose the c o n d i t i o n i s one which y o u r mind d e l i b e r -a t e l y r e f u s e s to r e l a t e the p o t e n t i a l elements o f a poem i n any f i n a l o r f u l l y c o n s c i o u s way. They shake around a t the bottom o f the mind as b i t s o f c o l o r i n a k a l e i d o s c o p e , and you c o n s c i o u s l y a v o i d any d e c i s i o n as t o what p a t t e r n s they might t a k e . A l l the w h i l e , f o c o u r s e , the l e s s c o n s c i o u s p o r t i o n o f the mind i s making f l u i d e x p eriments i n p a t t e r n , t r y i n g on t h i s and t h a t , though you don't know i t . [Kaufman and Powers, ed., 1970, pp. 304-5] The i m p l i c a t i o n s f o r the t e a c h e r o f c r e a t i v e b e h a v i o u r a r e p a r a -mount. The s t a g e o f i n c u b a t i o n i s a p e r i o d o f a p p a r e n t s t u p i d i t y and a i m l e s s n e s s , and i t may c o n t i n u e f o r days o r weeks. Stu d e n t s a r e o f t e n j u s t as b e w i l d e r e d and f r u s t r a t e d by the c h a r a c t e r i s t i c s o f t h i s s t a g e , as i s the n a i v e t e a c h e r . S t u d e n t s need to u n d e r s t a n d t h a t 'The Muse' has not f o r s a k e n them, but has o n l y gone underground t e m p o r a r i l y . T e a c h e r u r g i n g s t o 'produce'and rooms f u l l o f s i g n s r e a d i n g ' t h i n k ' a r e , a t b e s t , a n n o y i n g and u s e l e s s a t t h i s p o i n t . U n d e r s t a n d i n g and time ( t o l e t the mind be f r e e ) i s o f the e s s e n c e . The f i f t h s t a g e o f INTIMATION i s o f t e n i n c l u d e d as the wind-up o f the I n c u b a t i o n s t a g e , because o f i t s f l e e t i n g and l u s t r e l e s s n a t u r e . T h i s s t a g e s i m p l y l a b e l s the p r e m o n i t i o n t h a t the c r e a t i v e a c t i s about t o o c c u r . To quote from W i l b u r ' s d e s c r i p t i o n a g a i n : A t t h i s s t a g e i n the coming o f a poem I haven't any i d e a as t o what the p a r a p h r a s a b l e c o n t e n t o f the poem i s going t o be when i t c o m e s - - i t s p r o s e meaning. I don't know what the poem i s g o i n g t o 'say'. A t most I ' l l have some i d e a as to the mood o f the poem, i t s p r o b a b l e s i z e , i t s p r o b a b l e scope, the e x t e n t t o which i t ' s going t o r a m i f y . The poem doe s n ' t b e g i n w i t h a meaning, i t works towards m e a n i n g - - i t f i n d s out what i t ' s about. Only when you w r i t e the poem do you f i n d o u t what i t has t o say. A f t e r a l l , t h i s i s n ' t d i s r e p u t a b l e . A poem i s , as one o f the p r e v i o u s s p e a k e r s s a i d , more than i t means, more than the sum o f i t s p a r t s . I t i s the t o t a l p a t t e r n o f the poem, the p r e s e n t a t i o n o f a s t a t e o f p s y c h i c harmony, the whole s o u l i n a c t i o n , to which we respond. [Kaufman and Powers, ed., 1970, p. 305] 49 The s i x t h s t a g e o f ILLUMINATION i s the d r a m a t i c and much r o m a n t i c i z e d s t a g e i n the c r e a t i o n p r o c e s s , and a l l too o f t e n the o n l y s t a g e t h a t w i s h f u l c r e a t o r s - t o - b e r e c o g n i z e . ' C r e a t i v i t y ' and the s t a g e o f ' I l l u m i n a t i o n ' a r e f a r too o f t e n m i s t a k e n l y taken f o r b e i n g synonymous by those l a c k i n g i n fundamental knowledge. O f t e n the e x p e r i e n c e o f I l l u m i n a t i o n i s d e s c r i b e d as a ' f l a s h , ' 'an i n s i g h t 1 o r 'a sudden awakening.' C o n s i d e r the f o l l o w i n g attempts t o d e s c r i b e t h i s s t a g e : DR. ELLIOTT DUNLAP SMITH, s a i d , \" I f the knowledge o f the i n v e n t o r and the c l u e s which w i l l b r i n g the i n v e n t i o n i n t o b e i n g have brought n e a r l y i n t o p o s i t i o n to p r o v i d e the i n v e n t i v e i n s i g h t , h i s i n n e r t e n s i o n w i l l be s t r o n g . . . . As he nears h i s goal he w i l l become i n c r e a s i n g l y e x c i t e d . . . . I t i s no wonder t h a t t h e sudden r e l e a s e o f such i n n e r t e n s i o n i s o f t e n d e s c r i b e d as a ' f l a s h ' . \" Sometimes I s t a r t w i t h a s e t s u b j e c t ; o r to s o l v e , i n a b l o c k o f s t o n e . . . a s c u l p t u r a l problem I've g i v e n my-s e l f , and then c o n s c i o u s l y attempt t o b u i l d an o r d e r l y r e l a t i o n s h i p o f forms, which s h a l l e x p r e s s my i d e a . But i f the work i s t o be more than j u s t s c u l p t u r a l e x e r c i s e , u n e x p l a i n a b l e jumps i n the p r o c e s s o f thought o c c u r ; and the i m a g i n a t i o n p l a y s i t s p a r t . HENRY MOORE \"Notes on Sculpture\" FRIEDRICH WILHELM NIETZSCHE s a i d , \"The n o t i o n o f r e l e v a t i o n d e s c r i b e s the c o n d i t i o n s q u i t e s i m p l y ; by which I mean t h a t something p r o f o u n d l y c o n v u l s i v e and d i s t u r b i n g s u d d e n l y becomes v i s i b l e and a u d i b l e . . . . One h e a r s \u00E2\u0080\u0094 o n e does not seek, one takes--one does not ask who g i v e s : a tho u g h t f l a s h e s o u t l i k e l i g h t n i n g . \" (In \"Ecce Homo\") I t i s t o me the most e x c i t i n g moment\u00E2\u0080\u0094when you have a bl a n k canvas and a b i g brush f u l l o f wet c o l o r , and you plunge. I t i s j u s t l i k e d i v i n g i n t o a p o n d \u00E2\u0080\u0094 t h e n you s t a r t t o swim. . . . Once the i n s t i n c t and i n t u i t i o n get i n t o the brush t i p , the p i c t u r e happens, i f i t i s to be a p i c t u r e a t a l l . D.H. LAWRENCE \"Making Pictures\" 50 I have no i d e a whence t h i s t i d e comes, o r where i t goes, but when i t b e g i n s to r i s e i n my h e a r t , I know t h a t a s t o r y i s i n the o f f i n g . DOROTHY CANFIELD \"How Fling and Five Started and Grew from .Americans All\" [Fabun, 1968, p. 9] I t i s no s u r p r i s e t h a t the s t a g e i s o f t e n c a s u a l l y r e f e r r e d t o as the 'A-HA,1 'Eureka' o r ' L i g h t - B u l b ' E x p e r i e n c e . The r a d i a n c e on the s t u d e n t ' s f a c e and h i s t o t a l e n t h r a l I m e n t w i t h h i s c r e a t i v e t a s k q u i c k l y r e v e a l a mind e n j o y i n g i l l u m i n a t i o n . In the f i n a l s t a g e o f VERIFICATION the c r e a t i v e t a s k i s a c c o m p l i s h e d , examined and v a l u e d . In the b e g i n n i n g o f t h i s s t a g e : . . . you have a sense t h a t the whole p a t t e r n o f i t e x i s t s p o t e n t i a l l y but s t i l l somewhat f l u i d l y i n the u n c o n s c i o u s . You don't know where y o u ' r e g o i n g , but you do know t h a t y o u ' r e g o i n g somewhere. In o t h e r words, you have an o v e r r i d i n g p r e m o n i t i o n t h a t the poem i s going t o take shape. The w r i t i n g o f the poem i s a m a t t e r o f making moment-by-moment c h o i c e s among p o s s i b i l i t i e s proposed by the u n c o n s c i o u s . As B a u d e l a i r e s a i d , i n the p r o c e s s o f w r i t i n g a poem the p o e t must be h y p n o t i s t and s u b j e c t a t once. T h i s i s a very t i c k l i s h b u s i n e s s . You have t o g i v e the u n c o n s c i o u s f r e e p l a y , and a t the same time shape the p r o p o s a l s o f the u n c o n s c i o u s i n t o something t h a t makes d a y l i g h t sense. You have t o be s e r i o u s and l o g i c a l w i t h p a r t o f y o u r b e i n g but p l a y f u l and spontaneous w i t h a n o t h e r p a r t o f y o u r b e i n g . [Kaufman and Powers, ed., 1970, p. 305] The c r e a t i v e work once a c c o m p l i s h e d , i s c r i t i c a l l y re-examined and re-examined. A poem may be r e w r i t t e n and r e v i s e d s e v e r a l t i m e s , u n t i l i t s v a l u e i s e v i d e n t , e i t h e r by b e i n g p e r s o n a l l y s a t i s f y i n g t o the a u t h o r , o r by b e i n g demanded by the p u b l i c i n p r i n t . A r e c i p e o r even a mathematical f o r m u l a must be examined s e v e r a l times and u l t i m a t e l y t e s t e d . In the f i n a l s t a g e s o f v e r i f i c a t i o n the s t u d e n t needs much t e a c h e r s u p p o r t . R e v i s i n g and r e w o r k i n g f o r p e r f e c t i o n can be b o r i n g , r e q u i r i n g much s e l f - d i s c i p l i n e . And a f t e r the e n t i r e c r e a t i v e p r o c e s s i s complete, the s t u d e n t must be ready t o r e a l i z e t h a t h i s c r e a t i o n may not be v a l u e d by o t h e r s . The t e a c h e r ' s r o l e i s b l a t a n t l y o b v i o u s , y e t a l m o s t i m p o s s i b l e . T e a c h e r compassion and u n d e r s t a n d i n g i s undoubtedly the u l t i m a t e key. Both t e a c h e r and s t u d e n t need t o be f a m i l i a r w i t h t h e s e s t a g e s i n the p r o c e s s o f c r e a t i o n so as t o be more e f f e c t i v e i n t h e i r e x p e c t a t i o n s o f the c r e a t o r . Both a l s o need to remember t h a t the s t a g e s o f the c r e a t i v e p r o c e s s a r e t r u l y a s i m p l i f i c a t i o n and hence, t o a c e r t a i n e x t e n t a f a l s i f i c a t i o n . The s t a g e s a r e n o t d i s t i n c t , but b l e n d t o g e t h e r . The s e q u e n t i a l s t a g e s a r e , i n t r u t h , one c o n c u r r e n t p r o c e s s . The C r e a t i v e P e r s o n a l i t y C r e a t i v e p e o p l e s t a n d a p a r t from the crowd i n terms o f p e r s o n a l i t y , not o n l y i n d i v i d u a l l y , but a l s o as a r e l a t i v e l y homogeneous group. C r e a t i v e p e o p l e a r e n o t i c e a b l y unique. Maslow, S t o d d a r d and Fromm have made such keen o b s e r v a t i o n s : 52 I t seemed to me t h a t much b o i l e d down to the r e l a t i v e absence o f f e a r ( i n c r e a t i v e p e r s o n s ) . . . . They seemed t o be l e s s a f r a i d o f what o t h e r p e o p l e would say o r demand o r laugh a t . . . . Perhaps more i m p o r t a n t , however, was t h e i r l a c k o f f e a r o f t h e i r own i n s i d e s , o f t h e i r own i m p u l s e s , emotions, t h o u g h t s . ABRAHAM MASLOW \"Creativity in Self-Actualizing People\" To be c r e a t i v e , i n s h o r t i s t o be u n p r e d i c t a b l e ; i t i s t o be d e c i d e d l y s u s p e c t i n the w o r l d o f a f f a i r s . The c r e a t i v e a s p e c t o f l i f e i s r i g h t l y viewed as a c t i o n . Never s i m p l y c o n t e m p l a t i v e , t he c r e a t i v e a c t a t i t s h i g h e s t b r i n g s about n o t a b l e d i f f e r e n c e s i n t h i n g s , t h o u g h t s , works o f a r t and s o c i a l s t r u c t u r e s . What i s t o be changed f i g h t s back; perhaps w i t h s u c c e s s . GEORGE D. STODDARD \"Creativity in Education\" What a r e the c o n d i t i o n s o f the c r e a t i v e a t t i t u d e , o f s e e i n g and r e s p o n d i n g , o f b e i n g aware and b e i n g s e n s i t i v e to what one i s aware o f ? F i r s t o f a l l , i t r e q u i r e s the c a p a c i t y to be p u z z l e d . C h i l d r e n s t i l l have the c a p a c i t y to be p u z z l e d . . . . But once they a r e through the p r o c e s s o f e d u c a t i o n , most p e o p l e l o s e the c a p a c i t y o f wondering, o f b e i n g s u r p r i s e d . They f e e l they ought t o know e v e r y t h i n g , and hence t h a t i t i s a s i g n o f i g n o r a n c e t o be s u r p r i s e d o r p u z z l e d by a n y t h i n g . ERIC FROMM [Fabun, 1968, p. 25] The c h i l d i n the c r e a t i v e person i s ind e e d e v i d e n t ! Frank B a r r o n p r e s e n t s some i n t e r e s t i n g o b s e r v a t i o n s from h i s 1967 s t u d y o f f i f t y - s i x c r e a t i v e w r i t e r s . His c r e a t i v e w r i t e r s a r e p r o f e s s i o n a l w r i t e r s ( o f f i n e a r t s l i t e r a t u r e and a l s o more commercial works) and s t u d e n t s i n a C r e a t i v e W r i t i n g c o u r s e . Q u o t i n g from h i s paper: 53 . . . the f i v e items most c h a r a c t e r i s t i c o f the group o f 30 c r e a t i v e w r i t e r s were t h e s e : Appears t o have a h i g h degree o f i n t e l l e c t u a l c a p a c i t y . G e n u i n e l y v a l u e s i n t e l l e c t u a l and c o g n i t i v e m a t t e r s . V a l u e s own independence and autonomy. Is v e r b a l l y f l u e n t ; can e x p r e s s i d e a s w e l l . Enjoys a e s t h e t i c i m p r e s s i o n s ; i s a e s t h e t i c a l l y r e a c t i v e . The next e i g h t more c h a r a c t e r i s t i c items were: Is p r o d u c t i v e ; g e t s t h i n g s done. Is c o n c e r n e d w i t h p h i l o s o p h i c a l .problems; e.g., r e l i g i o n , t he meaning o f l i f e , e t c . Has a h i g h a s p i r a t i o n l e v e l f o r s e l f . Has a wide range o f i n t e r e s t s . T h i n k s and a s s o c i a t e s to i d e a s i n unusual ways; has u n c o n v e n t i o n a l thought p r o c e s s e s . Is an i n t e r e s t i n g , a r r e s t i n g p e r s o n . Appears s t r a i g h t f o r w a r d , c a n d i d i n d e a l i n g s w i t h o t h e r s . Behaves i n an e t h i c a l l y c o n s i s t e n t manner; i s c o n s i s t e n t w i t h own p e r s o n a l s t a n d a r d s . [Kaufman and Powers, ed., 1970, pp. 231-32] Barron goes on t o s t a t e t h a t f o r t y p e r c e n t (an u n u s u a l l y h i g h p e r -centage) o f c r e a t i v e w r i t e r s c l a i m t o have had \" e x p e r i e n c e s e i t h e r o f m y s t i c communion w i t h the u n i v e r s e o r o f f e e l i n g s o f u t t e r d e s o l a t i o n and h o r r o r . \" The n a t u r e o f man i n r e l a t i o n t o the u n i v e r s e seems t o be o f paramount c o n c e r n t o them. He con-c l u d e s t h a t c r e a t i v e w r i t e r s a r e d e d i c a t e d t o the q u e s t f o r u l t i m a t e meaning. They u n d e r s t a n d themselves t o be e l e c t e d t o t a c k l e t h i s t a s k , and have a c c e p t e d the o f f i c e . C r e a t i v e w r i t e r s a r e c o m p e l l e d t o l i s t e n to the v o i c e w i t h i n and speak o u t the the t r u t h . T h i s t r u t h need not be everyone o r even anyone e l s e ' s t r u t h ; s t i l l the c r e a t i v e person f e e l s d r i v e n t o s h a r e i t . 54 Less c r e a t i v e , more c o n v e n t i o n a l p e o p l e a l s o have non-c o n f o r m i n g , even i r r a t i o n a l i d e a s , but condemn them and h i d e them b e f o r e they o r anyone e l s e can examine them. A t times such c o n v e n t i o n a l p e o p l e l o s e t h e i r i n h i b i t i o n s and r e l e a s e c o n t r o l , o f t e n even s h a r i n g t h e i r 'weird' i d e a s , when dreaming, day-dreaming, d r i n k i n g , t a k i n g drugs and going i n s a n e . The t e a c h e r can c e r t a i n l y a i d c r e a t i v i t y development by b e i n g s u p p o r t i v e o f s t u d e n t s ' d i v e r g e n t i d e a s , e n c o u r a g i n g them t o suspend judgement, p r i m a r i l y by d o i n g so h i m s e l f . B a r r o n ' s s t u d y s i n g l e s o u t the s t u d e n t w r i t e r s , d i s -c o v e r i n g t h a t e s s e n t i a l d i f f e r e n c e s e x i s t between the s t u d e n t s and the p r o f e s s i o n a l s : The s t u d e n t w r i t e r s , as p e r c e i v e d by the assessment s t a f f , d i f f e r e d from t h e s e mature c r e a t i v e w r i t e r s i n s e v e r a l i m p o r t a n t r e s p e c t s . For them, the second most c h a r a c t e r i s t i c i tem was: 'Concerned w i t h own adequacy as a p e r s o n , e i t h e r a t c o n s c i o u s o r u n c o n s c i o u s l e v e l s . ' A l s o , h i g h l y c h a r a c t e r i s t i c were t h e s e i t e m s : 'Is b a s i c a l l y a n x i o u s ' ; 'has f l u c t u a t i n g moods'; 'engages i n p e r s o n a l f a n t a s y and daydreams, f i c t i o n a l s p e c u l a t i o n s . ' [Kaufman and Powers, ed., 1970, p. 232] These r e s u l t s a r e somewhat e x p l a i n e d by the young ages, and the-accompany-i n g e g o - i d e n t i t y c o n c e r n s , o f the s t u d e n t s . But B a r r o n goes so f a r as t o s u g g e s t t h a t \" f o r them w r i t i n g was much more a form o f s e l f -'therapy, o r a t l e a s t an attempt a t working out t h e i r problems t h r o u g h d i s p l a c e m e n t and s u b s t i t u t i o n i n a s o c i a l l y a c c e p t a b l e form o f f a n t a s y . \" Such s e l f - t h e r a p y i s not to be s q u e l c h e d u n m e r c i f u l l y a t a l l , y e t s t u d e n t s o f t h i s bent s h o u l d be made t o r e a l i z e t h e i r s i t u a t i o n s . T h i s i s d e f i n i t e l y not to presume the t e a c h e r t o p l a y p s y c h o l o g i s t . The t e m p t a t i o n i s g r e a t to push two c h a i r s t o g e t h e r and ask the s t u d e n t t o r e c l i n e and r e c a l l h i s c h i l d h o o d , but t e a c h e r beware. Have the s t u d e n t l i m i t h i s s e l f - t h e r a p y t o h i s j o u r n a l , and g e t on w i t h the C r e a t i v e W r i t i n g t h a t can become noted i n p r o f e s s i o n a l c i r c l e s . C r e a t i v i t y Needs the c r e a t i v e person has d e f i n i t e needs upon which any c u r r i c u l u m d e a l i n g w i t h c r e a t i v i t y s h o u l d be based. C r e a t i v e W r i t i n g C u r r i c u l a must take note. One o f the most compel 1ing needs o f c r e a t i v e s t u d e n t s i s the need f o r c u r i o s i t y . The c r e a t i v e person i s p e r s i s t e n t about a s k i n g q u e s t i o n s about t h i n g s t h a t p u z z l e him. He i s a t t r a c t e d t o the p u z z l i n g , the unknown, the b i z a r r e , and conse-q u e n t l y h i s q u e s t i o n s can be e m b a r r a s s i n g . T o r r a n c e ' s r e s e a r c h s t u d y c o n c e r n e d w i t h h a v i n g t e a c h e r s and p a r e n t s r a t e the d e s i r a b i l i t y and u n d e s i r a b i l i t y o f c h a r a c t e r i s t i c s o f c r e a t i v e s t u d e n t s , c o n s i s t e n t l y showed the p a r t i c u l a r c h a r a c t e r i s t i c \"Always a s k i n g q u e s t i o n s \" as r a n k i n g u n i f o r m l y low. I t i s i n t e r e s t i n g t o note t h a t when E i n s t e i n was asked t o drop out o f s c h o o l , h i s t e a c h e r had kept a p o r t f o l i o on him which i n c l u d e d a c o m p i l a t i o n o f h i s e m b a r r a s s i n g q u e s t i o n s : \"Why 56 c a n ' t we f e e l the e a r t h move?\" What i s space?\" \"What keeps the w o r l d from f l y i n g i n t o p i e c e s as i t s p i n s around?\" The t e a c h e r c o u l d n ' t answer h i s q u e s t i o n s and l a b e l l e d E i n s t e i n a bad i n f l u e n c e on the r e s t o f the s t u d e n t s , a c c u s i n g him o f c a u s i n g them t o l o s e r e s p e c t f o r the t e a c h e r . An i s o l a t e d i n c i d e n t ? H a r d l y ! There i s no reason why a t e a c h e r s h o u l d f e e l t h r e a t e n e d by q u e s t i o n s t h a t he cannot answer. The knowledge t h a t the c r e a t i v e c h i l d has t h e s e demanding needs, i s b e n e f i c i a l i n d e a l i n g r a t i o n a l l y w i t h them. The development o f a s t u d e n t ' s c r e a t i v e p o t e n t i a l does depend, t o a l a r g e e x t e n t , upon the way h i s needs f o r c u r i o s i t y a r e t r e a t e d . A n o t h e r o v e r t need, i s o l a t e d by T o r r a n c e i n 1968, i s t he need t o meet c h a l l e n g e and t o attempt d i f f i c u l t t a s k s . There i s a s t r o n g tendency towards s t r e s s - s e e k i n g i n t e s t i n g the l i m i t s o f one's a b i l i t i e s . T o r r a n c e ' s s t u d y o f c h a r a c t e r i s t i c s a l s o ranks \" p r e f e r e n c e f o r complex t a s k s \" and \" a t t e m p t i n g d i f f i c u l t t a s k s as r a t h e r u n d e s i r a b l e . O f t e n t i m e s t h e d i f f i c u l t t a s k s t h a t c r e a t i v e p e o p l e embrace may become downright dangerous. W i l b u r and O r v i l l e W r i g h t c o n t i n u a l l y t e s t e d t h e i r l i m i t s i n a box k i t e which more than once wrapped i t s e l f and them around a t r e e . Pen and paper do not i m m e d i a t e l y p r e s e n t themselves as l i f e - t h r e a t e n i n g e n t i t i e s , but one need o n l y t h i n k o f the p o l i t i c a l e x i l e o f A l e k s a n d r I. S o l z h e n i t s y n t o see t h a t C r e a t i v e W r i t i n g can have dangerous l i m i t s , as w e l l . The t e a c h e r s ' r o l e can o n l y be t o g i v e a l e r t and s e n s i t i v e guidance which w i l l a s s i s t the c r e a t o r i n h i s l i m i t - t e s t i n g endeavour. He c e r t a i n l y s h o u l d n o t attempt t o thwart the endeavour, as t e a c h e r s and p a r e n t s a r e wont t o do, e n c o u r a g i n g t h a t which i s s a f e and p r e d i c t a b l e , but l i f e l e s s and b o r i n g t o a c r e a t o r . A n o t h e r , c o m p e l l i n g need, and one t h a t many p e o p l e have d i f f i c u l t y u n d e r s t a n d i n g , i s the need t o g i v e o n e s e l f c o m p l e t e l y t o a t a s k and t o become f u l l y a bsorbed i n i t . The c r e a t i v e person o f t e n i s so p r e o c c u p i e d w i t h the t a s k a t hand t h a t he may seem i n a t t e n t i v e and absentminded. N e e d l e s s t o s a y , n a i v e t e a c h e r s and p a r e n t s f i n d t h i s b e h a v i o u r annoying a t b e s t , and f i n d themselves f o r b i d d i n g the n u i s a n c e a c t i v i t i e s . Once a g a i n , s i m p l y u n d e r s t a n d i n g the c r e a t i v e need f o r complete submersion i n a t a s k makes a l l the d i f f e r e n c e . M o n t e s s o r i ' s methods emphasize t h i s d r i v i n g need. She i n s i s t s t h a t s t u d e n t s a b s o r b e d i n a t a s k be l e f t u n i n t e r r u p t e d r a t h e r than r u s h i n g them o f f t o a d i f f e r e n t l e a r n i n g t a s k , p r e v i o u s l y s c h e d u l e d . She s t a t e s : He who i n t e r r u p t s the c h i l d r e n i n t h e i r o c c u p a t i o n s i n o r d e r t o make them t o l e a r n some p r e d e t e r m i n e d t h i n g ; he who makes them cease the s t u d y o f a r i t h m e t i c t o pass on t o t h a t o f geography and the l i k e , t h i n k -i n g i t i s i m p o r t a n t t o d i r e c t t h e i r c u l t u r e , c o n f u s e s the means w i t h the end and d e s t r o y s the man f o r a v a n i t y ' [ M o n t e s s o r i , 1917, p. 180] 58 T e a c h e r s , e s p e c i a l l y o f C r e a t i v e W r i t i n g , need to be s u r e to a l l o w f o r such i n d i v i d u a l p r e o c c u p a t i o n i n the day-to-day c u r r i c u l u m . The c r e a t i v e person has a need to be honest and to s e a r c h f o r the t r u t h . Genuine c r e a t i v e achievement r e q u i r e s t h a t a p e r s o n make an independent judgement and then have the courage to s t i c k to h i s c o n v i c t i o n s , and work to t h e i r l o g i c a l c o n c l u s i o n s . The c r e a t o r may have to stand a l o n e , b u t the l i f e l o n g s e a r c h f o r the t r u t h i s a need o f u l t i m a t e i m p o r t . The c r e a t i v e s t u d e n t a l s o has a need to be d i f f e r e n t , to be an i n d i v i d u a l . T o r r a n c e i s q u i c k to p o i n t o u t t h a t t h i s i s not f o r the sake o f b e i n g d i f f e r e n t , but r a t h e r t h a t t h e c r e a t i v e p e r s o n has to be d i f f e r e n t i n o r d e r to a t t a i n h i s p o t e n t i a l i t i e s . U n f o r t u n a t e l y , t h i s need i s v e r y seldom r e s p e c t e d i n s t u d e n t s . P a r e n t s u s u a l l y do n o t want t h e i r c h i l d t o be c o n s i d e r e d p e c u l i a r , and t e a c h e r s g e n e r a l l y seem to be most adept a t making c h i l d r e n conform to b e h a v i o u r a l norms. A c l a s s o f c r e a t i v e i n d i v i d u a l s needs m e n t a l , even p h y s i c a l , room to be themselves and to a s s e r t t h e i r own unique p e r s o n a l i t i e s . F a c t o r s I n h i b i t i n g C r e a t i v i t y Development In any c u r r i c u l u m d e a l i n g w i t h c r e a t i v e i n d i v i d u a l s , t e a c h e r s a r e c o n s t a n t l y f a c e d w i t h a handful o f v e r y powerful f a c t o r s which can i n h i b i t and even k i l l c r e a t i v i t y . These f a c t o r s a r e a l l s o c i e t y - b o r n and b r e d . Our s o c i e t y i s a s u c c e s s o r i e n t e d s o c i e t y i n which e v e r y t h i n g d e t r i m e n t a l t o s u c c e s s i s r e a d i l y p r e v e n t e d . T h i s s u b v e r s i v e a t t i t u d e has c a r r i e d through i n t o the s c h o o l s , and s t u d e n t s w i t h c r e a t i v e p o t e n t i a l , who need t o a t t a c k complex t a s k s hence r i s k i n g f a i l u r e , a r e o f t e n t h w a r t e d . T e a c h e r s o f c r e a t i v e s t u d e n t s need to be open t o l e t t i n g the s t u d e n t s f a i l , and need t o encourage the s t u d e n t s t o r i s k f a i l u r e . The peer o r i e n t a t i o n o f our s o c i e t y c r e a t e s much p r e s -s u r e on i n d i v i d u a l s , and the e s p e c i a l i n h i b i t i n g e f f e c t s on c r e a t i v e s t u d e n t s a r e o b v i o u s and w i d e s p r e a d . A prime way o f d e a l i n g w i t h t h i s phenomenon i s t o encourage t he s t u d e n t s t o respond t o t h e i r c r e a t i v e needs, t o be i n d i v i d u a l s i n t h e i r own r i g h t s t a n d i n g a p a r t from the t h r o n g . The sex r o l e s t h a t e x i s t i n o u r s o c i e t y have been m i s p l a c e d and overemphasized, e x a c t i n g t o l l s on c r e a t i v e i n d i v i d u a l s t h a t dare t o t r a n s g r e s s the r o l e b o u n d a r i e s . Though r e c e n t y e a r s have brought men and women w r i t e r s i n t o the same camp, the s u b j e c t m a t t e r i s s t i l l somewhat r o l e - o r i e n t e d . Eyebrows s t i l l r a i s e a t women w r i t e r s such as E r i c a Jong and Marion E n g l e , y e t q u i v e r not a t Saul B e l l o w s o r John Updike. S t u d e n t s need t o be encouraged t o i g n o r e t h e s e burdensome r o l e s and s t r i k e o u t on m e r i t o f t h e i r own t a l e n t . Our s o c i e t y i s g u i l t y o f u n e q u i v o c a b l y e q u a t i n g d i v e r g e n c y w i t h a b n o r m a l i t y . As mentioned p r e v i o u s l y , p a r e n t s 60 and t e a c h e r s t e n d t o be the w o r s t c u l p r i t s f o r m o l d i n g the c h i l d i n t o a s o c i a l l y w e l l - a d j u s t e d r o b o t . The f i n a l i n h i b i t i n g f a c t o r t h a t s o c i e t y has b l e s s e d our c u l t u r e w i t h , i s the w o r k - p l a y dichotomy. Work i s supposed to be d i s l i k e d and p l a y i s supposed t o b e . e n j o y e d , and woe t o t h o s e d e v i a t e s who p r e f e r work. I t i s a l s o a p p a l l i n g t o note t h a t , i n t h i s s e n s e , r i g o r and work have alm o s t become synonymous. Where does the c r e a t i v e p r o c e s s f i t ? W r i t i n g i s a p o t p o u r r i o f work and p l a y ; r i g o r , d i s l i k e s and f u n . The dichotomy does not a p p l y . T o r r a n c e does not o f f e r any pat s o l u t i o n s t o c u r r i c u l u m d e v e l o p e r s and nor do I. These i n h i b i t i n g f a c t o r s t e n d t o g r a d u a l l y e a t away a t the i n d i v i d u a l , s t u l t i f y i n g h i s c r e a t i v i t y . I t i s the o b s e r v a n t t e a c h e r who knows h i s s t u d e n t s w e l l , t h a t can d e t e c t , and h e l p the s t u d e n t d e a l w i t h t h e s e s o c i a l p r e s s u r e s . C o n c l u s i o n T o r r a n c e i s most adamant i n s t r e s s i n g t h a t the c r e a t i v e s t u d e n t needs a \" r e s p o n s i v e environment,\" r a t h e r than a s t i m u l a t i n g one. S t i m u l a t i o n o f c r e a t i v i t y comes from w i t h i n the s t u d e n t . He does not r e q u i r e s t i m u l a t i n g l i g h t shows and open-ended murder m y s t e r i e s t o provoke h i s c r e a t i v e p o t e n t i a l . These a r e o u t e r s t i m u l i , f o r e i g n and r e l a t i v e l y i n e f f e c t i v e f o r him. The c r e a t i v e 61 s t u d e n t needs t e a c h e r s , p a r e n t s , and f e l l o w s t u d e n t s t o be r e s p o n s i v e t o h i s c r e a t i v e needs. He needs h i s freedom e m b e l l i s h e d w i t h s e n s i t i v e t e a c h e r g u i d a n c e and d i r e c t i o n . T o r r a n c e ' s words b e s t summarize the c o n c e p t o f the t e a c h e r ' s r o l e i n a c u r r i c u l u m devoted t o c r e a t i v i t y : E a r l y i n our i n v e s t i g a t i o n s , I became c o n v i n c e d t h a t we c o u l d b e s t r e s p e c t c r e a t i v e needs and s e r v e t h e purposes o f c r e a t i v e growth i n t h e c l a s s r o o m by r e s p e c t i n g the q u e s t i o n s t h a t c h i l d r e n ask, by r e s p e c t i n g the i d e a s t h a t t h e y p r e s e n t f o r c o n s i d e r -a t i o n , by showing them t h a t t h e i r i d e a s have v a l u e , by e n c o u r a g i n g o p p o r t u n i t i e s f o r p r a c t i c e and e x p e r i m e n t a t i o n w i t h o u t e v a l u a t i o n and g r a d i n g , and by e n c o u r a g i n g and g i v i n g c r e d i t f o r s e l f - i n i t i a t e d l e a r n i n g and t h i n k i n g . We c a l l e d t h e s e p r i n c i p l e s f o r r e w a r d i n g c r e a t i v e b e h a v i o r . [ T o r r a n c e , 1970, p. 22] Though t h e s e recommendations do r i n g out as s e l f - e v i d e n t and o v e r l y s i m p l i s t i c t r u i s m s , t e a c h e r s seldom seem to a p p l y them i n the c l a s s -room. The a p p l i c a t i o n o f t h e s e i d e a s t o the development o f a C r e a t i v e W r i t i n g c u r r i c u l u m would be a v e r y p o w e r f u l f o r c e i n e n c o u r a g i n g the c r e a t i v e p o t e n t i a l o f many s t u d e n t w r i t e r s . 62 CHAPTER 6 SPECIFIC GUIDELINES FOR CURRICULUM DEVELOPMENT OF SENIOR SECONDARY CREATIVE WRITING COURSES: GOOD-BYE MIDNIGHT SLAVERY In the f o l l o w i n g pages a r e s u g g e s t e d g u i d e l i n e s to c o n s i d e r i n d e v e l o p i n g the c u r r i c u l u m o f a C r e a t i v e W r i t i n g c o u r s e . These g u i d e l i n e s a r e f i r m l y based i n both r e s e a r c h and p r a c t i c a l a p p l i c a t i o n and w a r r a n t s e r i o u s c o n s i d e r a t i o n . However, i t i s not suggested t h a t t h i s scheme be too r i g i d l y f o l l o w e d ; a too s t r i c t adherence might i n f a c t l e a d to an i n f l e x i b i l i t y o f approach t h a t would be i n c o m p a t i b l e w i t h the v e r y n a t u r e o f c r e a t i v i t y . These g u i d e l i n e s a r e b e s t i n t e r n a l i z e d , then c r a f t e d i n t o a c u r r i c u l u m t h a t i s e f f e c t i v e f o r the s i t u a t i o n a t hand. W r i t i n g c o u r s e s i n Secondary S c h o o l s must come to terms w i t h b o t h p r o c e s s and p r o d u c t . To emphasize o n l y p r o d u c t i s to embrace the t r a d i t i o n a l methodology, e v o k i n g such c o n c e p t s as: i n s t r u c t i o n , s t a n d a r d , d i s c i p l i n e , form, model, and p r o d u c t . Y e t to emphasize o n l y p r o c e s s i s to swing f a r p a s t the m i d l i n e i n the o p p o s i t e d i r e c t i o n , c o n j u r i n g up such vague ' u n t e s t a b l e ' n o t i o n s a s : i n s p i r a t i o n , i n n o v a t i o n , i n d i v i d u a l i s m , and p r o c e s s . W r i t i n g need not be a s c h i z o p h r e n i a o f the c l a s s i c v e r s u s the 63 r o m a n t i c . I t can and, i n f a c t , must i n c l u d e both p e r s o n a l i t i e s i f i t i s t o have v a l u e and meaning to the s t u d e n t s . P u b l i c a t i o n o f s t u d e n t m a t e r i a l i s the l i n k between the i m a g i n a t i o n o f the a u t h o r and the r e c e p t i v e c o n s c i o u s n e s s o f the r e a d e r . P u b l i c a t i o n i n t r o d u c e s the e n t i r e a r e a o f the c o n s i d e r a t i o n by the a u t h o r o f how the r e a d e r w i l l respond to h i s ( t h e a u t h o r ' s ) work. However, we must n o t f o r g e t t h a t p u b l i c a t i o n i s the aim o f the second s t a g e o f w r i t i n g . The f i r s t s t a g e f o r the s t u d e n t i s the c o n s c i o u s t o t a l unawareness o f a p o t e n t i a l r e a d e r . In t h i s f i r s t s t a g e he w r i t e s s o l e l y f o r h i m s e l f . In b r i e f , the o v e r a l l p l a n f o r the s t u d e n t w r i t e r i s a two s t a g e c o n c e p t : * J i m Sabol has o r g a n i z e d i n a q u a s i - s i m i l a r manner, the \" B a s i c S k i l l s i n the E n g l i s h Language A r t s Program\" f o r the B e l l e v u e E l e m e n t a r y S c h o o l s i n Washington S t a t e . 64 S t u d e n t A c t i o n ( p r o c e s s ) S t u d e n t Work ( p r o d u c t ) Stage 1 i n s p i r a t i o n , e x p l o r a t i o n , c r e a t i o n I n i t i a l work d r a f t i n g s k i l l s Goal r e l a t i o n o f ' s e l f to ' n o n s e l f Stage 2_ r e f i n i n g , e d i t i n g , r e w r i t i n g w i t h a u d i e n c e i n mind p o l i s h e d work e d i t i n g and p u b ! i s h i n g s k i l l s G o a l : p u b l i c a t i o n Each s t a g e has i t s own s e p a r a t e and d i s t i n c t g o a l , and the s t u d e n t s must adhere to the g i v e n c h r o n o l o g i c a l o r d e r . To i n t r o d u c e the goal o f p u b l i c a t i o n t o o soon i s t o i n v i t e l e s s than h o n e s t work, namely, work t h a t i s m e c h a n i c a l l y p u b l i s h a b l e , but t h a t i s s h a l l o w i n p e r s o n a l i n v o l v e m e n t . 65 STAGE ONE: DRAFTING E x p e r i e n c e - B a s e d W r i t i n g In the f i r s t s t a g e o f w r i t i n g the s t u d e n t ' s a t t e n t i o n must be d i r e c t e d i n t o h i m s e l f , i n t o h i s i n n e r w o r l d o f v i v i d and vague, r e c e n t and remembered e x p e r i e n c e s . I t i s t h i s i n n e r w o r l d t h a t the s t u d e n t s h o u l d be encouraged to d i s c o v e r and r e d i s c o v e r through w r i t i n g . W r i t i n g g i v e s to e x p e r i e n c e s i g n i f i c a n c e , meaning, and worth and, n o t s u r p r i s i n g , e x p e r i e n c e has t h i s i d e n t i c a l e f f e c t on w r i t i n g . That i s , s t u d e n t s n o t o n l y d i s c o v e r themselves and f i n d meaning i n t h e i r l i v e s by e x p l o r i n g t h e i r e x p e r i e n c e s through words, they a l s o c r e a t e works o f a r t t h a t are i n h e r e n t l y powerful i n t h e i r r e a l i s m and s e n s i t i v i t y . The c o n t e n t o f the s t u d e n t s ' w r i t i n g s h o u l d be e s s e n t i a l l y s e l f - c e n t e r e d , based i n t h e i r own e x p e r i e n c e s . The c o n c l u s i o n s o f the Dartmouth Anglo-American C o n f e r e n c e o f 1966 aimed t e a c h e r s o f s t u d e n t w r i t i n g i n t h i s d i r e c t i o n : While p r o v i d i n g f o r the b a s i c s k i l l s t h a t a l l s t u d e n t s need f o r t h e i r p r a c t i c a l p u r p o s e s , i t s u b o r d i n a t e d t h e s e t o human v a l u e s . I t s o b j e c t i v e was n o t merely p r o f i c i e n c y b u t p l e a s u r e i n the uses o f language and l i t e r a t u r e , and t h e s e uses as a means to l e a r n i n g how to l i v e , e x p l o r i n g as w e l l as communicating e x p e r i e n c e , i l l u m i n a t i n g , d e e p e n i n g , and e n r i c h -i n g i t . S i m i l a r l y , i t s s t r e s s was on p e r s o n a l e x p e r i e n c e , the development o f c h i l d r e n as i n d i v i d u a l s , w i t h p r o v i s i o n f o r t h e i r d i f f e r e n t p e r s o n a l needs and p o t e n t i a l i t i e s . [ M u l l e r , 1967, p. 176] E f f e c t i v e c r e a t i v e works w i l l stem from l o o k i n g inward i n t o the 'raw s t u f f t h a t we, as i n d i v i d u a l and unique human b e i n g s a r e made o f : t h o u g h t s , b e l i e f s , e m o t i o n s , c o n f l i c t s , e t c . c o n c e r n i n g our e x p e r i e n c e s . Language and e x p e r i e n c e a re so i n t e r - r e l a t e d t h a t language w i t h o u t e x p e r i e n c e i s a d e s e r t , and e x p e r i e n c e w i t h o u t language i s m e a n i n g l e s s . Edward S a p i r s t a t e s , \"While i t ( l anguage) may be l o o k e d upon as a s y m b o l i c system which r e p o r t s o r r e f e r s o r o t h e r w i s e s u b s t i t u t e s f o r d i r e c t e x p e r i e n c e i t does not as matter o f a c t u a l b e h a v i o u r s t a n d a p a r t from o r run p a r a l l e l t o d i r e c t e x p e r i e n c e b u t c o m p l e t e l y i n t e r p e n e t r a t e s w i t h i t . \" [ S a p i r , 1949, p. 1] The a c t o f w r i t i n g about an e x p e r i e n c e g i v e s t h a t e x p e r i e n c e meaning. L.S. Vygotsky, a Ru s s i a n p s y c h o l o g i s t , l a b e l s t h i s form o f s e l f - c o m m u n i c a t i o n \"speech f o r o n e s e l f . \" Each i n d i v i d u a l i s concerned w i t h making sense o f h i s own w o r l d and w r i t i n g i s but one method o f d o i n g so. W r i t e r s w r i t e , not o n l y to be u n d e r s t o o d , but to under-s t a n d . How o f t e n have p e o p l e s a i d to themselves when w r i t i n g , \"Now I see; now I u n d e r s t a n d . \" Where b e f o r e was o n l y c o n f u s i o n f r u s t r a t i o n , now i s s a t i s f a c t i o n t h a t p a r t o f l i f e has meaning. P e t e r Elbow has s o l i d , p r a c t i c a l a d v i c e f o r a l l w r i t e r s : I n s t e a d o f a two-step t r a n s a c t i o n o f meaning-i n t o l anguage, t h i n k o f w r i t i n g as an o r g a n i c , developmental p r o c e s s i n which you s t a r t w r i t i n g a t the v e r y b e g i n n i n g \u00E2\u0080\u0094 b e f o r e you know y o u r meaning a t a l l - - a n d encourage y o u r words g r a d u a l l y t o change and e v o l v e . Only a t the end w i l l you know what you want t o say o r the words you want t o say i t w i t h . You s h o u l d e x p e c t y o u r s e l f t o end up somewhere d i f f e r e n t from where you s t a r t e d . Meaning i s not what you s t a r t out w i t h but what you end up w i t h . C o n t r o l , c oherence, and knowing y o u r mind are not what you s t a r t o u t w i t h but what you end up w i t h . T h i n k o f w r i t i n g then not as a way t o t r a n s m i t a message but as a way t o grow and cook a message. W r i t i n g i s a way t o end up t h i n k i n g something you c o u l d n ' t have s t a r t e d o u t t h i n k i n g . W r i t i n g i s , i n f a c t , a t r a n s a c t i o n w i t h words whereby you free y o u r s e l f from what you p r e s e n t l y t h i n k , f e e l , and p e r c e i v e . You make a v a i l a b l e to y o u r s e l f something b e t t e r than what you'd be s t u c k w i t h i f you'd a c t u a l l y succeeded i n making y o u r meaning c l e a r a t the s t a r t . What l o o k s i n e f f i c i e n t \u00E2\u0080\u0094 a r a m b l i n g p r o c e s s w i t h l o t s o f w r i t i n g and l o t s o f t h r o w i n g away--is r e a l l y e f f i c i e n t s i n c e i t ' s the b e s t way you can work up t o what you r e a l l y want to say and how t o say i t . [Elbow, 1973, pp. 15-16] Too many p e o p l e a r e a f r a i d t o take pen i n hand u n t i l t h e y know e x a c t l y what they want t o communicate and how t h e y w i l l do so. I t i s the t e a c h e r ' s duty t o smash t h e s e m i s c o n c e p t i o n s , and l a u n c h the w r i t e r s on j o u r n e y s t h a t have no such s t a u n c h p r e -c o n c e i v e d formats o r e n d p o i n t s . W r i t i n g s h o u l d be somewhat o f an a d v e n t u r e , r a t h e r than a p r e d i c t a b l e h i e r o g l y p h i c t o u r . Language a l l o w s the w r i t e r t o e x p l o r e a l i e n p i e c e s o f e x p e r i e n c e i n depth and t o r e f l e c t on them at l e n g t h , t o ruminate on them, g i v i n g him i n s i g h t and u n d e r s t a n d i n g t h a t would o t h e r w i s e d i s a p p e a r i n the c e a s e l e s s rush o f e x p e r i e n c e . And i n t h i s d i s c o v e r y o f the form and meaning o f h i s i d e a s , the s t u d e n t d i s c o v e r s h i m s e l f . C e r t a i n l y a w r i t e r w r i t e s t o i n f o r m , p e r s u a d e , e n t e r t a i n and e x p l a i n , but j u s t as v a l u a b l e , 68 he w r i t e s t o d i s c o v e r the i n n e r m o s t spaces o f h i m s e l f . \"The a c t o f p u t t i n g words on paper i s n o t the r e c o r d i n g o f a d i s c o v e r y .but the v e r y a c t o f e x p l o r a t i o n i t s e l f . \" [Murray, 1969] W r i t i n g i s d i s c o v e r y , d i s c o v e r y o f the meaning o f e x p e r i e n c e , d i s c o v e r y o f the s e l f . Language, more than a n t h r o p o l o g i s t s and l i n g u i s t s know a t p r e s e n t , shapes the i n d i v i d u a l p e r s o n a l i t y . The e x t e n t t o which any gi v e n i n d i v i d u a l i s a user o r a v i c t i m o f language determines n o t o n l y how he i s viewed by s o c i e t y , b ut a l s o how he sees h i m s e l f : Language g i v e s shape and b o u n d a r i e s t o i d e a s , t h o u g h t s , and f e e l i n g s and thus t o p e r s o n a l i t y . Language i t s e l f has i n h e r e n t forms, however, so t h a t the v e r y tongue o u r p a r e n t s g i v e us shapes o u r p e r s o n a l i t i e s . . . . C r e a t i n g answers i n words can be a form o f i n v e s -t i g a t i o n and d i s c o v e r y ( i f y o u are h o n e s t ) . Not h a v i n g words means t h a t i n some r e s p e c t s you have not y e t d i s c o v e r e d y o u r s e l f . Or h a v i n g d i s c o v e r e d p a r t o f y o u r s e l f , what guarantee do you have t h a t i t w i l l n o t change? Unl e s s you become a mental and emo t i o n a l f o s s i l , you w i l l always be c h a n g i n g . You w i l l always need new language to communicate t o y o u r -s e l f and to o t h e r p e o p l e . Without new language f o r new s i t u a t i o n s , no one can be h i m s e l f . [Kaufman and Powers, ed., 1970, p. 2] George O r w e l l ' s c o n t e n t i o n s about the i n t e r d e p e n d e n c y o f language and thought i n Ni n e t e e n E i g h t y - F o u r become i n c r e a s i n g l y r e a l i s t i c , as contemporary r e s e a r c h s u r f a c e s . P s y c h o l o g i s t s l a b e l the use o f language to come to know o n e s e l f : ' s e l f a c t u a l i z a t i o n , ' making the s e l f r e a l . T.S. E l i o t i s co n c e r n e d w i t h t h i s t r u t h i n h i s m a s t e r p e i c e , The Four Q u a r t e t s : 69 We s h a l l not cease from e x p l o r a t i o n And the end o f a l l o u r e x p l o r i n g W i l l be to a r r i v e where we s t a r t e d And know the p l a c e f o r the f i r s t time. [ E l i o t , 1944, p. 59] The s t u d e n t s s h o u l d be encouraged to s t r a y back i n t o t h e i r random tho u g h t s o f the f a r and n e a r p a s t and b r i n g them i n t o f o c u s . They s h o u l d be encouraged t o s i f t through t h e s e thoughts and images i n s e a r c h o f the 'raw s t u f f o f e x p e r i e n c e t h a t they f e e l c o m p e l l e d to w r i t e about: Indeed, w r i t i n g i s l a r g e l y a p r o c e s s o f c h o o s i n g among a l t e r n a t i v e s from the images and thoughts o f the end-l e s s f l o w , and t h i s c h o o s i n g i s a m a t t e r o f making up one's mine, and t h i s making up one's mind, becomes i n e f f e c t the making up o f one's s e l f . In t h i s way w r i t i n g t h a t i s honest and genuine and s e r i o u s (though n o t n e c e s s a r i l y w i t h o u t humor o r w i t ) c o n s t i t u t e s the d i s c o v e r y o f the s e l f . [ M i l l e r , 1972, p. 113] The s t u d e n t ' s j o u r n e y i n t o h i m s e l f has an u n t o l d p o s i t i v e e f f e c t on both h i s v i s i o n o f the n a t u r e o f h i s s e l f and h i s r e l a t i o n to o t h e r s , as w e l l as on h i s w r i t i n g . The w r i t i n g t h a t stems from such i n t r o s p e c t i v e j o u r n e y i n g i s g e n e r a l l y powerful and s e n s i t i v e . Such d i r e c t e x p e r i e n t i a l w r i t i n g has an impact on the r e a d e r t h a t o t h e r w r i t i n g cannot e q u a l . But what happens t o the s t u d e n t h i m s e l f i s even more e x c i t i n g . He comes a l i v e to h i m s e l f . Take i n t o c o n s i d e r a t i o n words o f F r e d C h a p p e l l , a poet and C r e a t i v e W r i t i n g p r o f e s s o r a t the U n i v e r s i t y o f North C a r o l i n a : \"I've seen 70 persons come a l i v e to themselves i n w r i t i n g c l a s s e s i n a way they n e v e r have done b e f o r e . \" [ G a r r e t t , e d . , 1972, p. 36] In many w r i t i n g c l a s s e s t e a c h e r s have seen s t u d e n t s , who were p r e -v i o u s l y e n c o u n t e r e d as s t i f l e d and c l o s e d s t u d e n t s i n a r e g u l a r E n g l i s h c l a s s , grow i n t o open, s e n s i t i v e and warm i n d i v i d u a l s . Wayne Booth echoes t h i s o p i n i o n : I f we ask them to w r i t e about t h i n g s c l o s e to the home base o f t h e i r own honest e x p e r i e n c e , w h i l e c o n s t a n t l y s t r e t c h i n g t h e i r powers o f o b s e r v a t i o n , g e n e r a l i z a t i o n , and argument, n e v e r a l l o w i n g them to d r i f t i n t o pompous i n a m i t i e s o r empty c o n t r o v e r s i a l -i t y we may have t h a t r a r e but wonderful p l e a s u r e o f w i t n e s s i n g the m i r a c l e : a man and a s t y l e where b e f o r e t h e r e was o n l y a bag o f wind o r a bundle o f r e c e i v e d o p i n i o n s . [ B o o t h , 1964, pp. 119-120] W r i t i n g i s an outward e x t e n s i o n o f the s e l f , and can be e f f e c t i v e i f the w r i t e r has h o n e s t l y l o o k e d inward f i r s t . The t e a c h e r s h o u l d be p r e p a r e d t o c h a t c a s u a l l y , b ut purpose-, f u l l y , a w h i l e w i t h each i n d i v i d u a l t h a t i s e r r i n g l y p r o -j e c t i n g h i s mind's eye s o l e l y outward, and w i t h each i n d i v i d u a l t h a t has s e e m i n g l y e x h a u s t e d h i s i d e a s . F i v e minutes o f ' i d l e ' t a l k t h a t c e n t e r s on the s t u d e n t ' s e x p e r i e n c e s can t u r n up c o u n t l e s s e x p e r i e n c e s which he may f i n d e x c i t i n g t o e x p l o r e on paper. A c h a t w i t h L i n d a about remembered e v e n t s t h a t were a l l i m p o r t a n t i n both - d i s t a n t c h i l d h o o d s provoked a poem t h a t many r e a d e r s can i d e n t i f y w i t h : 71 Te a r s s l i p down h e r cheeks, as she pouts i n a c o r n e r . C r y i n g s o f t l y to h e r s e l f , she fumbles w i t h a Kleenex, and s n i f f l e s h e r sorrows t o a w i l t e d rag d o l l . When you are f i v e , even b r e a k i n g a b u t t e r d i s h i s a v e r y b i g problem. L i n d a ' s e x p l o r a t i o n o f t h i s p a s t e x p e r i e n c e brought meaning and o r d e r to an o t h e r w i s e i n s i g n i f i c a n t and w o r t h l e s s e x p e r i e n c e . She d i s c o v e r e d a t r u t h about the e v e r c h a n g i n g p a t t e r n t h a t weaves t o g e t h e r s e l f and time. Ann's j o u r n e y i n t o c h i l d h o o d speaks f o r i t s e l f : The F i f t h Thummer T h i t h thummer wath f a n t a t h t i c ! We p r a c t i c a l l y l i v e d i n o u r b a t h i n g t h u i t h . Jimmy and David (my b e t h t f r i e n t h ) and I found a f i e l d w i t h l o n g g r a t h e t h o v e r headth. We caught g r a t h h o p p e r t h and a b e a u t i f u l b u t t e r f l y w i t h y e l l o w and brown w i n g t h . But my Daddy athed me i f I would l i k e to l i v e i n a j a r tho we l e t the g r a t h h o p p e r t h and b u t t e r f l y go. The thun b e a t down on o u r brown b o d i e t h a t h we l a y chewing on t h t r a w i n the l o n g g r a t h . Then David went to the h o t h p i d a l . Jimmy and I knew he would come back becauth h o t h p i d a l t h alwayth maketh pe o p l e b e t t e r . And Jimmy knew i t b e t t e r than anybody becauth he'th D a v i d ' t h b r o t h e r . Tho, Jimmy and I went ahead and b u i l t the t h t u r d y f o r t r e t h i n the f i e l d . And f o r dayth a f t e r w a r d t h , we kept making i t b e t t e r and b e t t e r tho David c o u l d thee i t when he got back. Today I went t o the f i e l d to meet Jimmy. When I got t h e r e , he wath w r e c k i n g o u r b e a u t i f u l f o r t . I ran a t him 72 and athed him what he wath d o i n g , what are we g o i n g t o thow David when he g e t t h back. I l o o k e d a t him. Jimmy wath c r y i n g and Jimmy n e v e r c r i t h becauth he'th the o l d e t h . David and I c r y becauth we're a y e a r y o u n g e r than him. Jimmy t h a i d David had gone t o the a n g e l t h . David had lookemea o r something. I a t h e d him when David would get back. Jimmy t h a i d he wath dead, t h u p i d , and he wathn't coming back. T h t i l l c r y i n g , Jimmy ran away. But David i t h n ' t dead, I know. Only o l d p e o p l e d i e . Naw, o n l y o l d p e o p l e d i e . R e l a t i o n s h i p s among peop l e t h a t concern the s t u d e n t are f a s c i n a t i n g p l a c e s t o b e g i n a t e a c h e r - s t u d e n t c h a t . From t h e r e the c h a t can p r o g r e s s t o a p a r t i c u l a r e v e n t t h a t might c a p t u r e the e s s e n c e o f the r e l a t i o n s h i p . I t i s i m p o r t a n t f o r the s t u d e n t to w r i t e about h i s own i n t e g r a l p a r t o f the c o n c e r n e d r e l a t i o n s h i p , f o r i n t h i s very w r i t i n g l i e s the d i s c o v e r y o f the n a t u r e o f t h i s r e l a t i o n s h i p . A r e l a t i o n s h i p o f paramount concern to h i g h s c h o o l s t u d e n t s i s t h a t o f 'boy-man-girl-woman.' Donna enhances h e r r e a l i z a t i o n o f the n a t u r e o f the r e l a t i o n s h i p between h e r s e l f and her b o y f r i e n d when she attempts t o c a p t u r e i t i n words: f o r mark: p a r a -chute i n t o my morning i n y o u r u s u a l , e x p e c t e d b l u e a n d w h i t e n y l o n g l o r y : we can c a t c h h o l d o f the wind-s t r i n g s and f l y , dodging c l o u d s and wax-melting s t a r s t o g e t h e r . 73 The c l a s s r o o m i t s e l f p r o v i d e s many r e l a t i o n s h i p s between t e a c h e r and s t u d e n t , and between s t u d e n t and s t u d e n t . An e x p l o r a t i o n o f t h e s e r e l a t i o n s h i p s by any i n d i v i d u a l s t u d e n t can uncover un-t o l d c o n c e r n s . Lynda e x p l o r e s h e r s e l f - c o n s c i o u s r e a c t i o n t o b e i n g asked, by a t e a c h e r , a q u e s t i o n t o which she has no answer: In a c i r c l e o f g l a r i n g eyes I am squeezed by s i l e n c e . They w a i t , r a v e n o u s l y , f o r my r e s p o n s e , Ready to l e a p , and t e a r the words from my mouth. My f a c e t i g h t e n s , begging w i t h unsounding screams as I s i n k * deeper, i n t o m y s e l f . Lynda wrote to u n d e r s t a n d , more than t o be u n d e r s t o o d . While a d o l e s c e n t s o f t e n o u t w a r d l y i g n o r e t h e i r f a m i l i e s , they s t i l l c o n s t i t u t e r e l a t i o n s h i p s o f g r e a t importance t o the i n d i v i d u a l s t u d e n t . C o l l e e n was s p u r r e d i n t o w r i t i n g f o l l o w i n g a f a m i l y v i s i t to h e r grandmother i n an o l d - f o l k s home: She s i t s r o c k i n g , w i t h n e e d l e s and wool i n hand. Her sad brown eyes r i p a t the h e a r t s o f the v i s i t i n g f a m i l y . They a l l c h a t h a p p i l y a t h e r , but the words n e v e r touch h e r She t r i e s h e r s l u r r e d words c a u t i o u s l y , h o p i n g someone w i l l reach o u t t o u n d e r s t a n d , Yet she i s not h e a r d . They don't s t a y l o n g , h e r q u e s t i o n s are l e f t unanswered. When th e y ' v e gone, she remains i n h e r c h a i r . T e a r s s t r e a k down her d i s c o l o u r e d f a c e , and are l e f t unwiped. * P h r a s e s from Edwin A. Hoey's poem \"Foul Shot\" a r e echoed i n Lynda's poem. 74 A p a t h e t i c g r i n passes a c r o s s h e r w h i t e l i p s . The c h a i r s t o p s s t i l l , as h e r grandma-warm eyes s t r o l l around the empty, l i f e l e s s room. Needles and v/ool drop to the f l o o r , as i f i n slow motion. Her f a m i l y mourns an empty c h a i r . In a t t e m p t i n g t o c a p t u r e the r e l a t i o n s h i p o f grandma and f a m i l y , C o l l e e n had t o s i m u l t a n e o u s l y become 16 and 95 y e a r s o l d . An e f f e c t i v e and powerful poem r e s u l t e d , but j u s t as n o t a b l e , i f not more s o , was C o l l e e n ' s d i s c o v e r y o f the pathos o f age and the n a i v e t y o f a l l who a r e not y e t aged. As s t u d e n t s w r e s t l e and p l a y w i t h words and e x p e r i e n c e , each one i n e v i t a b l y d e s i r e s t o w r i t e about h i s own p e r s o n a l traumas o f a t t e m p t i n g t o a s s i m i l a t e language and e x p e r i e n c e . Some s t u d e n t s f e e l c o m p e l l e d t o concern themselves w i t h the d i f f i c u l t i e s t hey e n c o u n t e r , as G e o r g i a does: Molasses b r a i n S t a g n a n t , s t a l e No f i r e o f i n s p i r a t i o n M e l t s the s l u d g e . I t s t i c k y - d r i b b l e s Bogging down more Of my c r e a t i v e machinery. Others t r y t o d e s c r i b e t h e i r i n d i v i d u a l c r e a t i v e p r o c e s s e s : When I c a n ' t t h i n k I squeeze my b r a i n 1 i k e a r i p e orange t o e x t r a c t e v e r y ounce o f p r e c i o u s j u i c e . . . . then c a r e f u l l y s e p a r a t e the p u l p from the j u i c e and s i p i t s l o w l y t o quench my t h i r s t f o r i d e a s . (Barb) 75 O t h e r s , y e t , f e e l d r i v e n t o e x p l o r e t h e i r reasons f o r w r i t i n g : I c o u l d n e v e r be a w r i t e r . What t a l e n t have I? What w r i t e r ' s q u a l i t i e s ? I have none. I'm n o t a p e r s e c u t e d Jew l i k e Cohen nor born i n a n c i e n t Greece as was Homer I was never a poor farmboy l i k e Shakespeare n o r an a l c o h o l i c l i k e Poe and I'm not mad l i k e Hemmingway I doubt i f I'm e c c e n t r i c enough t o be a w r i t e r I'm not a n a t i o n a l i s t l i k e Atwood nor an i d e a l i s t l i k e Whitman I haven't Dickens' sense f o r s o c i a l j u s t i c e n o r C a r r ' s need t o r e f l e c t n a t u r e I doubt i f I have even the e s s e n t i a l s Y e t , I w r i t e I w r i t e because . . . wel 1 What the h e l l I l i k e t o w r i t e . ( E l a i n e ) Because the w r i t i n g e x p e r i e n c e i s p r e s s i n g and p e r s o n a l , t h i s s u b j e c t can s u c c e s s f u l l y be s u g g e s t e d and encouraged. Whenever a s t u d e n t has a temporary d r o u g h t , the t e a c h e r s h o u l d be ready f o r a s t u d e n t - c e n t e r e d c h a t t h a t w i l l c o v e r t l y r e a r o u s e the s t u d e n t ' s j o u r n e y i n t o h i m s e l f . A t t i m e s , d i r e c t i n g s t u d e n t s t o o t h e r a u t h o r ' s works may a c t i v a t e thoughts o f t h e i r own, but t h i s i s a v e r y round about and i n d i r e c t way o f s t i m u l a t i n g t h e i r own r e c o l l e c t i o n s . Comparison o f the s t u d e n t s ' p o l i s h e d works w i t h o t h e r a u t h o r s ' works f o r c u r i o s i t y and i n t e r e s t ' s sake b e n e f i c i a l . However, t h i s comparison s h o u l d have no more 76 d e s p o t i c v a l u e f o r form, c o n t e n t , o r s t y l e than a comparison w i t h a f e l l o w s t u d e n t ' s work. T h i s i s n o t to b l a t a n t l y i g n o r e the a u t h o r ' s form, c o n t e n t o r s t y l e , but to emphasize the p r i m a l r e s o u r c e \u00E2\u0080\u0094 t h e s t u d e n t ' s own i n d i v i d u a l l i t e r a r y d e c i s i o n s based on h i s own e x p e r i e n c e s . Remember: the predominant aim o f i n s t r u c t i o n i n s t a g e one i s to encourage the s t u d e n t s to b e t t e r know and u n d e r s t a n d t h e i r e x p e r i e n c e s and t h e i r v e r y s e l v e s through l a n g u a g e . T e a c h e r as ' T r a v e l C o u n s e l l o r ' Where does the t e a c h e r f i t i n t o t h i s f i r s t s t a g e o f C r e a t i v e W r i t i n g where s t u d e n t s c e a s e l e s s l y d r a f t e x p e r i e n t i a l p e a r l s ? I t i s the t e a c h e r ' s job to encourage the s t u d e n t s to e x p l o r e the i n n e r m o s t r e c e s s e s o f t h e i r e x p e r i e n c e s and then to encourage them to w r i t e u s i n g t h i s i n v a l u a b l e raw m a t e r i a l as a c o r n e r s t o n e f o r each work. I d e a l l y a l l w r i t i n g assignments and t e a c h i n g c o n c e r n s s h o u l d engage the i n d i v i d u a l s t u d e n t i n p e n e t r a t i n g , p e r c e i v i n g , s t r u c t u r i n g , c r e a t i n g o r r e c r e a t i n g the r e a l i t y he knows. In t h i s w r i t i n g s t a g e the t e a c h e r i s both a ' t r a v e l c o u n s e l l o r , ' a i m i n g the s t u d e n t s on t h e i r j o u r n e y o f s e l f , and a 'momentum f a c i l i t a t o r , ' k e e p i n g them j o u r n e y i n g . Some s t u d e n t s are a b l e to j o u r n e y i n t o t h e i r i n n e r w o r l d s much more r e a d i l y than o t h e r s . E d u c a t i o n a l i n n o v a t o r s i n a r e a s o f c r e a t i v i t y , such as T o r r a n c e , M o n t e s s o r i , B i n e t , F r o e b e l , and P e s t a l o z z i r e c o g n i z e t h a t the n a t u r a l f a c t o r s o f c r e a t i v i t y : c u r i o s i t y , p l a y f u l n e s s , 77 m a n i p u l a t i v e n e s s , and the l i k e , w i l l n o t , i n t h e m s e l v e s , n e c e s s a r i l y promote c r e a t i v e development. E x t e r n a l g u i d a n c e , i n the form o f a t e a c h e r , i s needed t o d i r e c t the c r e a t i v e t a l e n t from aim-l e s s n e s s t o c o n s t r u c t i v e e x p r e s s i o n . D i s c u s s i o n , and o t h e r p r e w r i t i n g a c t i v i t i e s must not be f o r g o t t e n . The t e a c h e r s h o u l d be p r e p a r e d t o endeavour t o become adept a t c h a t t i n g w i t h i n d i v i d u a l s t u d e n t s , about t h e i r e x p e r i e n c e s , c o v e r t l y e n c o u r a g i n g the s t u d e n t t o assume the c o n v e r s a t i o n l e a d . There i s much r e s e a r c h and o p i n i o n t o s u p p o r t the e f f e c t i v e n e s s o f c h a t t i n g b e f o r e w r i t i n g . Rohman and Wlecke l a b e l t h i s a c t i v i t y \" p r e w r i t i n g . \" They go so f a r as t o p l a c e t h e i r f o c u s upon t h i s s t a g e , d e f i n i n g i t as \"The s t a g e o f d i s c o v e r y i n p r o c e s s when a person a s s i m i l a t e s ' h i s s u b j e c t ' to h i m s e l f . \" They go on t o s t a t e t h a t p r e w r i t i n g \" i s c r u c i a l t o the s u c c e s s o f any w r i t i n g t h a t o c c u r s l a t e r \" and \" i s seldom g i v e n the a t t e n t i o n i t c o n s e q u e n t l y d e s e r v e s . \" [Rohman and Wlecke, 1964, p. 103] J a n e t Emig [Emig, 1977, pp. 20-21] and J.N. Hook [Hook, 1972, p. 308] c o n c u r w i t h the c o n c l u s i o n s o f t h i s r e s e a r c h . T o r r a n c e , i n h i s c r e a t i v i t y r e s e a r c h , terms t h i s a c t i v i t y \"the warm-up p r o c e s s \" and s t a t e s t h a t h e i g h t e n i n g t he s t u d e n t ' s a n t i c i p a t i o n i s \" f u n -damental t o any c r e a t i v e a c t . \" [ T o r r a n c e , 1970, p. 65] There a re c o u n t l e s s numbers o f momentum a c t i v i t i e s t h a t would v i r t u a l l y e n a b l e the s t u d e n t s t o d r a f t u n t i l the end o f the c o u r s e . The t e a c h e r can nudge the s t u d e n t i n t o d e l v i n g 78 deeper i n t o h i s t o p i c by c o n s i d e r i n g p o i n t o f view, g e n e r a l \u00E2\u0080\u0094 s p e c i f i c - -c o n c r e t e \u00E2\u0080\u0094 a b s t r a c t a l t e r n a t i v e s , d i c t i o n a r y d e f i n i t i o n s , etymo-l o g i c a l i n f o r m a t i o n , q u e s t i o n s t h a t form i d e a s , word c o l l e c t i o n s and arrangements, ad i n f i n i t u m . The c l o s e r the r e l a t i o n s h i p between t e a c h e r and s t u d e n t , the e a s i e r i t i s t o tap the e x p e r i e n c e s they may f e e l c o m p e l l e d to w r i t e about and the e a s i e r i t i s t o keep them w r i t i n g e f f e c t i v e l y and c o n s t r u c t i v e l y . In o r d e r t o be a b l e t o empathize w i t h the s t u d e n t , to r e c o g n i z e h i s p o t e n t i a l , the t e a c h e r must g e n u i n e l y know him. Knowing s t u d e n t s i s a demanding t a s k , and one t h a t s h o u l d not be taken l i g h t l y . T o r r a n c e c o m p i l e d a l i s t o f 100 \"ways o f knowing\" a s t u d e n t , based on i n p u t from a workshop o f 100 Oregan t e a c h e r s . (See Appendix E) These \"ways o f knowing\" are i n d e e d thought p r o v o k i n g . U l t i m a t e l y i t i s t h e t e a c h e r who i s r e s p o n s i b l e f o r m a n i p u l a t i n g the environment t o be warm and c o n d u c i v e t o the c r e a t i v e l y t a l e n t e d i n d i v i d u a l . Such an environment i s n e c e s s a r y f o r e n c o u r a g i n g and r e i n f o r c i n g w r i t i n g t a l e n t . I t i s the t e a c h e r who i n s p i r e s o r d e s t r o y s s e l f - c o n f i d e n c e and s e l f - e s t e e m , encourages o r s u p p r e s s e s i n t e r e s t s , d e v e l o p s o r n e g l e c t s a b i l i t i e s , f o s t e r s o r b a n i s h e s c r e a t i v i t y , s t i m u l a t e s o r d i s c o u r a g e s c r i t i c a l t h i n k i n g , and f a c i l i t a t e s o r f r u s t r a t e s optimum achievement. The t e a c h e r must no t o n l y condone, but b u i l d around the c r e a t i v e s t u d e n t ' s n a t u r a l c u r i o s i t y , encourage him t o deal w i t h problems 79 r e l e v a n t to h i s own needs, p u r p o s e s , and i n t e r e s t s , encourage and reward i n i t i a t i v e , i n q u i s i t i v e n e s s , o r i g i n a l i t y and a q u e s t i o n i n g a t t i t u d e . Above a l l , he must welcome and p r a i s e c r e a t i v e and c o g n i t i v e r i s k - t a k i n g , and encourage the c l a s s , as a whole, t o f o l l o w h i s l e a d . Too many s t u d e n t s r e f r a i n from f r e e e x p r e s s i o n due to t h e i r r e p r e s s i v e f e a r s o f c r i t i c i s m and r i d i c u l e , by both t e a c h e r s and c l a s s m a t e s a l i k e . The t e a c h e r must c r e a t e an environment i n which each s t u d e n t has a sense o f b e l o n g i n g , o f s e l f - w o r t h and v a l u e i n h i s own i n d i v i d u a l i t y . Only i n t h i s environment w i l l c r e a t i v e s t u d e n t s take the r i s k s o f e x p l o r a t i o n , e x p e r i m e n t a t i o n , s h a r i n g p e r s o n a l i d e a s and r e v e a l i n g t h e i r f e e l i n g s . In s h o r t , o n l y i n t h i s environment w i l l they not f e a r to be t h e m s e l v e s . Thus, the t e a c h e r must be aware o f the n e c e s s i t y f o r e n c o u r a g i n g and r e i n f o r c i n g c r e a t i v e t a l e n t . He must be s e n s i t i v e t o each o f the s t u d e n t ' s needs, i n t e r e s t s and c a p a c i t i e s , and must be, t o them, a r e s o u r c e f o r l e a r n i n g r a t h e r than a d i s -p e n s e r o f i n f o r m a t i o n . The s t u d e n t s s h o u l d p e r i o d i c a l l y be g i v e n a r e l a t i v e l y f r e e r e i n t o d e v e l o p t h e i r o r i g i n a l i d e a s i n t h e i r own p a r t i c u l a r o r i g i n a l ways. And, most i m p o r t a n t o f a l l , the t e a c h e r must c r e a t e an environment o f warmth, b e l o n g i n g and s e l f - e s t e e m i n which r i s k - t a k i n g through c r i t i c a l t h i n k i n g , i n q u i s i t i v e n e s s and c r e a t i v i t y i s welcomed. 80 The J o u r n a l Each s t u d e n t s h o u l d be encouraged t o keep a j o u r n a l t h a t i s h i s own p r i v a t e c o l l e c t i o n o f t h o u g h t s , i m p r e s s i o n s , i d e a s and j u s t p l a i n word p l a y ! I t s h o u l d be s t r e s s e d t h a t t h i s i s a j o u r n a l , n o t a d i a r y . The word d i a r y , to many s t u d e n t s , seems to have the c o n n o t a t i o n o f a c t u a l h i s t o r i c a l r e c o r d s o f e v e n t s , r a t h e r than w r i t t e n e x p l o r a t i o n s o f t h e i r thoughts about t h e i r p e r s o n a l e x p e r i e n c e s , p a s t and p r e s e n t . T h i s j o u r n a l s h o u l d n o t be used f o r r e c o r d i n g t r i v i a l i t i e s such as what the s t u d e n t had f o r b r e a k f a s t , o r what day he trimmed h i s t o e n a i l s , u n l e s s t h e s e t r i v i a l e x p e r i e n c e s are s i g n i f i c a n t to the s t u d e n t ' s t h o u g h t s . The j o u r n a l i s g e n e r a l l y a s u c c e s s because i t seems to s a t i s f y a need i n a l l types o f s t u d e n t s . S t u d e n t s f i n d i t b e n e f i c i a l t o 'unload' themselves through w r i t i n g . E x p e r i e n c e s t h a t h u r t , worry, d e l i g h t o r p l e a s e a r e a l l d i v u l g e d . The s t u d e n t s are f o r c e d i n t o t h e i r own r e s e r v o i r s o f e x p e r i e n c e because t h e r e are no a s s i g n e d t o p i c s . The s t u d e n t ' s j o u r n a l i s a u s e f u l p l a c e to r e c o r d h i s s i f t i n g through and e v a l u a t i o n o f e x p e r i e n c e , a p l a c e to r e c o r d the coming t o terms w i t h s i g n i f i c a n t o r i n s i g n i f i -c a n t e x p e r i e n c e . The j o u r n a l i s a l s o i d e a l f o r the s t u d e n t to use f o r d e f i n i n g and p a t t e r n i n g p r e v i o u s l y mushy and muddled e x p e r i e n c e . John Winthrop s h a r e s t h i s c o n t e n t i o n about the v a l u e o f the j o u r n a l : 81 I t i s a r e c o r d o f e x p e r i e n c e and i m p r e s s i o n . . . . We s h o u l d then d e s c r i b e the j o u r n a l as the r e c o r d o f the i n d i v i d u a l ' s s t r u g g l e w i t h chaos. I t may not be the p l a c e where one w i l l c r e a t e f i r m o r d e r , but i t s h o u l d be the p l a c e where the e x p e r i e n c e o f d i s o r d e r i s r e c o r d e d and examined, l a t e r to be u n d e r s t o o d and w r i t t e n about a g a i n . The s i m p l e s t f i r s t s t e p i n a j o u r n a l i s t o r e c o g n i z e d i s o r d e r and r e c o r d c l e a r l y the i n t e r e s t i n g d e t a i l . Do not i m m e d i a t e l y worry about f i n a l answers. [Kaufman and Powers, ed., 1970, p. 205] And i n t h i s s t r u g g l e w i t h p a t t e r n i n g e x p e r i e n c e , the s t u d e n t s h o u l d l e t the words take t h e i r own form. Q u i t e l i k e l y , though, because the j o u r n a l i s much more than a memory a i d , the w r i t i n g s w i l l be l e n g t h i e r and more d e v e l o p e d than such j o t t i n g s as t h o s e which f r e q u e n t l y appear n e a r k i t c h e n t e l e p h o n e s o r on laundromat b u l l e t i n b o a r d s : J o u r n a l w r i t i n g i s i n f o r m a l and o f t e n d i s o r d e r l y , but i t i s u s u a l l y w r i t i n g and n o t j u s t n o t e s . Remember t h a t a l l language has form o r o r d e r . So r e c r e a t i n g e x p e r i e n c e , even i n a s e n t e n c e fragment, means s h a p i n g e x p e r i e n c e . W r i t e r s keep j o u r n a l s t o s a t i s f y t h e i r c u r i o s i t y . They want t o see what p o s s i b l e shapes e x p e r i e n c e might t a k e . Sometimes the w r i t e r pursues one p o s s i b i l i t y , sometimes many. The key word i s possibility. F i n d i n g new p e r s p e c t i v e s means w i t h -h o l d i n g f i n a l judgment w h i l e t r y i n g t o see c l e a r l y - -both what i s and what might be. [Kaufman and Powers, ed., 1970, p. 206] In a d d i t i o n t o t h i s e x p e r i e n t i a l e x p l o r i n g , the j o u r n a l i s a l s o e f f e c t i v e i n s i m p l y s t i m u l a t i n g the f l o w o f h i s i m p r e s s i o n s and i d e a s , w h i l e p r o v i d i n g a p l a c e f o r him t o p l a y w i t h the language t h a t i s an i n h e r e n t p a r t o f t h e s e i m p r e s s i o n s and i d e a s . 82 The p a s t and p r e s e n t s u c c e s s o f the j o u r n a l recommends f t s e l f ; however, a few words o f warning a r e n e c e s s a r y . Without any doubts whatsoever, m i s d i r e c t e d t e a c h e r emphasis on the trimmings ( t h e b i n d i n g , the f o r m a t , e t c . ) n o t o n l y i g n o r e s , but d e v a s t a t e s the essence o f the j o u r n a l , i t s freedom and n a t u r a l -ness. While the s t u d e n t may o p t t o b i n d h i s j o u r n a l i n l e a t h e r volumes, he may j u s t as l i k e l y o p t to w r i t e on paper bags o r t o i l e t t i s s u e . The o n l y c r i t e r i a s h o u l d be the a c c e s s i b i l i t y o f any p a r t i c u l a r e n t r y . Because the d e s i r e d c o n t e n t o f the j o u r n a l i s h i g h l y p e r s o n a l , the t e a c h e r s h o u l d emphasize t h a t t h i s i s the s t u d e n t ' s own j o u r n a l , and i f he does not wish him (t h e t e a c h e r ) t o r e a d p a r t s then he s h o u l d e i t h e r i n d i c a t e so by w r i t i n g 'Do not read' a t the top o f the page, o r i f he w i s h e s , to f o l d t h a t page o v e r and s t a p l e i t b e f o r e s u b m i s s i o n . I f the s t u d e n t w i s h e s , he can even t e a r o u t a page. I t i s b e t t e r to have the s t u d e n t w r i t e m a t e r i a l t h a t w i l l n e v e r reach the t e a c h e r ' s e y e s , r a t h e r than not w r i t e i t a t a l l . T h i s i s h i s j o u r n a l . A f i n a l p o i n t e r i s t h a t the j o u r n a l must be nongraded. (A b l a n k e t grade f o r s u c c e s s f u l c o m p l e t i o n i s s u f f i c i e n t . ) To grade a j o u r n a l i s to i n v i t e ' t e a c h e r - p l e a s i n g ' c o n t e n t , which i n no p o s s i b l e way i s o f any v a l u e w h a t s o e v e r t o the s t u d e n t w r i t e r , and i n f a c t d e s t r o y s the v e r y r a i s o n d ' e t r e o f the j o u r n a l . Each s t u d e n t w i l l u ndoubtedly c o n s i d e r d i f f e r e n t s u b j e c t m a t t e r each day. One day the w r i t i n g may c e n t e r about the 83 s t u d e n t ' s r e a c t i o n s t o a newspaper c l i p p i n g , a s c h o o l e v e n t o r a f a m i l y s q u a b b l e . He may choose to w r i t e about v a r i o u s o b s e r v a t i o n s o f h i s , o r may d e l v e i n t o h i s i m a g i n i n g s o r even h i s dreams. S k e t c h e s , d o o d l e s , c a r t o o n s , photos and ads may even be c r e a t e d o r d i s s e c t e d . Yet a n o t h e r day may f i n d the s t u d e n t r e l i v i n g remembered e x p e r i e n c e s o f y e a r s ago. Perhaps some e v e n i n g j u s t b e f o r e bed, h i s thoughts may take a p h i l o s o p h i c a l bent and the j o u r n a l w i l l q u i c k l y s u r f a c e t o a c c e p t h i s mind's meanderings. A n o t h e r day the p r e o c c u p a t i o n w i t h w r i t i n g may be t u g g i n g a t h i s mind, e v e n t u a l l y f i n d i n g i t s c l a r i f i c a t i o n o r j u s t i f i c a t i o n on the pages o f h i s j o u r n a l . One o f E l a i n e ' s j o u r n a l e n t r i e s r e v e a l s t h i s s e r i o u s p u r s u i t : Jan. 29, 1975: I t ' s d i f f i c u l t t o be c r e a t i v e when most words are c o n n o t a t e d i n t o s h r e d s . E n g l i s h n e v e r was a pure language, anyway. I suppose most w r i t e r s p r e f e r to s t i c k new combinations o f words t o g e t h e r ( l i k e r e a r r a n g -i n g h a s h ) . I t ' s a good method, but I t h i n k t h a t r e a r r a n g i n g a t t i t u d e s and p e r c e p t i o n s i s more i m p o r t a n t . The w r i t e r ' s c r a f t , a f t e r a l l , i s a s c r i p t e a s e ( s i c ) o f l i f e . Not t h a t t h e r e ' s much l e f t to r e v e a l t h a t h a s n ' t been s a i d a l r e a d y , but i t ' s not the words o r images, as such t h a t need f r e s h e n i n g ; i t ' s the i d e a s . T h i s e n t r y c e r t a i n l y g i v e s an i n s i g h t i n t o E l a i n e ' s t h o u g h t s . A note was w r i t t e n back to h e r a s k i n g h e r to c o n s i d e r the v e r y s u b j e c t o f t h i s p a p e r - - t h e r e l a t i o n s h i p o f e x p e r i e n c e and language. The p o i n t we c i r c l e d about was, 'How do you f r e s h e n i d e a s i f n o t through language?' W r i t t e n exchanges o f i d e a s and arguments 84 can be e n j o y a b l e and b e n e f i c i a l f o r both s t u d e n t and t e a c h e r . T h i s c e r t a i n l y i s n o t t o imply t h a t the t e a c h e r hunt f o r oppor-t u n i t i e s t o s e t up such an exchange. Q u i t e the c o n t r a r y . But i f the t e a c h e r f e e l s the a i r i s r i g h t , then l e t him t e n d e r l y p r o c e e d . As t h i s example i l l u s t r a t e s , the j o u r n a l can o f t e n t i m e s a l l o w the t e a c h e r - - i f he l o o k s - - t o see deeper i n t o the workings o f the s t u d e n t ' s mind. The j o u r n a l i s a l s o c o n v e n i e n t to use as a c a t c h - a l l f o r p hrases and i d e a s which the s t u d e n t may w ish t o remember so t h a t he can p l a y w i t h them a t any f u t u r e date. As s u c h , the j o u r n a l i s a s o u r c e o f p a r t i a l l y o r g a n i z e d m a t e r i a l , a s t a r t i n g p l a c e f o r w r i t e r s to f a l l back on. The t e r r o r o f the empty-page and the empty-head syndrome i s n e v e r m a n i f e s t when a j o u r n a l i s kept. C o n s e q u e n t l y i t i s no s e c r e t t h a t most p r o f e s s i o n a l w r i t e r s are adamant j o u r n a l s c r i b b l e r s . E a r n e s t Hemingway, N a t h a n i a l Hawthorne, A l b e r t Camus, and G e r a r d Manley Hopkins are but a few. The p r o f e s s i o n a l w r i t e r s seldom dash o f f master-p i e c e s w i t h f l a i r and v i g o u r and l i g h t e n i n g speed. They take t h e i r time and b u i l d s l o w l y . And the j o u r n a l e n t r i e s p r o v i d e u n t o l d w e a l t h f o r t h e i r works. S t u d e n t w r i t e r s and p r o f e s s i o n a l w r i t e r s a l i k e know o n l y too w e l l t h a t f l a s h e s o f b r i l l i a n t i n s p i r a t i o n and p e r f e c t l y awesome phrases are more o f t e n f o r -g o t t e n than remembered, s i m p l y because the w r i t e r f e l t he c o u l d remember them and n e g l e c t e d t o r e c o r d them. 85 Not o n l y are t h e r e no t e a c h e r - d e l i n e a t e d t o p i c s f o r j o u r n a l w r i t i n g , n o r a r e t h e r e any t e a c h e r - d e l i n e a t e d time p e r i o d s s e t a s i d e f o r compulsory w r i t i n g . The j o u r n a l i s , i n e v e r y way p o s s i b l e , the s t u d e n t ' s own, and the c l a s s r o o m approach must be c o n s i s t e n t t o t h i s i d e a l . T h i s i s n o t t o negate some i n t r o d u c t o r y c l a s s j o u r n a l w r i t i n g s e s s i o n s t o i n i t i a t e the s t u d e n t s i n t o the whole j o u r n a l - k e e p i n g endeavour. But t o p r o l o n g such s e s s i o n s beyond the time o f t h e i r worth i s to t u r n the j o u r n a l i n t o a c l a s s notebook. The s t u d e n t s a r e v e r y c o n s c i o u s o f the di f f e r e n c e . The s t u d e n t s w i l l n o t take l o n g to r e a l i z e t h a t many p l a c e s and many times o f f e r j o u r n a l r i c h e s . I t i s n o t unusual to see a s t u d e n t s c r i b b l i n g i n h i s j o u r n a l i n the m i d d l e o f a Math c l a s s . Even the f i f t e e n minute bus r i d e t o s c h o o l can p e r i o d i c a l l y be j o u r n a l time. In a d d i t i o n to b e i n g open t o w r i t i n g i n many s i t u a t i o n s , the s t u d e n t s h o u l d t r y t o e s t a b l i s h a d a i l y r o u t i n e o f h i s own t h a t w i l l encourage him t o w r i t e i n g r e a t e r q u a n t i t y , and c o n s e q u e n t l y [ h o p e f u l l y ] q u a l i t y . Most p r o f e s s i o n a l w r i t e r s adhere f a i r l y r i g o r o u s l y t o t h e i r r o u t i n e s . L y i n g i n w a i t f o r the muse i s p o e t i c , b ut seldom t e r r i b l y p r o d u c t i v e . The Muse most o f t e n descends on the w r i t e r when h i s page i s a l r e a d y w e l l i n k e d . P r o f e s s i o n a l w r i t e r s o f f e r m u l t i -t u d i n o u s a d v i c e on t h i s s u b j e c t . They a r e e a g e r t o s h a r e t h e i r own i d i o s y n c r a c i e s about where to w r i t e , when t o w r i t e , what t o w r i t e w i t h , what to wear when w r i t i n g , what sounds t o l i s t e n t o when w r i t i n g , even who to imagine one i s w r i t i n g t o . The key here i s t o make the s t u d e n t s r e a l i z e t h a t w r i t e r s do have t h e s e i d i o s y n c r a c i e s ; p e o p l e , i n g e n e r a l , have t h e s e i d i o -s y n c h r a c i e s . And the s o o n e r they can g e t i n touch w i t h t h e i r own p e r s o n a l q u i r k s , the more p r o d u c t i v e t h e i r w r i t i n g w i l l be. Though j o u r n a l w r i t i n g i s e s s e n t i a l l y choppy i n i t s ramblings from t o p i c t o t o p i c , (No p r e c o n c e i v e d p l a n - - s h o c k ! ) i t i s an e x p e r i e n c e t h a t i s most b e n e f i c i a l t o a l l s t u d e n t w r i t e r s . I t e n a b l e s s t u d e n t s t o s t r e n g t h e n the m i n d \u00E2\u0080\u0094 t o \u00E2\u0080\u0094 p e n passage (as opposed t o the m i n d \u00E2\u0080\u0094 t o \u00E2\u0080\u0094 m o u t h p a s s a g e ) , f o r c e s them to s t o c k p i l e the v e r y f o r c e s which w i l l grow i n t o e f f e c t i v e p e r s o n a l w r i t i n g s , and encourages them t o spend time p l a y i n g w i t h t h e i r own thoughts about t h e i r own e x p e r i e n c e s . O b s e r v a t i o n I f the s t u d e n t i s t o be e f f e c t i v e i n w r i t i n g about h i s e x p e r i e n c e s , he must be o b s e r v a n t o f h i s s u r r o u n d i n g s . Braddock has n o t i c e d t h a t a u t h e n t i c o b s e r v a t i o n produces b e t t e r n a r r a t i o n . O b s e r v a t i o n s h o u l d be s t r e s s e d by the t e a c h e r . The t e a c h e r can c e r t a i n l y h e l p the s t u d e n t t o l e a r n t o s e e , r a t h e r than b l i n d l y l o o k . He s h o u l d d i r e c t the s t u d e n t ' s a t t e n t i o n t o such d e t a i l s as s i z e , shape, c o l o u r , t e x t u r e , odour, t a s t e and sound. He s h o u l d a l s o see t h a t p o i n t o f view i s comprehended and t o y e d w i t h . 87 S e n s i t i v i t y and o b s e r v a t i o n a r e i n s e p a r a b l e and e n t a i l a l l f i v e s e n s e s . In e f f e c t , t h e w r i t e r must :empathize w i t h h i s s u b j e c t m a t e r i a l i n o r d e r t o r e n d e r a moving work. Paddy C r e b e r , Department Head o f E n g l i s h E d u c a t i o n a t the U n i v e r s i t y o f E x e t e r i n E n g l a n d , s t r e s s e s t h i s empathy, a l o n g w i t h Ted Hughes: . . . do one t h i n g . . . imagine what y o u ' r e w r i t i n g about. See i t and l i v e i t . Don't t h i n k i t up l a b o r i o u s l y , as i f you were wor k i n g out mental a r i t h m e t i c . J u s t l o o k a t i t , touch i t , s m e l l i t , l i s t e n to i t , t u r n y o u r s e l f i n t o i t . [Hughes, Autumn, 1961] John M o f f i t t , i n h i s poem \"To Look a t A n y t h i n g \" has sound a d v i c e f o r w r i t e r s : To l o o k a t a n y t h i n g I f you would know t h a t t h i n g , You must lo o k a t i t l o n g : To l o o k a t t h i s green and say \"I have seen s p r i n g i n t h e s e Woods\" w i l l not do--you must Be the t h i n g you see: You must be the dark snakes o f Stems and f e r n y plumes o f l e a v e s , You must e n t e r i n To the s m a l l s i l e n c e s between The l e a v e s , You must take y o u r time. And touch t h e v e r y p l a c e They i s s u e from. [Lawrence, ed., 1973, p. 100] Such empathy i s the key to i n t i m a t e o b s e r v a t i o n and powerful w r i t i n g . C l a s s f i e l d t r i p s are p r i c e l e s s f o r o b s e r v a t i o n - b a s e d w r i t i n g . The s t u d e n t s t e a c h each o t h e r , as each c a t c h e s s i g n i f i c a n t d e t a i l s 88 the o t h e r s missed. I t i s f a s c i n a t i n g f o r t h e s t u d e n t s t o d i s c o v e r how one such s e e m i n g l y s i m i l a r e x p e r i e n c e i n t w e n t y - f i v e p e o p l e can r e s u l t i n such d i f f e r i n g works o f a r t . One C r e a t i v e W r i t i n g c l a s s e s s p e n t an a f t e r n o o n wandering around Gastown. The o b s e r v a t i o n s t h a t they g a t h e r e d y i e l d e d some powerful imagery. Lynda and Marjo were t r a n s f i x e d by the slum's n a t i v e s : Grey, a r t h r i t i c - g n a r l e d f i n g e r s Bang on the g u i t a r L i k e a C h i l d a t t e m p t i n g To make p l a y music. The weathered straw hat Waits on the s i d e w a l k For c o i n s t o be t o s s e d . With e v e r y j i n g l e o f s i l v e r His f a c e awakens i n t o A broad t o o t h l e s s s m i l e . Many would see him as a d i r t y beggar. (Lynda) P o o l y eyes o f f s e t the f a c e ; drops o f p a i n s l i d e p a s t s h redded l i p s . N eedle h o l e s mark b r u i s e d arms. F l a s h i n g c o l o u r s r i p through the broken mind, c r e a t i n g screams, o f unheard p l e a s . (Marjo) C o l e t t e examined the ewerpresent dichotomy o f a slum t h a t has been s u p e r f i c i a l l y r e n o v a t e d f o r t o u r i s t s : 89 Shadows sway b e h i n d pebble g l a s s , V o i c e s , music, c l a n g i n g b o t t l e s , Rocking and c l a p p i n g t o the drones o f the band, While o u t s i d e some s i t on s i d e w a l k s , Begging f o r dimes, M i x i n g t h e i r d r i n k s i n second-hand P e p s i b o t t l e s . A f i e l d t r i p t o R i v e r v i e w Mental H o s p i t a l sowed the d e t a i l o f C o l l e e n ' s poem: She s i t s i n c o r n e r s , t e l l i n g s t o r i e s t o h e r shadow, t r a p p e d on the w a l l . She g i g g l e s a t j o k e s t h a t are w h i s p e r e d to h e r by g i a n t green e l v e s . With r o c k s i n h e r hand, she d e c l a r e s war on a s e t t l e d pond, and h e r changing e x p r e s s i o n s r e v e a l t h a t h e r c h a r r e d mind i s amused. Padded w a l l s and s t a r i n g f a c e s s u r r o u n d h e r w o r l d . She's the A l i c e o f t o d a y \u00E2\u0080\u0094 o n l y m i s s i n g h e r magic mushrooms. T h i s i s not to s u g g e s t f i e l d t r i p s be used t o s i m p l y o b s e r v e d e t a i l s which w i l l be d u t i f u l l y r e c o r d e d i n a work o f a r t by each and e v e r y s t u d e n t upon h i s r e t u r n t o the c l a s s r o o m . God f o r b i d ! What i s s u g g e s t e d i s t h a t f i e l d t r i p s be used t o enhance t h e i r s e n s i t i v i t y t o l i f e and t h e i r u n d e r s t a n d i n g o f t h e m s e l v e s , w h i l e s i m u l t a n e o u s l y opening the doors t o p o s s i b l e raw m a t e r i a l s t h e y may wish t o employ i n t h e i r w r i t i n g . The j o u r n a l i s an e x c e l l e n t p l a c e f o r them t o j o t down d e t a i l s they may too q u i c k l y f o r g e t , and then l a t e r \u00E2\u0080\u0094 i f t h e y c h o o s e \u00E2\u0080\u0094 t h e y can use t h e s e d e t a i l s t o b u i l d a work on. The s t u d e n t s s h o u l d c a r r y t h e i r j o u r n a l s w i t h them on t h e s e f i e l d t r i p s . One day i n the f a l l an e n e r g e t i c group o f w r i t e r s s p e n t a w h i l e s a u n t e r i n g through a wide open f i e l d . They were s i m p l y e n j o y i n g the f i e l d and the f r e s h a i r , an a c t i v i t y even s t u d e n t s seldom i n d u l g e i n , w i t h the senses a l e r t t o t r i v i a l i t i e s the g e n e r a l p u b l i c would p r o b a b l y o v e r l o o k . One g i r l was very r e s e r v e d a l l a f t e r n o o n . The f o l l o w i n g week she r e v e a l e d t h e s e two p e r c e p t i v e poems: C r o u c h i n g i n green a n t i c i p a t i o n , They c l u s t e r i n c l i q u e s , w i t h t h e i r p o i n t e d toques p u l l e d down s n u g l y t o keep ou t the r a i n , and t h e i r s m a l l , brown o v e r c o a t s b u t t o n e d t i g h t l y a g a i n s t the c o l d . The t o a d s t o o l s are ready f o r w i n t e r . and The unkempt g r a s s s t r a n d s p u l l e d g e n t l y , but became i n c r e a s i n g l y i n s i s t e n t t u g g i n g , r o u g h l y , a t the s t i l l a i r , angry a t i t s r e l u c t a n c e to s t i r , b ut the a i r became g e n t l e g r a s s - n o i c e s , then i n c r e a s e d to a b r e e z e . The g r a s s bent o v e r , one row, a f t e r next and the breeze s l i d o f f t h e i r so s h i n y backs, i t s speed e v e r - i n c r e a s i n g . 91 Soon, i t s momentum was such t h a t i t became a wind, and n e a r i n g the end o f t he f i e l d t h e g r a s s e s s t o o d UP and w i t h one l a s t , a l l - o u t e f f o r t they f l u n g the wind i n t o the t r e e s , then s a t back, l a u g h i n g . The r e a d e r knows t h a t J i l l c l o s e l y o b s e r v e d the d e t a i l o f h e r s u b j e c t m a t t e r . She had t o i n o r d e r t o respond as she d i d . The t e a c h e r s h o u l d not h e s i t a t e to c o n s i d e r s e n d i n g s t u d e n t s on s m a l l group o r even on i n d i v i d u a l f i e l d t r i p s . As T o r r a n c e e x p l i c i t l y s t a t e s o v e r and o v e r a g a i n : For c r e a t i v i t y t o o c c u r , t h e r e must be o p p o r t u n -i t i e s f o r one t h i n g t o l e a d t o a n o t h e r . T h e r e f o r e , i t i s i n e v i t a b l e t h a t any genuine encouragment o f c r e a t i v i t y i n the c l a s s r o o m must take c h i l d r e n and young p e o p l e beyond t e x t b o o k s and beyond the c l a s s r o o m . [ T o r r a n c e , 1970, p. 81] The s t u d e n t s s h o u l d be c a r r y i n g o u t t h i s t y p e r o f a c t i v i t y on t h e i r own as w e l l . That i s , they s h o u l d be o b s e r v a n t o f the t r i v i a l i t i e s o f l i f e about them, and s h o u l d be c o n s t a n t l y j o t t i n g down t h e i r d i s c o v e r i e s . The s t a t e o f mind r e q u i s i t e f o r o b s e r v a t i o n s h o u l d be encouraged on t h e s e c l a s s f i e l d t r i p s , h o p e f u l l y e f f e c t i n g a p o s i t i v e c a r r y o v e r i n t o the s t u d e n t ' s s t a t e o f mind when 92 o b s e r v i n g on h i s own. O r d i n a r y p l a c e s w i t h i n w a l k i n g d i s t a n c e o f the s t u d e n t s ' homes w i l l undoubtedly p r o v i d e ample o p p o r t u n i t y f o r s t u d e n t o b s e r v a t i o n . W i t h i n w a l k i n g d i s t a n c e o f my s c h o o l may be f i e l d s , bushes, a n a t u r e walk, dykes, a r i v e r , f i s h docks, major i n t e r s e c t i o n s o r an e l e m e n t a r y s c h o o l . Any one o f t h e s e p l a c e s e x h i b i t s enough d e t a i l s t o w h i r l the s t u d e n t s ' minds, and i f the s t u d e n t s grew up near t h e i r p r e s e n t s c h o o l t h e s e p l a c e s a l s o may s t i r t he s t u d e n t s t o r e c a l l e x p e r i e n c e s a s s o c i a t e d w i t h t h e s e p l a c e s . S t u d e n t s s h o u l d a l s o be encouraged t o 'observe' t h e i r own emotions. Too o f t e n the r e a l emotion t h a t the s t u d e n t i s e x p e r i e n c i n g g e t s smothered by the emotion he f e e l s he ought t o be e x p e r i e n c i n g . Robert B l y s h a r e s t h i s c o n c e r n : The f i r s t problem i s t o know what the emotion i s , what you r e a l l y f e e l . Too o f t e n , what we t h i n k we f e e l i s o n l y what we want o r a r e e x p e c t e d t o f e e l . Going t o G r e a t Aunt E l i z a b e t h ' s f u n e r a l and l o o k i n g a t the c o r p s e , we may say t o h e r next o f k i n , \"I'm so s o r r y . \" L i k e as n o t , we a r e more f a s c i n a t e d , b o r e d , r e l i e v e d , i n c o n v e n i e n c e d , g u i l t y , o r u n c o m f o r t a b l e i n the s m e l l y room f u l l o f o l d p e o p l e . G e t t i n g away from e x p e c t e d o r d e s i r e d f e e l i n g s i s j u s t the b e g i n n i n g o f w r i t i n g , but i t i s no easy m a t t e r . [Kaufman and Powers, ed., 1970, p. 373] A w r i t e r must, i n a l l s e n s e s , be o b s e r v a n t o f h i s environment, but e q u a l l y i m p o r t a n t , o b s e r v a n t o f h i s own s e l f r e s p o n d i n g t o h i s environment. 93 Noteworthy i n d e e d , i s the f r e s h n e s s and power t h a t the s t u d e n t s a t t a i n i n t h e i r w r i t i n g through o b s e r v a t i o n p r a c t i c e . The m i n i s c u l e d e t a i l s t he s t u d e n t w r i t e r s f e e l c o m p e l l e d t o c a p t u r e on p a p e r . d e f y c l i c h e . Sydney H a r r i s ' d e l i g h t f u l work \"You W i l l Never Be a W r i t e r i f You\" s a t i r i z e s t h i s o u t d a t e d t r a d i t i o n a l l e s s o n : YOU WILL NEVER BE a WRITER IF YOU . . . Y o u ' l l n e ver be a w r i t e r i f you r e f e r t o a p l a y e r who \"sparked\" a r a l l y , t o a p o l i t i c i a n who 'spearheaded' a d r i v e , t o a committee t h a t ' s l a t e d ' a c a n d i d a t e . Y o u ' l l n e v e r be a w r i t e r i f you r e f e r t o ' o p t i m i z i n g ' an o p p o r t u n i t y , ' e n t h u s i n g ' o v e r a campaign, o r ' f i n a l i z i n g ' a c o n t r a c t . Y o u ' l l n e ver be a w r i t e r i f you r e f e r t o P a r i s as 'Gay Paree,' t o I r e l a n d as the 'Emerald I s l e , ' t o a l i o n as the ' k i n g o f b e a s t s , ' t o a nose as a ' p r o b o s c i s , ' t o death as ' p a s s i n g away.' Y o u ' l l n e ver be a w r i t e r i f you r e f e r to a b a t t l e ' r o y a l , ' a 'foregone' c o n c l u s i o n , a ' m i s c a r r i a g e ' o f j u s t i c e , a ' h e l p i n g ' hand, a diamond ' i n the rough,' an ' e a g l e 1 eye, a 'shadow' o f doubt, a s i g h t ' f o r s o r e eyes.' Y o u ' l l n e ver be a w r i t e r i f you r e f e r t o an a c t o r as a ' t h e s p i a n , ' t o a poet as a 'bard,' t o a t a v e r n - k e e p e r as a ' b o n i f a c e , ' t o a s o c i a l l e a d e r as a ' s o c i a l i t e , ' t o a f i r e m a n as a 'smoke-eater.' Y o u ' l l n e v e r be a w r i t e r i f you r e f e r t o a ' f a r ' c r y , a ' l a p ' o f l u x u r y , a 'pageant' o f h i s t o r y , a 'square peg' i n a round h o l e , a 'sumptuous' meal, a 'swank' apartment, a 'supreme' s a c r i f i c e , a 'token' o f esteem. Y o u ' l l n e ver be a w r i t e r i f you r e f e r t o time as 'immemorial,' t o c l i m a t e as ' h a l c y o n , ' t o t r u t h as 'naked,' t o h e a r t s o f ' g o l d ' o r ' s t o n e , 1 t o f e e t o f ' c l a y , ' t o a penny as ' p r e t t y , ' t o a d o l l a r as ' a l m i g h t y , 1 t o o p i n i o n s as ' c o n s i d e r e d , ' t o p l o t s t h a t ' t h i c k e n . ' Y o u ' l l never be a w r i t e r i f you r e f e r t o peace o f f e r i n g s as ' o l i v e b r anches,' t o d e l i c a t e s i t u a t i o n s as 'hanging by a t h r e a d , ' to any movement out as an 'exodus,' t o the l a t e s t p o s s i b l e time as 'the e l e v e n t h hour,' t o born i n p r o s p e r o u s c i r c u m s t a n c e s as a ' s i l v e r spoon,' t o an i r r o v a c a b l e s t e p as ' c r o s s i n g the Rubicon.' Y o u ' l l n e ver be a w r i t e r i f you r e f e r t o a burdensome p o s s e s s i o n as a 'white e l e p h a n t , ' t o d a n c i n g as 'the l i g h t f a n t a s t i c , ' t o a mountain as 'coming t o Mahomet,' t o a n y t h i n g s e l l i n g l i k e 'hot cakes' ( e x c e p t hot c a k e s ) , to ' l e a p s ' t h a t go w i t h bounds and ' f i t s ' t h a t go w i t h s t a r t s and 'hooks' t h a t go w i t h c r o o k s and 'bags' t h a t go w i t h baggages and ' t o o t h ' t h a t goes w i t h n a i l and 'rack' t h a t goes w i t h r u i n and ' f a s t ' t h a t goes w i t h l o o s e and 'high' t h a t goes w i t h dry and 'wear' t h a t goes w i t h t e a r and. . . [Kaufman and Powers, e d . , 1970, pp. 82-83] I f s t u d e n t s i n t e r n a l i z e the p r a c t i c e o f o b s e r v a t i o n , t h e y w i l l c r e a t e works t h a t w i l l make such concern o v e r c l i c h e s u p e r f l u o u s O b s e r v a t i o n p r a c t i c e has i t s c o m p l i c a t i o n s . While Braddock c o n s i d e r s t he v i e w i n g o f p i c t u r e s , TV, and movies as d i r e c t o b s e r v a t i o n , h i s p l a t f o r m i s week. Paddy C r e b e r a l s o has r e s e r v a t i o n s about w r i t i n g based on p i c t u r e ^ o b s e r v a t i o n : I t i s a d v i s a b l e , i n a l l t h i s work, t o s t r e s s t h a t we a r e w r i t i n g about a scene, r a t h e r than a picture, i n o r d e r t o encourage the c h i l d r e n t o ' p a r t i c i p a t e ' o r t o p r o j e c t t h e m s e l v e s . A t the l e v e l o f honest endeavour the p r o j e c t i o n i s ver y i n c o m p l e t e and the w r i t i n g tends t o d e s c r i b e o n l y what i s t h e r e . A t the h i g h e r l e v e l , where the p i c t u r e has r e a l l y made some impact, the o r i g i n a l d e t a i l s may be s u b t l y t r a n s f o r m e d by the e s e m p l a s t i c power o f the c h i l d ' s own i m a g i n a t i o n . [ C r e b e r , 1965, p. 153] However, even the v a l i d i t y o f C r e b e r ' s approach i s q u e r i e d . I t p o s s i b l e t o s u c c e s s f u l l y t e a c h o b s e r v a t i o n through the media by comparing h y p o t h e t i c a l p o i n t s o f view w i t h t he p a r t i c u l a r one employed, and by d i r e c t i n g a t t e n t i o n t o such d e t a i l s as c o l o u r , d i s t a n c e and sound, e t c . However, i t i s not a d v i s e d s p e n d i n g 95 too much time d i r e c t i n g the s t u d e n t to t h e s e second-hand o b s e r v a t i o n s , second-hand because the s t u d e n t s a r e s e e i n g the r e a l o b j e c t through someone e l s e ' s e y e s , and hence through someone e l s e ' s i n t e r p r e t a t i o n and v i s i o n o f the r e a l i t y o f t h a t o b j e c t . The image on the TV s c r e e n , w h i l e i n one sense a r e a l image, i s t r u t h f u l l y the f i l m m a k e r s ' con-c e p t i o n and d i s t o r t i o n o f the r e a l o b j e c t b e i n g f i l m e d . I t i s more i m p o r t a n t f o r the s t u d e n t to see the o b j e c t through h i s own eyes and h i s own v i s i o n o f r e a l i t y so he can come t o f u r t h e r u n d e r s t a n d h i s w o r l d and h i s s e l f . U s i n g f i l m s and p i c t u r e s as jumping o f f p o i n t s f o r d i s c u s s i o n which aims a t i n d u c i n g the s t u d e n t to ruminate h i s own e x p e r i e n c e t h r o u g h language i s a l t o g e t h e r d i f f e r e n t , and most b e n e f i c i a l . Small E x p e r i e n c e s With the s t r e s s upon w r i t i n g from e x p e r i e n c e and from f i r s t - h a n d o b s e r v a t i o n , i t i s o n l y n a t u r a l f o r the t e a c h e r t o s i m u l t a n e o u s l y encourage the s t u d e n t s to f o c u s t h e i r w r i t i n g on smal1 e x p e r i e n c e s . S t u d e n t s i n e v i t a b l y t e n d to attempt to w r i t e about such a b s t r a c t g e n e r a l i t i e s as l o v e , hunger, sorrow, h a p p i n e s s , ad i n f i n i t u m . The t o p i c i s too l a r g e , too g e n e r a l , too v a r i -e g ated f o r the s t u d e n t w r i t e r to even approach s u c c e s s . And s u c c e s s i s i m p o r t a n t . An i n t e r v i e w w i t h Michael Mewshaw, n o v e l -i s t and p a s t C r e a t i v e W r i t i n g p r o f e s s o r a t the U n i v e r s i t y o f M a s s a c h u s e t t s , s u p p o r t s the c o n t e n t i o n t h a t s t u d e n t s s h o u l d be s t e e r e d away from the hazy, u n d e f i n a b l e g e n e r a l i t i e s and d i r e c t e d to c o n c r e t e images t h a t the w r i t e r and r e a d e r can v i s u a l i z e : 96 MEWSHAW: I t h i n k I would emphasize f i r s t a c o n s c i o u s t e c h n i q u e . Yes, I t h i n k I would emphasize f i r s t a c o n s c i o u s t e c h n i q u e . I t h i n k too many young w r i t e r s spend a g r e a t deal o f t h e i r time t r y i n g t o e x p r e s s some deep, dark, vague, amorphous r e a c t i o n t o t h e i r own e x p e r i e n c e o f y o u t h , and I p e r s o n a l l y t h i n k i t would be more b e n e f i c i a l t o f o c u s on, perhaps a p e r s o n a l e x p e r i e n c e , but a s m a l l e r e x p e r i e n c e , one t h a t they can come t o g r i p s w i t h i n a c o n s c i o u s f a s h i o n , and shape. GRAHAM: Not ' l i f e , ' b u t a b i r t h d a y p a r t y when you were t w e l v e , t h a t k i n d o f t h i n g ? MEWSHAW: I t h i n k t h a t ' s more o f a l o g i c a l approach. I know t h a t i n e v e r y c r e a t i v e w r i t i n g c l a s s I e v e r took t h e r e was always a ve r y t a l e n t e d , but perhaps u n d i s c i -p l i n e d f e l l o w , who was w r i t i n g a book o f a thousand pages, a book t h a t was g o i n g t o encompass a l l o f human e x p e r i -ence. And i n e v i t a b l y i t broke down, and t h a t w r i t e r d e s p a i r e d o f a c c o m p l i s h i n g what he had s e t o u t t o do. I don't t h i n k you can go from a s e n i o r i n h i g h s c h o o l t o James J o y c e . I t h i n k t h a t t h e r e a r e a l o t o f s t e p s i n between, t h a t you have t o c l i m b t h o s e s t a i r s . [ G a r r e t t , e d ., 1972, p. 56] The s t u d e n t who has w r i t t e n a l i n e such a s , \"Sorrow i s i n my h e a r t \" s h o u l d be encouraged t o s u b v e r s i v e l y c o n v i n c e the r e a d e r o f t h i s f e e l i n g through h i s s p e c i f i c and s m a l l c o n c r e t e images, not by coming out and pounding the r e a d e r on the head w i t h an u n i m a g i n a t i v e s t a t e m e n t . The t e a c h e r might ask t h i s s t u d e n t t o c o n s i d e r such q u e s t i o n s as: 'When you are s o r r o w f u l do you see f a m i l i a r t h i n g s i n the same way as when you a r e happy? Example? How do y o u r senses respond? As u s u a l ? Example? How do you r e a c t t o peop l e when you are s o r r o w f u l ? Example?' The t e a c h e r s h o u l d be a b l e t o e l i c i t remarks i n which s p e c i f i c examples a r e embedded. I t i s t h e s e s p e c i f i c examples t h a t s h o u l d be w r i t t e n i n l i e u o f the o r i g i n a l g e n e r a l i t y . Henry James a d v i s e s young w r i t e r s : Oh, do something from y o u r p o i n t o f view; an ounce o f example i s worth a ton o f g e n e r a l i t i e s . . . do something w i t h l i f e . You each have an i m p r e s s i o n c o l o r e d by y o u r i n d i v i d u a l c o n d i t i o n s ; make t h a t i n t o a p i c t u r e , a p i c t u r e framed by y o u r own p e r s o n a l wisdom, y o u r g l i m p s e o f the . . . w o r l d . [ E d e l , ed., 1956, p. 29] St u d e n t s seldom r e a l i z e t h a t t h e i r use o f g e n e r a l i t i e s has e i t h e r no a f f e c t whatsoever on the r e a d e r , o r an a f f e c t t h a t i s v e r y d i f f e r e n t than they i n t e n d e d . The word 'sorrow' e l i c i t s a d i f f e r e n t image i n each r e a d e r , i f i t e l i c i t s an image a t a l l . C o n s i d e r the f o l l o w i n g g e n e r a l i t i e s and t h e i r s p e c i f i c c o u n t e r p a r t s : Grey a r t h r i t i c - g n a r l e d f i n g e r s S a d l y bang on the g u i t a r . Grey a r t h r i t i c - g n a r l e d f i n g e r s Bang on the g u i t a r L i k e a c h i l d a t t e m p t i n g To make p l a y music. The q u e s t i o n asked here was ' what do you mean by s a d l y ? ' Then s was t o l d a few ways o f i n t e r p r e t i n g ' s a d l y . ' Not one matched her own way. Here i s a n o t h e r comparison: L y i n g on my back F e e l i n g the i n t e n s e noonday h e a t , The p r i c k l e - g r a s s s e n d i n g s e n s a t i o n s through me. . . 98 and L y i n g on my back F e e l i n g the i n t e n s e noonday h e a t , The p r i c k l e - g r a s s s e n d i n g s e n s a t i o n s through me. . . T h i s t h i r d l i n e i s much more e f f e c t i v e . However, t h e r e a r e s t i l l two a r e a s o f concern here. \" F e e l i n g \" i s a n o t h i n g word. How does \" i n t e n s e noonday heat\" f e e l ? and What a r e the s e n s a t i o n s you f e e l from the p r i c k l e - g r a s s ? The r e a d e r i s too f a r removed from the s t u d e n t ' s e x p e r i e n c e because o f t h e s e u n s u b s t a n t i a l words. An o t h e r example o f g e t t i n g bogged down i n meaningless g e n e r a l i t i e s , i s t h e use o f the words r e a l i t y and u n r e a l i t y o r f a n t a s y . One s t u d e n t was a t t e m p t i n g t o c a p t u r e the i d e a o f b r i e f l y waking up from a dream, and wanted to c a p t u r e the i d e a t h a t both w o r l d s seemed r e a l to h e r i n t h a t p a r t i c u l a r i n s t a n t . She wrote: F l y i n g on the wings o f a b i r d The rush o f the wind s t u n s my s e n s e s . For a b r i e f moment f a n t a s y m i n g l e s w i t h r e a l i t y . I t i s much more powerful f o r h e r t o imagine j u s t what i t i s l i k e t o be i n both w o r l d s a t once--and w r i t e about something p a r t i c u l a r . She thought f o r some time and came back w i t h : F l y i n g on the wings o f a b i r d , The rush o f the wind s t u n s my s e n s e s . For a b r i e f moment i c y c o o l m i n g l e s w i t h s h e e t warmth. She went d i r e c t l y t o h e r senses f o r raw m a t e r i a l because she i n s t i n c t i v e l y knew t h a t i t i s man's senses t h a t make f a n t a s y seem 99 r e a l . A poem t h a t C o l l e e n wrote was t r a n s f o r m e d when she p l u c k e d out the g e n e r a l i t i e s , r e p l a c i n g them w i t h e x p e r i e n c e s o f h e r own w o r l d : My h e a r t i s f i l l e d w i t h sorrow When I no l o n g e r see the t h i n g s o f beauty I once d i d That ' s when I r e a l i z e the l o v e has d i e d . became My h e a r t i s a c h i l d - d e m o l i s h e d c o o k i e . When I no l o n g e r see the beauty i n an open f i e l d o f d a i s i e s , Or the morning sun r e f l e c t i n g o f f the dew o f a s p i d e r ' s newly woven web, That ' s when I r e a l i z e the l o v e has d i e d . There i s a d i f f e r e n c e i n the e f f e c t o f each o f thes e p a i r e d examples. D i r e c t r e f e r e n c e s t o s p e c i f i c , o r d i n a r y events the r e a d e r can empathize w i t h a l l o w the r e a d e r t o get very c l o s e t o the a c t u a l e x p e r i e n c e t he w r i t e r had. The language becomes a v e h i c l e o f e x p r e s s i o n , r a t h e r than a b a r r i e r to e x p r e s s i o n . To r e a s s e r t the b a s i c premise o f t h i s paper, the s t u d e n t w r i t e r i s a b l e t o e x p l o r e deeper i n t o h i s i n n e r w o r l d when he chooses s p e c i f i c s o v e r g e n e r a l i t i e s . E x p e r i e n c e s do n o t o c c u r i n the form o f g e n e r a l -i t i e s , hence i t i s u n r e a l i s t i c f o r the s t u d e n t t o e x p l o r e them through t he language o f g e n e r a l i t i e s . 100 O r d i n a r y E x p e r i e n c e s The s t u d e n t ' s everyday s u r r o u n d i n g s r e f l e c t b o u n t i f u l s m a l l , o r d i n a r y e x p e r i e n c e s t h a t are the makings f o r c o u n t l e s s works o f a r t . Wordsworth was most adamant about the f a m i l i a r i t y and o r d i n a r i n e s s o f h i s w r i t i n g t o p i c s , and h i s w r i t i n g i s w e l l l o v e d and r e s p e c t e d because o f t h i s v e r y q u a l i t y e v i d e n t i n h i s works. C o l e r i d g e d e s c r i b e s Wordsworth as g i v i n g : . . . the charm o f n o v e l t y t o t h i n g s o f e v e r y day, . . by awakening the mind's a t t e n t i o n t o the l e t h a r g y o f custom, and d i r e c t i n g i t to the l o v e l i n e s s and wonders o f the w o r l d b e f o r e us; i n i n e x h a u s t i b l e t r e a s u r e , b ut f o r which i n consequence o f the f i l m o f f a m i l i a r i t y and s e l f i s h s o l i c i t u d e , we have ey e s , y e t see n o t , ea r s t h a t h e a r n o t , and h e a r t s t h a t n e i t h e r f e e l n o r und e r s t a n d . r r 1 ... ,\u00E2\u0080\u009E-,-, [ C o l e r i d g e , p. 147] Common s e t t i n g s and everyday p e o p l e have a d i s t i n c t beauty when we s t o p t o n o t i c e and o b s e r v e . I t i s t h i s ' o r d i n a r y beauty' t h a t t r a n s c e n d s t he passage o f time. L i f e i s , i n e f f e c t , an o r d i n a r y a f f a i r , and i t i s i n e v i t a b l y t he s h a r i n g o f the o r d i n a r i n e s s o f day-to-day l i v i n g t h a t b i n d s t o g e t h e r p e o p l e o f a l l ages. Teachers must manage to convey t o s t u d e n t s t he i n e f f e c t i v e n e s s o f w r i t i n g about 'the most wonderful person I e v e r met' compared t o the c o n t r a d i c t o r y o l d codger next door who reeks o f r e a l i t y . J u s t as W a l l a c e Stevens f a s h i o n e d h i s powerful works from e v e r y d a y e x p e r i e n c e \u00E2\u0080\u0094 a g l a s s o f water, a Sunday morning, a man w i t h a b l u e 101 g u i t a r \u00E2\u0080\u0094 s o can the s t u d e n t s f a s h i o n t h e i r s . Whether t h e i r neighbourhoods have underground w i r i n g o r d i l a p i d a t e d b i l l b o a r d s , images embedded i n t h e i r own l i v e s w i l l always s u r p a s s phony, h a l f - h e a r t e d and homogenized g e n e r a l i t i e s . S t u d e n t s s h o u l d be encouraged to d i r e c t t h e i r a t t e n t i o n s t o o r d i n a r y e x p e r i e n c e s t h a t a r e sm a l l enough t o deal w i t h i n t h e i r e n t i r e t i e s . The analogy o f b i t i n g o f f more than you can chew i s r e a l i s t i c . (The i d i o m i s a l s o r e l e v a n t . ) I f t h e r e i s n ' t room i n the s t u d e n t ' s mouth to chew the morsel o f e x p e r i e n c e around, t o g r i n d i t and s a v o u r i t and g r i n d i t a g a i n , to p l a y w i t h i t f o r a w h i l e b e f o r e s w a l l o w i n g , then the morsel i s too l a r g e . Marci has r e l i e d t o t a l l y on h e r own o b s e r v a t i o n s and f e e l i n g s c o n c e r n i n g h e r own o r d i n a r y s c h o o l mornings: orange marmalade newspaper morning, w i t h y o u r boots i n the h a l l w a y and steam from y o u r c o f f e e m e l t i n g the moon. The compactness and c o n c i s e n e s s o f t h i s ' o r d i n a r y ' morsel i s e f f e c t i v e . C o l e t t e has w r i t t e n about a 'greasy spoon' i n Richmond t h a t she happened i n t o : Sunny a f t e r n o o n s i n c o r n e r , c o u n t r y c a f e s , Checkered t a b l e c l o t h s , Warm m i l k , and f l i e s on y o u r t o a s t , D i r t y , o l d , w o r k i n g men, and m i n i - s k i r t e d o l d women, A l l make me g r i n . 102 Marjo spends much time r i d i n g h e r h o r s e a l o n g the s e a g u l l - f r e q u e n t e d dykes. T h i s i s h e r p r o t e s t a g a i n s t o i l seepage: Beach rocks on the h o t summer sand make s u n n i n g c h a i r s and tombstones f o r dead s e a g u l l s . Lynda i s a l s o f a m i l i a r w i t h the dyke a r e a . She u t i l i z e s h e r o r d i n a r y e x p e r i e n c e s i n y e t a n o t h e r manner: S t i l l waters \u00E2\u0080\u0094 i n s h a l l o w sea rock p o o l s h o l d l i f e c a p t i v e . T i d e s r i s e , r e l e a s e the sea l i f e c r e a t i n g a water path to the open oceans Y e t always some l e f t i n the s t a g n a n t s a l t p o o l s to w a i t f o r the n e x t t i d e . The range o f o r d i n a r y , s p e c i f i c and s m a l l t o p i c s i s as l i m i t l e s s as the s t u d e n t s ' e x p e r i e n c e s . The t e a c h e r s h o u l d be aware o f the s t u d e n t ' s work as i t p r o g r e s s e s . As soon as he r e a l i z e s the s t u d e n t i s d r i f t i n g o f f i n t o a i m l e s s g e n e r a l i t i e s , r e t r a c k him i n t o h i s own a u t h e n t i c s u r r o u n d i n g s so he can e x p l o r e h i s s u r r o u n d -i n g s through language, g i v i n g h i s e x p e r i e n c e s meaning, purpose and worth. On the l a s t day o f c l a s s t h i s y e a r , a s t u d e n t d i s c l o s e ed. a poem w i t h a s m a l l note a t t a c h e d . As an impromptu g i f t , \u00E2\u0080\u00A2this s mall poem emphasizes so w e l l the rewards i m p l i c i t i n g u i d i n g the s t u d e n t s to w r i t e about s m a l l , o r d i n a r y e x p e r i e n c e s I've Blow-Dried my Cat/Snowflake I've s m e l l e d the r a i n as i t s e t t l e d the d u s t on an o l d t r a c t o r r o a d . I've sung Hare Krshna and I've been to the S i k h Temple. I've r i d d e n a k i t t e n - s o f t cow and I've s a i d good-bye to Grampa. I've l a i d back i n t a l l c o u n t r y g r a s s , n i b b l i n g a honeyed w a t e r - r o o t , dreaming. I've b l o w - d r i e d my c a t a f t e r he f e l l i n t o a swimming pool and I've r e s c u e d him from the f r i d g e . I've s k i p p e d time-smoothed r o c k s o v e r c o l d b o i l i n g c r e e k s . A w h i l e ago I c a u g h t a snowflake i n my hand to a n a l y s e i t ; to s e a r c h f o r i t s beauty; but I c o u l d n ' t b e f o r e i t m e l t e d . Then someone came a l o n g and p o i n t e d a t the sky where the f r o z e n c r y s t a l s d r i f t e d w e i g h t l e s s l y ; p e a c e f u l l y s w i r l i n g i n the b l a c k n e s s . I t made me c r y . Mrs. Jamieson: Thanks f o r h e l p i n g me w i t h my p o e t r y - - a n d f o r h e l p i n g me r e c o g n i z e l i f e as not o n l y major happenings, but a l l the l i t t l e t h i n g s in. between. I had been m i s s i n g so much b e f o r e I c o u l d put my f e e l i n g s on paper. Thanks a g a i n ! Lonny Cochran W r i t i n g has taken on a new p e r s p e c t i v e f o r Lonny. So has her l i f e . 104 D r a f t i n g Summary Fundamental i s the b a s i c p h i l o s o p h y o f Stage One, the D r a f t i n g Stage o f w r i t i n g . The w r i t i n g t e a c h e r s h o u l d do h i s u t -most t o encourage s t u d e n t w r i t e r s t o t u r n t h e i r mind's eye inward to the e x p e r i e n c e s t h a t a re s e c r e t e d away w i t h i n t h e m s e l v e s . The p r o c e s s o f p l a y i n g w i t h words t o t r y and c a p t u r e t h e s e e x p e r i e n c e s on paper i s a p r o c e s s o f d i s c o v e r y . The s t u d e n t d i s c o v e r s a t r i a n g u l a r r e l a t i o n s h i p between words, e x p e r i e n c e , and h i s ver y s e l f t h a t g i v e s meaning to l i f e : s e l f w o r d s ^ e x p e r i e n c e These t h r e e p o i n t s a re so i n t e r r e l a t e d , t h a t they are i n s e p a r a b l e . To withdraw one f a c t o r i s t o l e a v e the t r i a n g l e g a p i n g and i n -complete. The t e a c h e r ' s goal s h o u l d be to h e l p each s t u d e n t w r i t e r , by c o n s i s t e n t , c o v e r t encouragement, to s t r e n g t h e n t h e s e bonds by p l a y i n g w i t h p e r s o n a l e x p e r i e n c e , t h r o u g h words. The a c t u a l w r i t i n g o f the poem ( e s s a y , s t o r y , p a r a g r a p h , e t c . ) , the word-play i n v o l v e d i n c r e a t i n g a poem, the s t u d e n t ' s own poem, h i s own way, i s the s o u r c e o f the a d d i c t i o n o f s u c c e s s f u l s t u d e n t w r i t e r s t o w r i t i n g . The t e a c h e r must t r y t o d i r e c t each s t u d e n t w r i t e r i n t h i s d i r e c t i o n . 105 Two v i g o r o u s s t u d e n t s , who are^ c a s t as s u c c e s s f u l s t u d e n t w r i t e r s w i t h an immense c r e a t i v e w r i t i n g p o t e n t i a l , p o e t i c a l l y e x p l o r e t h e s e v e r y a d d i c t i v e reasons f o r w r i t i n g : E l a i n e w r i t e s i n h e r j o u r n a l : Feb. 6, 1975: My w r i t i n g (and I don't c o n s i d e r m y s e l f a w r i t e r ) does not come from p r e c o n c e i v e d i d e a s o r p l a n s . N o r m a l l y , my mind i s e i t h e r wandering o r c o n c e n t r a t i n g t o the p o i n t o f mental e x h a u s t i o n , b e i n g i l l o g i c a l , d i s s a t i s f i e d , l a u g h i n g . Yet none o f t h a t goes i n t o words t h a t I would l i k e t o l i s t e n t o , o r read. What I w r i t e i s merely what comes out o f my pen a t a g i v e n moment. So, ask me to e x p l a i n what I w r i t e , and t h e r e ' s n o t h i n g t o e x p l a i n . I d i d not w r i t e w i t h c l a r i t y o r l o g i c i n view, and r e v i s i o n i s a l m o s t a s i n - - e x c e p t i n t e c h n i c a l p o i n t s . I don't e x p e c t an a u d i e n c e o r anyone to want to u n d e r s t a n d , o r l i k e i t . I don't even w r i t e f o r what I l i k e , r e a l l y . I t ' s j u s t to make a p a r t o f my-s e l f , something b e t t e r . J i l l ' s poem e f f e c t i v e l y summarizes the g i s t o f t h i s f i r s t s t a g e o f c r e a t i v e w r i t i n g : I w r i t e to j o i n m y s e l f . I w r i t e because words w a i t , hands o u t , t o be j o i n e d . I w i l l w r i t e u n t i l I have j o i n e d them a l l e v e r y way I can. Whether a s t u d e n t i s i n h e r e n t l y e l o q u e n t and p o e t i c o r an i n c o r r i g i b l e word f u m b l e r , the t e a c h e r must encourage him to d i s c o v e r , through h i s own language, h i s own e x p e r i e n c e s , h i s own s e l f . 106 STAGE TWO: EDITING AND PUBLISHING V a l i d i t y and N e c e s s i t y o f S t u d e n t P u b l i c a t i o n The goal o f the second s t a g e o f w r i t i n g i s p u b l i c a t i o n . The w o r k i n g d e f i n i t i o n o f ' p u b l i c a t i o n ' t h a t i s employed: t h e exposure o f works to an a u d i e n c e o u t s i d e the c l a s s r o o m , and by 'audience' i s encompassed r e a d e r , l i s t e n e r , v i e w e r , e t c . In view o f t h i s d e f i n i t i o n , t h e n , a performance o f a s t u d e n t - w r i t t e n p l a y , a s t u d e n t ' s r e a d i n g o f h i s own p o e t r y , a b r o a d c a s t o f a s t u d e n t ' s r a d i o o r t e l e v i s i o n p l a y , as w e l l as the r e l e a s e i n p r i n t ( j o u r n a l s , magazines, e t c . ) o f the s t u d e n t ' s work are a l l v a r i o u s forms o f p u b l i c a t i o n . The f o r e r u n n e r t o such p u b l i c a t i o n i s the ' s h a r i n g ' o f s t u d e n t works w i t h i n the c l a s s r o o m . James B r i t t o n , the w e l l known B r i t i s h p s y c h o l i n g u i s t , has found t h a t t h i s ' s h a r i n g ' f a c e t i s e x t r e m e l y m o t i v a t i o n a l i n p e o p l e o f a l l ages: Even when we can i n t e r p r e t i n s i l e n t r e f l e c t i o n , w i t h o u t b e n e f i t o f a u d i b l e language and a l i s t e n e r , we s t i l l p r e f e r t o do a g r e a t d e a l o f o u r i n t e r p r e t i v e work i n t a l k w i t h o t h e r p e o p l e . The i n c e n t i v e t o shape our e x p e r i e n c e i n words i s very f r e q u e n t l y t h a t o f s h a r -i n g i t w i t h somebody e l s e . [ B r i t t o n , 1967, p. 27] The s h a r i n g o f s t u d e n t s ' works i s a common endpoint.. i n many ele m e n t a r y c l a s s e s (though some commendably pursue p u b l i c a t i o n as w e l l ) , and i s most i m p o r t a n t as a t r i a l f o r p u b l i c a t i o n i n the s e n i o r s e c o n d a r y c l a s s e s . Three o f the most outspoken advocates o f t h i s i n t e r p e r s o n a l exchange o f w r i t i n g are the poets M i c h a e l Mott, Dabney S t u a r t , and S y l v i a W i l k i n s o n . They i n t e r a c t e d w i t h e l e m e n t a r y , j u n i o r and s e n i o r s e c o n d a r y s t u d e n t s i n a program i n which one o f the f o u r o b j e c t i v e s was t o c r e a t e a c l i m a t e i n which the s t u d e n t s c o u l d s h a r e t h e i r w r i t i n g w i t h o t h e r s , p r o -f e s s i o n a l s and p e e r s . T h i s ' s h a r i n g ' i m p l i e s a p a r t i c i p a t i o n w i t h o t h e r s i n e n j o y i n g and a p p r e c i a t i n g a f e l l o w s t u d e n t ' s work as w e l l as e d i t i n g and c o n s t r u c t i v e l y c r i t i c i z i n g t h i s work. P u b l i c a t i o n does not have t h e s e i m p l i c a t i o n s . P u b l i c a t i o n i s an u n v e i l i n g o f a work f o r the p u b l i c t o r e a c t t o i f i t w i s h e s , and as i t chooses. P u b l i c a t i o n i s a b a r i n g o f the w r i t e r ' s i n n e r -most reaches t o masses o f s t r a n g e r s . I n e v i t a b l y , the s t u d e n t s ' w r i t i n g aim must be p u b l i c a t i o n The c o n c l u s i o n s o f the Dartmouth Anglo-American C o n f e r e n c e o f 1966 aimed t e a c h e r s o f C r e a t i v e W r i t i n g i n t h i s d i r e c t i o n : In the f i r s t p l a c e , c h i l d r e n need an a u d i e n c e o t h e r than the t e a c h e r . They w r i t e most e a s i l y when th e y w r i t e f o r the c l a s s , a r e e n t e r t a i n e d and s t i m u l a t e d by one a n o t h e r ' s f a n c i e s . E n g l i s h t e a c h e r s f o r g e t t h a t w i t h o l d e r c h i l d r e n an a u d i e n c e i s no l e s s i m p o r t a n t . As Wendell Johnson has c o m p l a i n e d , t e a c h e r s f a i l be-cause they appear to emphasize ' w r i t i n g ' i n s t e a d o f ' w r i t i n g - a b o u t - s o m e t h i n g - f o r - s o m e o n e . ' You cannot w r i t e w r i t i n g . Too o f t e n they a s s i g n the y o u n g s t e r s l i t e r a r y t o p i c s f o r which t h e r e can h a r d l y be a l i v e a u d i e n c e e x c e p t the t e a c h e r , h i m s e l f . [ M u l l e r , 1961, pp. 100-101] 108 The s t u d e n t must a c t u a l l y aim f o r a r e a l a u d i e n c e f o r h i s works, e l s e the c o u r s e i s a sham, a phoney. The h i g h s c h o o l s t u d e n t needs to be exposed t o the r e a l t h i n g . H i s days o f ' L e t ' s p r e t e n d ' are o v e r . Stephen Judy c o n f i r m s t h i s a t t i t u d e : However, the s t u d e n t a l s o ( i n a d d i t i o n t o w r i t i n g about m a t e r i a l t h a t i s from p e r s o n a l e x p e r i e n c e s ) needs a r e a d e r s h i p ; and a c l a s s s h o u l d be a l i v e w i t h s t u d e n t s r e a d i n g t o each o t h e r , r e a d i n g each o t h e r ' s work, r e s p o n d i n g and r e a c t i n g t o the t h i n g s t h a t they have s a i d and done. I s i m p l y want t o n o t e t h a t the c l a s s r o o m needs t o be a p u b l i s h i n g and r e a d i n g c e n t e r , where s t u d e n t s ' work takes on r e a l i t y by b e i n g g i v e n a p u b l i c r e a d e r s h i p . [Judy, 1974, p. 94] No l o n g e r i s the c l a s s r o o m a c l o i s t e r e d i v o r y tower o f s a c r o s a n c t l e a r n i n g t h a t bears l i t t l e r e l a t i o n t o r e a l i t y . With the u l t i m a t e aim o f p u b l i c a t i o n , the c l a s s r o o m i s f o r c e d o u t i n t o the community, becoming an i n t e g r a l p a r t o f the ' r e a l ' w o r l d . For the s t u d e n t s , t h i s coming t o terms w i t h r e a l i t y i s commonly a p r e r e q u i s i t e t o t h e i r endorsement o f a c o u r s e , and hence t o the amount o f e f f o r t they w i l l expend i n i t . Laverne G o n z a l e z , a p r o f e s s o r o f freshman c o m p o s i t i o n a t Purdue U n i v e r s i t y i n L a f a y e t t e , I n d i a n a , w h o l e h e a r t e d l y applauds the p u b l i c a t i o n a p p r o a c h , c o n d u c t i n g c o u r s e s i n which the c o n t e n t i s p r i m a r i l y s t u d e n t c r e a t e d m a t e r i a l s . The c o n t e n t i o n i s t h a t s i n c e , by d e f i n i t i o n , a w r i t e r i s one who w r i t e s , a freshman w r i t i n g c o u r s e s h o u l d s i m u l a t e the p r o f e s s i o n a l w r i t i n g p r o c e s s and a l s o p r o v i d e an o u t l e t f o r the p r o d u c t . The o u t l e t f o r the 109 p r o d u c t i s a newspaper p u b l i c a t i o n , Easy W r i t e r s , c o n c e i v e d to p r o v i d e an a u d i e n c e f o r the works o f the freshman c o m p o s i t i o n c l a s s e s . G o n z a l e z ' s p h i l o s o p h y i s e n c a p s u l e d y e a r l y i n the opening a d d r e s s t o new s t u d e n t s : Here e v e r y day f o r s i x t e e n weeks you w i l l be w r i t e r s \u00E2\u0080\u0094 p r o f e s s i o n a l w r i t e r s because you w i l l be w r i t i n g f o r p u b l i c a t i o n . We p u b l i s h a weekly newspaper Easy W r i t e r s i n which the b e s t a r t i c l e s w r i t t e n each week a r e p u b l i s h e d . T h i s newspaper goes t o deans, c o u n s e l l o r s , p r o f e s s o r s , a d m i n i s t r a t o r s a l l o v e r Purdue's campus and t o o t h e r u n i v e r s i t i e s t h a t have r e q u e s t e d c o p i e s . Anytime you want e x t r a c o p i e s t o send home o r t o f r i e n d s j u s t ask. As p r o f e s s i o n a l w r i t e r s you w i l l need to keep j o u r n a l s i n which you r e c o r d m a t e r i a l s f o r p o s s i b l e f u t u r e u s e \u00E2\u0080\u0094 I c a l l i t mind rape. I f the term i s too s t r o n g , t r y something e l s e . But do c a p t u r e a moment, respond t o an i d e a , blow y o u r c o o l , w r i t e a poem, r e c a l l the p a s t , but the t r u t h I want t o foc u s on most i s Word T r u t h , i . e . , f i n d i n g the e x a c t word t o communicate p r e c i s e l y the i d e a you have. W r i t e e v e r y d a y f o r a t l e a s t ten minutes. We w i l l be c o n c e r n e d w i t h t r u t h \u00E2\u0080\u0094 y e s , the p e r s o n a l e x p e r i e n c e ; each o f you has completed a t l e a s t 18 y e a r s o f o b s e r v i n g and r e c o r d i n g i n y o u r mind. We w i l l use t h a t m a t e r i a l . . . . Because the exchange o f s i x t e e n minds i s r i c h e r than one mind wor k i n g a l o n e , we w i l l r e a d t o each o t h e r , d i s c u s s and c r i t i c i z e the i d e a s and w r i t i n g s . E v e r y t h i n g you w r i t e i s i m p o r t a n t . Keep i t al1 i n a p o r t f o l i o . We w i l l spend a l o t o f time t o g e t h e r . We w i l l l e a r n t o know each o t h e r through o u r w r i t i n g . I promise you t h i s w i l l be the b e s t c l a s s you have e v e r o r w i l l e v e r have. In a d d i t i o n you w i l l s u r p r i s e even y o u r s e l f i n y o u r w r i t i n g . . . . And o n l y t h o s e changes you s a n c t i o n w i l l e v e r be made. When you have an a r t i c l e ready f o r p u b l i s h i n g , w e ' l l do i t . [ G o n z a l e z , 1973, pp. 3-4] I t i s c e r t a i n l y b e l i e v a b l e t h a t a s t u d e n t would remark, \" T h i s i s not a c o u r s e ; t h i s i s a way o f l i f e . \" [ G o n z a l e z , 1973, p. 15] P u b l i -c a t i o n does not need t o be campaigned by t e a c h e r s . R a t h e r , p u b l i c a t i o n n o i t s e l f campaigns the c o u r s e t h a t endorses i t . There i s no sub-s t i t u t e f o r c l a s s r o o m e x p e r i e n c e s t h a t have v a l i d i t y o u t s i d e the c l a s s r o o m . B e a t r i c e A F u r n e r [1970], Marlene Knowles [1971], and B. Jo K i n n i c k [1966], t h r e e w e l l known w r i t e r s on the t e a c h i n g o f C r e a t i v e W r i t i n g , a l s o agree on the i n v a l u a b i l i t y o f a r e a l a u d i e n c e f o r the s t u d e n t w r i t e r . The g r e a t e s t e f f e c t t h a t p u b l i c a t i o n has on t h e s t u d e n t s i s m o t i v a t i o n a l . C h a r l e s K. S t a l l a r d contends t h a t good w r i t e r s , as compared t o a randomly chosen comparison group, a r e more con-c e r n e d w i t h the purpose o f t h e i r w r i t i n g . [ S t a l l a r d , F a l l , 1974] Naomi Chase echoes t h i s s e n t i m e n t o f the importance o f purpose and a u d i e n c e . [Chase, Sept., 1973] I t i s not a new t h e o r y t h a t a s t u d e n t w i t h a g o a l , aim, o r purpose t h a t he c o n s i d e r s t o be meaningful and worthy i s more m o t i v a t e d , more w i l l i n g t o work h a r d , more e n t h u s i a s t i c than one who l a c k s such a g o a l . S t u d e n t s demand a r e l e v a n c e o f c l a s s work t o t h e i r l i v e s and the o u t s i d e w o r l d . Few s t u d e n t s , anymore, w r i t e p r i m a r i l y t o p l e a s e the t e a c h e r and/or t o r e c e i v e a h i g h mark. There must be something deeper, something more m e a n i n g f u l , something more w o r t h y . o f t h e i r time and energy f o r which t o s t r i v e . E l l e n Gray Massey, t e a c h e r o f communications c l a s s e s a t Lebanon High School i n M i s s o u r i , has found t h i s magical r e l e v a n c e t o be p u b l i c a t i o n : I have t a u g h t E n g l i s h c o m p o s i t i o n f o r s e v e r a l y e a r s and have n e v e r had s t u d e n t s so w i l l i n g t o r e v i s e and r e w r i t e . Nor have my s t u d e n t s e v e r been so c r i t i c a l o f t h e i r own w r i t i n g s and so anxious t o g e t .11! a s s i g n m e n t s . B e f o r e , many s t u d e n t s would be s a t i s f i e d w i t h a paper q u i c k l y w r i t t e n the n i g h t b e f o r e t he assignment was due. . . . The d i f f e r e n c e now i s due t o th e magic o f p u b l i c a t i o n . Now they a r e w r i t i n g f o r a magazine they have c r e a t e d about s u b j e c t s they t h i n k are i m p o r t a n t . They know t h a t any magazine must be top q u a l i t y t o s u r v i v e . They are det e r m i n e d t h a t B i t t e r s w e e t w i l l s u c c e e d . [Massey, A p r i l / M a y , 1975] B i t t e r s w e e t i s a s t u d e n t produced q u a r t e r l y about the Ozark way o f l i f e , s u b s c r i b e d t o by the g e n e r a l p u b l i c . T h i s i s m o t i v a t i o n . E n g l i s h t e a c h e r s can l e a r n about m o t i v a t i o n and s t u d e n t d e v e l o p e d m a t e r i a l s from r e s e a r c h e x e c u t e d by Lawrence M i c h a e l Rudner. [Rudner, Feb., 1973] Rudner was con c e r n e d w i t h the achievement o f grade e i g h t Mathematics s t u d e n t s who produced t h e i r own v i s u a l l e a r n i n g m a t e r i a l s on t o p i c s i n the c u r r i c u l u m compared w i t h e i g h t h g r a d e r s who d i d not have t h i s o p p o r t u n i t y . The two groups o f s t u d e n t s were assumed t o be e q u i v a l e n t due t o t h e i r random s e l e c t i o n and t h e i r comparable IQ and p r e - t e s t s c o r e s . The s t u d e n t s i n the e x p e r i m e n t a l group were a l l o w e d t o produce t h e i r own f i l m s t r i p s on v a r i o u s t o p i c s i n the mathematics c u r r i c u l u m . The r e s u l t s were t h a t the e x p e r i m e n t a l group d i d not l e a r n more than t h o s e i n the c o n t r o l group. However, o b s e r v a t i o n showed t h a t the f i l m s t r i p p r o j e c t d i d have a s t r o n g i n t e r e s t and m o t i v a - t i o n a l v a l u e . The e x t r a p o l a t i o n o f t h i s r e s e a r c h on grade e i g h t Mathematics s t u d e n t s t o h i g h s c h o o l C r e a t i v e W r i t i n g s t u d e n t s i s m e r i t e d . Rudner i s not a l o n e i n h i s f i n d i n g s , 112 though he has more r e s e a r c h v a l i d i t y . Many d e s i r a b l e outcomes i n s t u d e n t s t h a t t e a c h e r s a t t r i b u t e t o p u b l i c a t i o n a r e : an enjoyment o f l i t e r a t u r e , a sense o f competency w i t h language, a sense o f s o c i e t y w i t h i n the c l a s s r o o m [Landrum, e t a l . , 1971]; p r i d e , a sense o f e f f i c a c y [ L e b a r o n , May, 1973]; g r e a t e x c i t e m e n t , a sense o f wonder about what they have a c c o m p l i s h e d [ C h a p n i c k , D e c , 1973]; the s t i m u l a t i o n o f c r e a t i v i t y i n w r i t i n g , enjoyment f o r r e a d e r s , and teamwork i n s t u d e n t p u b l i s h i n g . [ C a m p b e l l , 1971] M o t i v a t i o n i s a many c o l o u r e d rainbow, and t h a t pot o f g o l d a t the end i s the s t u d e n t ' s s e l f - c o n c e p t , which i s i n f l u e n c e d by both the p r o c e s s o f w r i t i n g , f o r h i m s e l f and f o r p u b l i c a t i o n , as w e l l as by the e f f e c t i v e n e s s o f the f i n a l p r o d u c t . In e f f e c t , p u b l i c a t i o n can be r e g a r d e d as a reward f o r s t r u g g l i n g w i t h a work u n t i l i t i s p o l i s h e d , u n t i l i t says e x a c t l y what the a u t h o r wishes i t t o say and how he wishes t o say i t . P u b l i c a t i o n i s a reward f o r s e l f - d i s c i p l i n e . Those s t u d e n t s who s a y , 'I don't want anyone t o read my work. I w r i t e o n l y f o r myself, ' may g e n u i n e l y mean i t . But v e r y l i k e l y t h e s e s t u d e n t s a r e shy and unsure o f e x p o s i n g t h e i r a r t t o the masses, and need the c o n f i r m a t i o n t h a t p u b l i c a t i o n can g i v e them. I t i s i m p e r a t i v e t o s t a t e here t h a t a n e g a t i v e e x p e r i e n c e w i l l u ndoubtedly o c c u r i f the works a r e p u b l i s h e d u n p o l i s h e d . A l v i n Granowsky, D i r e c t o r o f the D i a g n o s t i c Reading C e n t e r a t Greensboro, North C a r o l i n a , and Morton B o t e l , P r o f e s s o r o f 113 R e a d i n g \u00E2\u0080\u0094 L a n g u a g e A r t s a t the U n i v e r s i t y o f P e n n s y l v a n i a , P h i l a d e l p h i a , b e l i e v e i n t h i s reward p h i l o s o p h y : The human s p e c i e s needs and wants rewards. Give i t t o them i n terms t h a t they want and you have a g r e a t m o t i v a t i n g mechanism. I t i s o u r e x p e r i e n c e t h a t r e c o g n i t i o n o f c r e a t i v e w r i t i n g by p u b l i c a t i o n i s a b s o l u t e dynamite. The p o s s i b i l i t y o f h a v i n g a c r e a t i v e e f f o r t w i t h y o u r name b e s i d e i t i n p r i n t i s a powerful m o t i v a t o r . [Granowsky and B o t e ! , May, 1974, p. 654] Most t e a c h e r s f i n d t h a t s t u d e n t s r e a c t w i t h i n c r e d i b l e g u s t o , e x c i t e -ment and endeavour when p r e s e n t e d w i t h t he p o s s i b i l i t y o f h a v i n g t h e i r works p u b l i s h e d . P u b l i c a t i o n Forms P u b l i c a t i o n can take many forms, as s t a t e d i n the o r i g i n a l d e f i n i t i o n . I t i s l i m i t e d o n l y by the w r i t e r ' s own c r e a t i v e i m a g i n a t i o n . With r e s p e c t t o t h e p r i n t media, the most t r a d i t i o n a l p u b l i c a t i o n form, t h e r e a r e t r u l y e n d l e s s u n d e r t a k i n g s f o r the s t u d e n t s . There are always d i t t o and mimeograph machines t o run o f f c l a s s a n t h o l o g i e s and i n d i v i d u a l c o l l e c t i o n s . Becoming i n c r e a s i n g l y common i s the a v a i l a b i l i t y o f o f f s e t p r e s s i n the s c h o o l s t h r o u g h the i n t r o d u c t i o n o f G r a p h i c s , Commercial D e s i g n , and V i s u a l Communications E d u c a t i o n c o u r s e s . P u b l i c a t i o n s need not be s h o r t c h a n g e d i n terms o f d e s i g n and i l l u s t r a t i o n . O f t e n 114 the c r e a t i v e t a l e n t i s r i g h t t h e r e i n the c l a s s r o o m , w a i t i n g f o r the o p p o r t u n i t y t o be d i s c o v e r e d and a p p r e c i a t e d . E f f e c t i v e handmade c o v e r s a r e e x c i t i n g f o r l i m i t e d d i s p e r s a l . The a r t o f s i l k -s c r e e n i s p a r t i c u l a r l y a p p l i c a b l e . A n o t h e r a l t e r n a t i v e i s t h a t a n t h o l o g i e s be a j o i n t p r o j e c t between the C r e a t i v e W r i t i n g c l a s s e s , the A r t c l a s s e s , and the ViCoEd c l a s s e s . Even a nearby p r e s s may o f f e r t o g r a t u i t o u s l y b i n d the books between p a y i n g j o b s . Newspapers, magazines and j o u r n a l s can a l s o s u c c e s s f u l l y employ t h e s e v a r i e d t e c h n i q u e s o f d u p l i c a t i o n . The u l t i m a t e i n p r i n t i s t o have the c l a s s s e l l t h e i r p u b l i c a t i o n , i f the q u a l i t y i s h i g h enough. St u d e n t p u b l i c a t i o n s w i t h i n the s c h o o l r e q u i r e s p e c i a l e f f o r t on the p a r t o f a l l c o n c e r n e d , t e a c h e r and s t u d e n t s a l i k e . Appendix F i n c l u d e s a l i s t o f a r t i c l e s which dea l w i t h p r a c t i c a l c o n c e r n s o f s t u d e n t p u b l i c a t i o n s w i t h i n the s c h o o l , t h a t i s h e l p f u l t o t e a c h e r s and s t u d e n t s . Beyond the l i m i t s o f p u b l i s h i n g w i t h i n the s c h o o l , l i e s t h a t o u t e r w o r l d o f p r i n t c o m p e t i t i o n . C l a s s a n t h o l o g i e s t h a t evoke p a r t i c u l a r i n t e r e s t s h o u l d be c o n s i d e r e d f o r ' o u t s i d e ' p u b l i c a t i o n . There i s i n c l u d e d i n Appendix G a s h o r t l i s t o f a n t h o l o g i e s t h a t are c o n s i d e r e d t o be s i g n i f i c a n t s t u d e n t p u b l i c a t i o n s . P r e s e n t e d i s an a n n o t a t e d B i b l i o g r a p h y o f p u b l i s h e d m a t e r i a l which f e a t u r e c h i l d r e n ' s c r e a t i v e e f f o r t s . A l t h o u g h many o f the s t u d e n t works c i t e d are w r i t t e n by e l e m e n t a r y s t u d e n t s , 115 s i m i l a r p r o j e c t s can be t a c k l e d on a more s o p h i s t i c a t e d , i n - d e p t h l e v e l by\:older s t u d e n t s . S t u d e n t s and t e a c h e r s o f C r e a t i v e W r i t i n g w i l l e n j o y s e e i n g the a r t o f o t h e r s i n s i m i l a r s i t u a t i o n s t o themselves--namely i n c l a s s r o o m s \u00E2\u0080\u0094 a n d may be prompted t o engage i n a p u b l i c a t i o n o f t h e i r own. I n e v i t a b l y , however, each c l e v e r w r i t i n g s t u d e n t must e n t e r the w o r l d o f p u b l i c a t i o n on h i s own. The w r i t i n g o f a work i s a l o n g and l o n e l y t a s k , and.so i s the attempt t o p u b l i s h c o m p e t i v e l y , whether i t be i n j o u r n a l s and magazines, o r i n books. Appendix H i n c l u d e s a l i s t o f books which s h o u l d be i n c l u d e d i n each C r e a t i v e W r i t i n g c l a s s i n m u l t i c o p y . These books a r e d e s i g n e d t o e x p l a i n the p u b l i c a t i o n p r o c e s s t o n o v i c e w r i t e r s , to t e l l t he w r i t e r how t o p r e p a r e a m a n u s c r i p t f o r s u b m i s s i o n , t o h e l p the f r e e l a n c e r s e l l h i s works, e t c . These books a r e mandatory t o a p u b l i c a t i o n - o r i e n t e d C r e a t i v e W r i t i n g c o u r s e . They w i l l always be i n use. A l l t h i s h e l p w i t h m a n u s c r i p t p r e p a r a t i o n i s o f l i t t l e v a l u e u n l e s s the s t u d e n t knows where t o send h i s work f o r p u b l i c a t i o n . There a r e many l i t e r a r y p u b l i c a t i o n s t h a t a c c e p t u n s o l i c i t e d m a n u s c r i p t s , but i t i s d i f f i c u l t t o keep t r a c k o f them as the months pass. G e n e r a l l y , l i t e r a r y j o u r n a l s a r e not s t a b l e p u b l i c a t i o n s . Any l i s t would be i n c o n s t a n t f l u x . However, a t e n t a t i v e l i s t i s a must. A l i s t has been co m p i l e d w i t h the a d d r e s s e s o f the more well-known p u b l i c a t i o n s , t h a t i s v a l i d a t t h i s t ime. (See Appendix I) Teachers must be con-116 s t a n t l y aware o f a d d i t i o n s and d e l e t i o n s t o t h i s l i s t . There a r e a number o f p u b l i c a t i o n s t h a t o f f e r s p e c i a l o p p o r t u n i t i e s f o r h i g h s c h o o l s t u d e n t s i n the form o f w r i t i n g c o m p e t i t i o n s . There a r e l i s t e d i n Appendix J the more prominent ones. These p e r i o d i c a l s and c o m p e t i t i o n s seldom pay, and t h o s e t h a t do are u s u a l l y o n l y o f f e r i n g token amounts. For u n e s t a b l i s h e d w r i t e r s payment f o r such w r i t i n g i s not the main c o n c e r n , but the v e r y r e a l s t r u g g l e o f s i m p l y g e t t i n g i n t o p r i n t . I f the s t u d e n t d e c i d e s t o e n t e r the p r o f e s s i o n a l market-p l a c e he s h o u l d be coached i n the a r t o f m a n u s c r i p t s u b m i s s i o n . There a r e p a r t i c u l a r p r o c e d u r e s t o f o l l o w , as f u l l y d i l i n e a t e d i n the books mentioned i n Appendix H. A l s o , t h e s t u d e n t s h o u l d not j u s t w h i s t l e o f f h i s works t o the f i r s t magazine t h a t c a t c h e s h i s eye. He s h o u l d s t u d y the market, l o o k i n g f o r a magazine t h a t p u b l i s h e s the type o f work he has w r i t t e n . I n c i d e n t a l l y , t h i s w r i t i n g market s h o u l d be i n a d v e r t a n t l y s t u d i e d through c o n t i n u o u s l y r e a d i n g as much contemporary w r i t i n g as time p e r m i t s . Much can be l e a r n e d from p o e t s , p l a y w r i g h t s , j o u r n a l i s t s and s t o r y t e l l e r s who are p r e s e n t l y p u b l i s h i n g . I n e v i t a b l y , the w i d e r r e a d a w r i t e r i s , the more e x t e n s i v e are the i m a g i n a t i v e p o s s i b i l -i t i e s he c o n j u r e s . Then he s h o u l d send a l e t t e r o f i n q u i r y e x p l a i n i n g what he has w r i t t e n o r i s about t o w r i t e , and why i t i s s u i t a b l e f o r t h a t p a r t i c u l a r magazine. The e d i t o r ' s r e p l y w i l l be i n f o r m a t i v e and e n e r g y - s a v i n g . 117 O t h e r forms o f p u b l i c a t i o n t h a t are not bound t o the p r i n t media are becoming more n o t i c e a b l e . The media o f f i l m has e x p l o d e d w r i t i n g i n t o a whole new e r a . With the amount o f m e c h a n i c a l hardware most s e n i o r secondary s c h o o l s , o r a t l e a s t the d i s t r i c t s , have a c q u i r e d i t s h o u l d be r e l a t i v e l y easy t o encourage the p u b l i c a t i o n o f t e l e v i s i o n p l a y s o r v i s u a l i n t e r p r e t a t i o n s o f poems ( f i l m poems) v i a f i l m o r v i d e o t a p e , which can then be p l a y e d back t o whatever a u d i e n c e i s d e s i r e d . The a u d i e n c e can be from w i t h i n the s c h o o l o r w i t h o u t . There are many o p p o r t u n i t i e s a t noon break, o r s c h o o l a s s e m b l i e s , f o r such performances. The community i s g e n e r a l l y v e r y i n t e r e s t e d i n s t u d e n t p u b l i c a t i o n and would come t o see o r hear an e v e n i n g performance. The use o f the tape r e c o r d e r s h o u l d not be u n d e r e s t i m a t e d i n p r o v i d i n g a n o t h e r p u b l i s h i n g form. S t u d e n t r a d i o p l a y s and b r o a d c a s t s a r e thus a f f o r d e d g r e a t e r c i r c u l a t i o n o p p o r t u n i t i e s . There are many o t h e r a l t e r n a t i v e forms o f p u b l i c a t i o n r e c o g n i z e d by t e a c h e r -w r i t e r s . Stephen Judy s t a t e s : There are many d i f f e r e n t ways the t e a c h e r can p r o v i d e s t u d e n t s w i t h a r e a d e r s h i p . Some papers a r e b e s t ' p u b l i s h e d ' by h a v i n g them rea d a l o u d t o the c l a s s , e i t h e r by the a u t h o r o r the t e a c h e r . Some w r i t i n g s h o u l d be r e a d and t a p e - r e c o r d e d to become p a r t o f a c l a s s l i b r a r y o f r e c o r d e d l i t e r a t u r e . S t u d e n t ' s work can be p o s t e d on the b o a r d , s u b m i t t e d to a c l a s s newspaper o r magazine,, s e n t to the s c h o o l paper o r magazine, r u n - o f f on d i t t o f o r the c l a s s , and c i r c u l a t e d i n m a n u s c r i p t form. [Judy, 1974, p. 108] 118 H e n r i e t t a Dombey a l s o d e s c r i b e s a v a r i e t y o f p u b l i c a t i o n modes: The a u d i e n c e i s v i t a l t o the s t o r y t e l l e r but n e c e s s a r y t o the w r i t e r too. I h e l p c h i l d r e n make t h e i r own books l i k e r e a l books w i t h i l l u s t r a t i o n s , a l i s t o f c o n t e n t s , and none o f the t e a c h e r ' s red b i r o . ( S p e l l i n g can be t a u g h t more e f f i c i e n t l y than by cramping a c h i l d ' s w r i t i n g s t y l e ) . The c h i l d r e n r e a d t h e i r s t o r i e s t o t h e i r f r i e n d s and l e n d them round the c l a s s . I f i n d t h e i r books t r a v e l f u r t h e r than the c h i l d r e n t h e m s e l v e s . Nine y e a r o l d boys rea d s t o r i e s by g i r l s t h e y would be shy t o t a l k t o . S p e c i a l l y produced books and c l a s s mag-a z i n e s g i v e the c h i l d r e n a sense o f p u b l i c a t i o n and i n c r e a s e i n t e r e s t i n the c o n t e n t o f what i s w r i t t e n . . . . Reading t h e i r own s t o r i e s o r poems a t a s c h o o l assembly g i v e s them a sense t h a t t h e i r work has an importance o u t s i d e t h e i r own c l a s s r o o m . Pro-d u c i n g d u p l i c a t e d magazines f o r s a l e a t s i x p e n c e a time t u r n s them i n t o r e a l w r i t e r s . [Dombey, Autumn, 1969] N o t i c e t h a t l i v e performances by s t u d e n t s a r e not upstaged by the i m p r e s s i v e 'shows' which r e s u l t from the use o f a r r a y s o f m e c h a n i c a l p a r a p h e n a l i a . L i v e p o e t r y r e a d i n g s and l i v e performances o f s t u d e n t - w r i t t e n p l a y s are as c o m p e l l i n g as e v e r . They are a unique and t i m e l e s s p u b l i s h i n g form. Words and music have been u n i t e d f o r c e n t u r i e s t o produce p a r t i c u l a r p u b l i c a t i o n e f f e c t s . The f o l k - s o n g i s r e a l l y p o e t r y -music. The montage i s a form o f p u b l i c a t i o n t h a t can be produced by i n d i v i d u a l w r i t e r s o r by s m a l l groups o f w r i t e r s . I t i n v o l v e s u s i n g a tape r e c o r d e r t o r e c o r d works which have been a r r a n g e d and accompanied by s e l e c t e d music. Some w r i t e r s f e e l t h a t e l e c t r o n i c music makes a p r e f e r a b l e p o e t i c background because 119 the w r i t e r can l i t e r a l l y t e a r o f f a s t r i p o f music and subdue i t t o h i s own purposes w i t h o u t b e i n g c o n c e r n e d about the i n t e g r i t y o f the m u s i c a l p e r f o r m e r and composer. Though a time-consuming and c o m p l i c a t e d p r o c e d u r e , the montage o f t e n produces s u r p r i s i n g l y e f f e c t i v e r e s u l t s . A v a r i a t i o n o f t h i s p u b l i c a t i o n i s t o c o o r d i n a t e w i t h the montage, a s l i d e show, t r a n s f o r m i n g i t i n t o an a u d i o - v i s u a l e x p e r i e n c e . The c o m b i n a t i o n o f words and dance i s but a n o t h e r p u b l i c a t i o n form. The r e c i t e d poem o r s t o r y i s the s c r i p t f o r the choreography o f the dancer, who p h y s i c a l l y i n t e r p r e t s i n dance the moods and emotions the words evoke i n him. The a d d i t i o n o f music t o t h i s word-dance c r e a t e s y e t a n o t h e r p u b l i c a t i o n dimension. A r e l a t i v e l y new p u b l i c a t i o n form f o r w r i t e r s i s the medium o f v i s u a l a r t . S c u l p t o r s and p a i n t e r s a r e i n v i t i n g p o e t r y , i n s m a l l packages, i n t o t h e i r works. Poem p o s t e r s have taken the w o r l d by storm o f l a t e . P o e t r y i s even a p p e a r i n g on c l o t h i n g ; T - s h i r t s and h i g h f a s h i o n d r e s s e s commonly s p o r t b o l d words and p h r a s e s . T h i s new p o e t r y may not always be a e s t h e t i c a l l y s t i m u -l a t i n g but i t i s a l i v e and t h r i v i n g and e x t r e m e l y p u b l i c . Computer p o e t r y i s a c o n t r o v e r s i a l mode o f e x p r e s s i o n . Though some w r i t e r s r e f u s e t o r e c o g n i z e i t as p o e t r y , o t h e r s such as E a r l e B i r n e y a p p l a u d i t s n o v e l t y : 120 There's a l s o o f co u r s e the s o - c a l l e d 'computer p o e t r y . ' R e c i p e : f e e d t he b a s i c r u l e s o f s y n t a x and some r e c u r r e n t r h y t h m i c p a t t e r n s i n t o a computer, add v o c a b u l a r y l o a d e d w i t h image words, run the machine l o n g enough, and out come enormous l e n g t h s o f word-tape a r r a n g e d i n l i n e s . By the o p e r a t i o n o f s t a t i s t i c a l chance, such tapes w i l l o c c a s i o n a l l y produce passages w i t h s u f f i c i e n t u n i t y o f theme and image and enough p r o v o c a t i v e o v e r t o n e s t o w a r r a n t t h e i r b e i n g c l i p p e d o u t and p r e s e n t e d as poems. E n g l i s h p r o f e s s o r s who are o u t r a g e d o r t e r r o r - s t r u c k by such a f f a i r s , o r r e j e c t them s c o r n f u l l y as machine-made, b e t r a y t h e i r misunder-s t a n d i n g o f the n a t u r e o f p o e t r y . The computer, used t h i s way, i s s i m p l y an enormously c o m p l i c a t e d t y p e -w r i t e r . The poem i s s t i l l b e i n g made by p o e t i c a l l y -s e n s i t i z e d human b e i n g s - - b y t h e l i n g u i s t i c e x p e r t who chooses the dat a words and, above a l l , by the e d i t o r o f the t a p e , the c r i t i c - p e r c e i v e r who e x t r a c t s t he poem from the s u r r o u n d i n g g i b b e r i s h . Even when you 'make' y o u r own poem longhand, you don't make i t s form, you f i n d i t . Some o f t h e s e poems a r e , i n f a c t , much b e t t e r than many I've been r e a d i n g r e c e n t l y i n such f a s h i o n a b l e American p o e t r y j o u r n a l s as Ch i c a g o Poetry, under the s i g n a t u r e s o f s o - c a l l e d l e a d i n g American p o e t s . [ B i r n e y , 1966, p. 78] The r e a l w r i t e r s a r e . n o t t h r e a t e n e d by e l e c t r o n i c s and mechanics. I n s t e a d , they use t h e s e d e v i c e s t o f u r t h e r the scope o f w r i t i n g . The s t u d e n t s and the t e a c h e r must be a l i v e t o the end-l e s s a l t e r n a t i v e modes o f p u b l i c a t i o n . Our minds, as E n g l i s h t e a c h e r s , a r e o f t e n i m p r i s o n e d i n the w o r l d o f p r i n t a l o n e . Today s t u d e n t s a re e x p l o r i n g a r e a s f o r p u b l i c a t i o n t h a t a re t o t a l l y new and v i t a l . The e x p r e s s i o n o f words through v a r i o u s combina-t i o n s o f movement, c o l o u r , t e x t u r e , shape and sound i s but an i n t r o d u c t i o n t o t h i s f i e l d o f p u b l i c a t i o n . The w o r l d s o f a r t , c r e a t i v e drama, music and c r e a t i v e w r i t i n g a r e becoming i n c r e a s -i n g l y i n t e r t w i n e d as s t u d e n t s s e a r c h f o r t h e i r own p u b l i c a t i o n v o i c e . 121 I m p l i c a t i o n s o f P u b l i c a t i o n f o r C r e a t i v e W r i t i n g Programs Peer response The f o r e m o s t i m p l i c a t i o n o f a p u b l i c a t i o n o r i e n t e d C r e a t i v e W r i t i n g c o u r s e i s t h a t t he s t u d e n t s need a so u n d i n g b o a r d to t e s t out t h e i r works b e f o r e a c t u a l l y p u b l i s h i n g . Whatever he i s w r i t i n g , the w r i t e r t a k e s c a l c u l a t e d r i s k s w i t h the meanings o f words. The keener h i s awareness o f the many v a r i e d d e n o t a t i o n s and c o n n o t a t i o n s o f words, the more e f f e c t i v e h i s w r i t i n g i s l i k e l y t o be. He must t r y and f o r e s e e how the r e a d e r w i l l i n t e r -p r e t h i s work. James E. M i l l e r J r . v e r i f i e s t h i s c o n c e r n : The w r i t e r and r e a d e r t o g e t h e r make language mean and i n the i d e a l s i t u a t i o n t h e y a re making i t mean the same t h i n g \u00E2\u0080\u0094 b u t o f t e n too they a r e n o t , not because o f p e r v e r s i t y o r s t u p i d i t y , b ut because o f d i f f e r e n c e s . . . ( i n s o c i a l e n v i r o n m e n t ) . A l l o f us are f a m i l i a r w i t h p i e c e s o f w r i t i n g t h a t have meant one t h i n g t o the w r i t e r , and a v a r i e t y o f t h i n g s t o h i s r e a d e r s . T h i s w i l l p r o b a b l y always be the r e s u l t t o some e x t e n t w i t h w r i t i n g , p a r t i c u l a r l y when i t i s l o n g and c o m p l i c a t e d , s u b t l e , r i c h i n s u g g e s t i o n . But i f a w r i t e r i s g o i n g to approach t he i d e a l o f l u c i d i t y i n meaning, he must immerse h i m s e l f not i n the d i c t i o n a r y but i n language-use i n many c o n t e x t s , spoken and w r i t t e n , and he must dev e l o p a deep s e n s i t i v i t y t o the nuances and s u b t l e t i e s o f words and p h r a s e s . He must de v e l o p not o n l y a s t r o n g sense o f what he means and i n t e n d s t o mean, but he must a l s o d e v e l o p the i m a g i n a t i o n t h a t e n a b l e s him t o f o r e s e e how r e a d e r s w i l l r espond, not j u s t t o g r o s s meaning but to the o v e r t o n e s and s u b v i b r a t i o n s o f words. [ M i l l e r , 1973, pp. 101-102] The s t u d e n t w r i t e r must d i s c o v e r , b e f o r e p u b l i c a t i o n , i f he i s i n c o n t r o l o f h i s words, o r i f they a r e r u n n i n g rampant o v e r t he meaning he i s a t t e m p t i n g t o convey. 122 In e f f e c t , t h i s s t a g e i n the C r e a t i v e W r i t i n g p r o c e s s i s s i m p l y the n a t u r a l p r o g r e s s i o n o f the i n c e s t u o u s r e l a t i o n s h i p between c r e a t i o n and c r i t i c i s m . For c o n v e n i e n c e o f emphasis, c r e a t i o n i s s t r i c t l y s e p a r a t e d from . c r i t i c i s m but r e a l i s t i c a l l y t hey o v e r l a p each o t h e r almost i n d i s t i n g u i s h a b l y . As T.S. E l i o t s t a t e s i n h i s i n d i c t m e n t o f Matthew A r n o l d : Matthew A r n o l d d i s t i n g u i s h e s f a r too b l u n t l y , i t seems t o me, between the two a c t i v i t i e s : he o v e r l o o k s the c a p i t a l importance o f c r i t i c i s m i n the work o f c r e a t i o n i t s e l f . P r o b a b l y , i n d e e d , the l a r g e r p a r t o f the l a b o u r o f an a u t h o r i n composing h i s work i s c r i t i c a l l a b o u r ; the l a b o u r o f s i f t i n g , c ombining, c o n s t r u c t i n g , expunging, c o r r e c t i n g , t e s t i n g : t h i s f r i g h t f u l t o i l i s as much c r i t i c a l as c r e a t i v e . [ E l i o t , 1951, p. 30] In t r u t h , c r e a t i o n and c r i t i c i s m a r e i n s e p a r a b l e . The workshop approach i s deemed the most e f f e c t i v e method o f e l i c i t i n g such p r e - p u b l i c a t i o n r e sponse to s t u d e n t w r i t i n g . S t u d e n t w r i t e r s need t o be f r e e t o t e s t t h e i r m a t e r i a l s on t h e i r f e l l o w s t u d e n t s when they f e e l the work i s ready. The workshop approach i s i n f o r m a l and c a s u a l , y e t c o n s t a n t l y humming w i t h v a r i o u s forms o f b u s i n e s s . I t s t a n d s t o reason t h a t n o t e v e r y -one w i l l be ready f o r p r e - p u b l i c a t i o n response a t the same time. C o n s e q u e n t l y t h e workshop approach i s e f f e c t i v e . However, s t u d e n t s must be c a r e f u l not t o d i s t u r b t h o s e s t u d e n t s t h a t a r e e m b r o i l e d i n the f r a g i l e s t r u g g l e f o r i n i t i a l e x p r e s s i o n . They ar e t o ask o n l y those who are i n t o the p o l i s h i n g s t a g e s , as 123 t h e s e s t a g e s are more e a s i l y r e t u r n e d to a f t e r a t u r n o f thought. As Granowsky and B o t e l s t a t e : When the e a r l y w r i t i n g e f f o r t s are completed, t h e y ' l l need to be d i s c u s s e d , because even the f i n e s t c r e a t i v e e f f o r t s can be p o l i s h e d and made b e t t e r . Why e l s e do p u b l i s h i n g houses h i r e e d i t o r s to work w i t h p r o f e s s i o n a l a u t h o r s ? [Granowsky and B o t e l , May, 1974, p. 654] Hence, the s t u d e n t s a c t as e d i t o r s f o r t h e i r c o l l e a g u e s . N o t i c e t h a t t h i s p r a c t i c e i s i n c o n j u n c t i o n w i t h the ' r e a l ' w o r l d o u t s i d e the c l a s s r o o m ! Stephen Judy a l s o advocates workshops and s t u d e n t s as e d i t o r s : Encourage the s t u d e n t s to t a l k t o you and to each o t h e r about problems w h i l e they are w r i t i n g . . . . Encourage the s t u d e n t s to s e r v e as each o t h e r ' s e d i t o r s . One doesn't need t o be an e x p e r t i n c o m p o s i t i o n and r h e t o r i c to make u s e f u l s u g g e s t i o n s about the c l a r i t y and e f f e c t i v e n e s s o f w r i t i n g . A l t h o u g h s t u d e n t s may not know t e r m i n o l o g y , they are c e r t a i n l y c a p a b l e o f s p o t t i n g e d i t o r i a l problems and t a l k i n g about them i n t h e i r own language: 'Hey, I don't know what y o u ' r e t a l k i n g about.' ( T r a n s l a t i o n f o r t e a c h e r s : 'Lacks c l a r i t y . ' ) 'That's c r a z y . ' ( T r a n s l a t i o n : 'Lacks l o g i c a l s t r u c t u r e . ' ) 'I don't b e l i e v e i t . ' ( T r a n s l a t i o n : 'Needs more s u p p o r t i n g e v i d e n c e . 1 ) S t u d e n t s are h i g h l y p e r c e p t i v e i n t h e s e ways, and when t h e i r e d i t i n g has r e a l purpose, they can take o v e r the p r o c e s s and make g e n u i n e l y h e l p f u l s u g g e s t i o n s to each o t h e r . Leave p r o o f r e a d i n g to the s t u d e n t s . In e v e r y c l a s s t h e r e are some s t u d e n t s who have mastered most o f the p r o o f r e a d i n g s k i l l s . O f t e n such s t u d e n t s are s i m p l y 'good s p e l l e r s ' o r ' i n t u i t i v e p u n c t u a t o r s . ' Acknowledge t h e i r s k i l l by s e t t i n g them up as p r o o f r e a d i n g c o n s u l t a n t s to the c l a s s . . . . Help the s t u d e n t s l e a r n to r e a c t to each o t h e r ' s work. Small-and l a r g e - g r o u p d i s c u s s i o n o f completed c o m p o s i t i o n s s h o u l d be a r e g u l a r p a r t o f any E n g l i s h c l a s s . A t f i r s t you may f i n d t h a t s t u d e n t s are a b i t h a r d on each 124 o t h e r , no doubt i m i t a t i n g p r e v i o u s t e a c h e r s o f t h e i r a c q u a i n t a n c e . I t may take some p r a c t i c e b e f o r e the s t u d e n t s can respond t o the s u b s t a n c e o f each o t h e r ' s w r i t i n g , but i t w i l l come w i t h time and guidance Read some o f y o u r own w r i t i n g t o the c l a s s , and s h a r e y o u r own s a t i s f a c t i o n s and d i s s a t i s f a c t i o n s w i t h i t . [Judy, 1974, pp. 112-113] In e f f e c t the workshop c l a s s b e g i n s to o p e r a t e v e r y e f f i c i e n t l y w i t h -o u t the t r a d i t i o n a l t e a c h e r image. The s t u d e n t s are a t t e m p t i n g to h e l p each o t h e r r e a l i z e t h e i r p o t e n t i a l s as e f f e c t i v e w r i t e r s . Laverne G o n z a l e z ' s c o l l e g e c o m p o s i t i o n c l a s s e s a t Purdue U n i v e r s i t y a l s o p a r t i c i p a t e i n p e e r c r i t i c i s m b e f o r e p u b l i c a t i o n i s e f f e c t e d i n t h e i r c o l l e g e newspaper: W o r k s - i n - p r o g r e s s a r e s u b m i t t e d t o t h r e e o r f o u r p e e r s . A t t h i s p o i n t c r i t i c i s m b e g i n s . E a r l y c r i t i c i s m n o t e s merely response t o an i d e a \u00E2\u0080\u0094 i f as the a u t h o r reads he t r i g g e r s a t h o u g h t , the l i s t e n e r v e r b a l i z e s i t . Then packed s e n t e n c e s , s t r o n g use o f v e r b , e x c i t i n g metaphor, v i v i d c o m p a r i s o n / c o n t r a s t , unusual d e f i n i t i o n r e c e i v e p r a i s e . C r i t i c s i n v e s t i g a t e p o s s i b l e i r o n y o r l a r g e r i d e a . B e f o r e any c u t t i n g away may be done, s t r e n g t h s e m e r g e \u00E2\u0080\u0094 t h e dross may then be s l o u g h e d o f f i n the r e v i s i o n p r o c e s s . As papers c o n t i n u e to be s u b m i t t e d f o r p e e r c r i t i c i s m , the s t u d e n t s b e g i n t o s e t the c r i t e r i a f o r t o u g h e r c r i t i c i s m . The a u t h o r o f f e r s a paper deemed ready f o r p u b l i c a t i o n to a p e e r group whose members w r i t e on a c o v e r s h e e t those p l a c e s where the paper s t i l l needs work. F i n a l l y the group s c r u t i n i z e s b e g i n n i n g s , e n d i n g s , and i m p l i c a t i o n s o f the paper. As s t u d e n t s l o o k thus c r i t i c a l l y a t t h e i r own w r i t i n g , they o f t e n b e g i n to review c r i t i c a l l y a d v e r t i s e m e n t s , the r h e t o r i c a l garbage used by h i g h l y e m o t i o n a l a u t h o r s , and a t l a s t to produce sound c r i t i c a l w r i t i n g o f m a t e r i a l i n c l u d e d i n the newspaper. [ G o n z a l e z , 1973, p. 2] G o n z a l e z ' s system i s somewhat more s y s t e m a t i z e d than Judy's t o t a l l y open workshop. The s t u d e n t r e a d e r s are almost too thorough i n t h e i r c r i t i c i s m . L i o n e l Kearns, a well-known Canadian w r i t e r , d i s c u s s e s h i s own e x p e r i e n c e s i n a U n i v e r s i t y o f B r i t i s h Columbia C r e a t i v e W r i t i n g c l a s s : . . . t h e r e was the f a c t t h a t I would be l e f t out o f the a c t i o n i f I d i d n o t hand a n y t h i n g i n . And t h e r e was a good deal o f a c t i o n i n t h a t c l a s s . The i n s t r u c t o r made no attempt to teach us how t o w r i t e . He merely conducted open-form workshop s e s s i o n s i n which we d i s c u s s e d o u r own, each o t h e r ' s o r o u t s i d e work, most o f which was c i r c u l a t e d anonymously. Now t h i s , f o r me, was a v e r y s t r a n g e and s t a r t l i n g e x p e r i e n c e \u00E2\u0080\u0094 t o s u d d e n l y a c q u i r e an a r t i c u l a t e and r e s p o n s i v e a u d i e n c e f o r my work, and to be i n on t h e i r honest a p p r a i s a l s o f what I had produced. Needless t o say t h e i r i n d i v i d u a l responses v a r i e d , but I was a b l e to see what k i n d o f r e a c t i o n my work produced on the v a r i o u s p e o p l e i n v o l v e d . Furthermore, I was a b l e to b r i n g my own c r i t i c a l f a c u l t i e s to b e a r on t h e i r work, and to hear t h e i r own defence o r e x p l a n a t i o n o f what they were a t t e m p t i n g t o do. [ K e a r n s , A p r i l , 1971] T h i s p a r t i c u l a r C r e a t i v e W r i t i n g c l a s s had a s m a l l degree o f r e g u l t i o n : anonymous s u b m i s s i o n o f m a t e r i a l s , and p a r t i c u l a r d i s c u s s i o n p e r i o d s . P e t e r Elbow's book W r i t i n g w i t h o u t Teachers i s a v e r i -t a b l e goldmine o f p r a c t i c a l i n f o r m a t i o n on i n s t i t u t i n g a p e e r response workshop. Though h i s workshop i s i n t e n d e d f o r work on p r a c t i c a l e x p o s i t o r y w r i t i n g s , t h e r e are o b v i o u s i m p l i c a t i o n s f o r workshops i n C r e a t i v e W r i t i n g c l a s s e s . Elbow emphasizes the 126 n e c e s s i t y o f w r i t e r s needing \"movies o f p e o p l e ' s minds\" to see how t h e i r works a r e r e c e i v e d . He e x p l i c a t e s t h i s need i n the v o i c e o f an i m p a s s i o n e d w r i t e r : Don't g i v e me any more o f t h a t s u b j e c t i v e b u l l s h i t . Don't e v e r t e l l me my w r i t i n g i s too u n c l e a r . T e l l me what you were p e r c e i v i n g and how you were e x p e r i e n c i n g t h a t passage you s u b j e c t i v e l y l a b e l u n c l e a r . Don't t e l l me I've got too many a d j e c t i v e s . T hat's s u b j e c t i v e b u l l s h i t . There's no such t h i n g as too many a d j e c t i v e s . There's g r e a t w r i t i n g w i t h t w i c e as many a d j e c t i v e s . T e l l me how you were r e a c t i n g and what you were s e e i n g and where. Don't t a l k to me about good w r i t i n g and bad w r i t i n g . No one knows. Don't g i v e me a l o t o f u n t r u s t w o r t h y nonsense. Give me some f i r s t - h a n d d a t a I can t r u s t , not a l o t o f second-hand c o n c l u s i o n s based on hidden data and f a l s e h y p o t h e s e s . [Elbow, 1973, p. 141] Though thes e s t a t e m e n t s do n o t e x a c t l y c o n s t i t u t e a r e a s o n e d a r g u -ment i n the most temperate language, Elbow e f f e c t i v e l y makes h i s p o i n t . Orthodoxy bound t e a c h e r s take note. Elbow proceeds to g i v e d i r e c t i o n s to s t u d e n t r e a d e r s to h e l p them r e v e a l these \"movies\" to the w r i t e r : . . . p r e t e n d t h a t t h e r e i s a whole s e t o f i n s t r u m e n t s you have hooked up to y o u r s e l f which r e c o r d e v e r y -t h i n g t h a t o c c u r s i n you: n o t j u s t p u l s e , b l o o d p r e s s u r e , EEG, and so on, b u t a l s o ones which t e l l e v e r y image, f e e l i n g , t h o u g h t , and word t h a t happens i n y o u . P r e t e n d you have hooked them a l l up and now you are j u s t r e a d i n g o f f the p r i n t - o u t from the machines. [Elbow, 1973, pp. 89-90] 127 He has f u r t h e r a d v i c e f o r the r e a d e r : 1. Make s u r e you've had a good chance t o read the w r i t i n g . 2. Never q u a r r e l w i t h someone e l s e ' s r e a c t i o n . 3. Give s p e c i f i c r e a c t i o n s to s p e c i f i c p a r t s . 4. No k i n d o f r e a c t i o n i s wrong. 5. Though no r e a c t i o n s are wrong, you s t i l l have to t r y to r e a d wel1. 6. Sometimes you may n o t want t o \u00E2\u0080\u0094 pass y o u r t u r n . 7. You are always r i g h t and always wrong. - You a r e always r i g h t i n t h a t no one i s e v e r i n a p o s i t i o n t o t e l l you what you p e r c e i v e and . e x p e r i e n c e . - But you a r e always wrong i n t h a t you n e v e r see a c c u r a t e l y enough, e x p e r i e n c e f u l l y enough. Such a d v i c e to the r e a d e r i s b a l a n c e d by h i s a d v i c e to the w r i t e r on l i s t e n i n g t o the r e a d e r ' s \"movies\": 1. Be q u i e t and 1 i s t e n . - Guard a g a i n s t b e i n g t r i c k e d i n t o r e s p o n d i n g . 2. Don't t r y t o understand what peop l e t e l l you. 3. But do t r y t o u n d e r s t a n d HOW they t e l l i t to you. 4. Don't r e j e c t what r e a d e r s t e l l you. 128 5. Don't s t o p them from g i v i n g you r e a c t i o n s . 6. But don't be t y r a n n i z e d by what they say. 7. Ask f o r what you want, but don't p l a y t e a c h e r w i t h them. 8. You are always r i g h t and always wrong. - You are always r i g h t i n t h a t y o u r d e c i s i o n about the w r i t i n g i s always f i n a l . - But you are always wrong i n t h a t y o u can n e v e r q u a r r e l w i t h t h e i r e x p e r i e n c e . And you must assume t h a t you are n e v e r good enough a t s h a r i n g t h e i r p e r c e p t i o n -s h e d d i n g y o u r b l i n d e r s , g e t t i n g i n t o t h e i r shoes. Elbow w r i t e s from a c t u a l e x p e r i e n c e , and h i s a d v i c e i s s o l i d . Elbow warns o f the p o s s i b l e breakdown o f the workshop system, g i v e n p a r t i c u l a r c l a s s s i t u a t i o n s . The t e a c h e r s h o u l d be tuned to r e c o g n i z e the danger s i g n a l s : 1. People p e r s i s t i n a r g u i n g . Such fuming i s e x h a u s t i n g and wastes a l l a v a i l a b l e energy. 2. People don't argue. The c l a s s becomes s l a c k , r e l a x e d , b o r i n g , unfocused.. 3. Someone who l i k e s t o t a l k a l o t i s c o n t i n u o u s l y g i v e n the o p p o r t u n i t y t o do so. The c l a s s becomes a b o r i n g one-man show. There i s a p e c u l i a r t a u t n e s s o f energy and a t t e n t i o n e v i d e n t i n the s u c c e s s f u l workshop. The energy i s not d i r e c t e d towards a c h i e v i n g a common c o n c l u s i o n , but r a t h e r towards l i s t e n i n g t o and c o n s i d e r i n g e v e r y r e a d e r ' s r e a c t i o n s , and, i n a s e n s e , t r y i n g t o agree w i t h them a l l a t once. C o n s e q u e n t l y t h e r e e x i s t s a l o t o f a m b i g u i t y , and a l o t o f c o n t r a d i c t i o n , but h e r e i n l i e s the workshop's s u c c e s s . Undoubtedly, the workshop approach i s the b e s t p o s s i b l e method o f e f f e c t i v e l y t e a c h i n g C r e a t i v e W r i t i n g . S t u d e n t s need the freedom to pursue t h e i r own works a t t h e i r own speeds. Yet they a l s o need c l a s s d i s c u s s i o n s o f t h e i r works to see i f t h e y are e l i c i t i n g the r e a d e r response they were ai m i n g f o r . In s e n i o r s e c o n d a r y s c h o o l , i t i s e v i d e n t t h a t s t u d e n t s f e e l much more c o m f o r t a b l e as w r i t e r and as c r i t i c i f the works are s u b m i t t e d anonymously. The r e a d e r i n p a r t i c u l a r i s f r e e d from making judgements about the poem, based on h i s a c q u a i n t a n c e w i t h the w r i t e r . S t u d e n t s type up t h e i r works on d i t t o s h e e t s and the c o p i e s a r e d i s t r i b u t e d the day b e f o r e the c r i t i c a l d i s c u s s i o n p e r i o d . T h i s to a l l o w the s t u d e n t s p l e n t y o f time to r e a d and d i g e s t the works and t o a r t i c u l a t e t h e i r r e a c t i o n s t o them. The t e a c h e r and the s t u d e n t s must be wary about m o t i v e s f o r c r i t i c i z i n g each o t h e r s ' works. Wordsworth's well-known l i n e s v e r b a l i z e the danger i n h e r e n t i n c r i t i c i s m : Our meddling i n t e l l e c t Mis-shapes the beauteous forms o f t h i n g s : We murder t o d i s s e c t . . . . 130 C r i t i c i s m c e r t a i n l y need n o t be damaging, but everyone must be c o n s c i o u s o f the p o s s i b i l i t y i f conducted u n s c r u p u l o u s l y . A l l c r i t i c i s m must be made w i t h an eye t o b e i n g c o n s t r u c t i v e and h e l p f u l , i n terms o f p u b l i c a t i o n . There i s no s e t s c h e d u l e f o r c r i t i c a l d i s c u s s i o n p e r i o d s . When the need a r i s e s , the c l a s s o r g a n i z e s one. G e n e r a l l y they o c c u r about once e v e r y two weeks and l a s t f o r about two p e r i o d s . I t i s i m p o r t a n t t h a t the works be read o u t l o u d b e f o r e b e i n g d i s c u s s e d . Two r e a d i n g s , s e p a r a t e d by a p r e g n a n t pause f o r c o n s i d e r a t i o n p u r p o s e s , tend to e l i c i t more s e n s i t i v e and w e l l - t h o u g h t o u t comments from the s t u d e n t s . Through the o r a l r e a d i n g o f a c r e a t i v e work, the r e a d e r a c t i v e l y , r a t h e r than p a s s i v e l y , u n i t e s w i t h the e s s e n c e o f work. The manner i n which a work i s read r e v e a l s much about the p a r t i c u l a r i n t e r p r e t a t i o n the r e a d e r has g l e a n e d from i t and s h o u l d be o p e n l y d i s c u s s e d . C r i t i c a l d i s c u s s i o n p e r i o d s are r a t h e r s p e c i a l . They exude a f e e l i n g o f c a m a r a d e r i e , as everyone s t r i v e s f o r the common goal o f p u b l i c a t i o n . The mood i s warm as a l l s i t i n a c i r c l e , s i p p i n g t e a and d i s c u s s i n g the v a r i o u s i n t e r p r e t a t i o n s o f one o f a f e l l o w w r i t e r ' s works. The t e a c h e r i s a l s o a w r i t e r and s h a r e s the same aims as h i s s t u d e n t s . The t e a c h e r ' s i n t e r p r e t a t i o n o f a s t u d e n t ' s work i s no more h o l y than an i n t e r p r e t a t i o n by a f e l l o w s t u d e n t . A l l i n t e r p r e t a t i o n s , though they r e q u i r e t e x t u a l s u p p o r t , are i n d i v i d u a l i s t i c . C o n s e q u e n t l y , the t e a c h e r , though w i t h more 131 background than h i s s t u d e n t s , has no g r e a t e r say as to the meaning of s t u d e n t works. T h i s i s presuming t h a t s t u d e n t s a r e r e a c t i n g h o n e s t l y , s e n s i t i v e l y , and i n t e l l i g e n t l y to the work a t hand. I t i s i n t h i s a r e a t h a t the t e a c h e r has t o be aware to t e a c h s t u d e n t s how to r e a c t to a work i n an a c c e p t a b l e manner. The t e a c h e r s h o u l d a l s o t e s t h i s w r i t i n g on h i s s t u d e n t s . I t i s f a s c i n a t i n g and v e r y u s e f u l to see how s t u d e n t s respond to work when they are unaware t h a t i t i s \u00E2\u0080\u0094 d a s h \u00E2\u0080\u0094 t e a c h e r ' s ! Needless to say c r i t i c a l d i s c u s s i o n c o u l d become v e r y p a i n f u l and d e t r i m e n t a l to the s t u d e n t whose work i s b e i n g c r i t i c i z e d i f the c l a s s atmosphere i s not g e n t l y , but f i r m l y c o n t r o l l e d . High s c h o o l w r i t e r s a r e , i n g e n e r a l , v e r y s e l f - c o n s c i o u s , as a c r e a t i v e work i s v e r y s e l f - r e v e a l i n g . The t e a c h e r o f C r e a t i v e W r i t i n g must c r e a t e an environment which i s warm and c o n d u c i v e to the e x p r e s s i o n and a c c e p t a n c e of p e r s o n a l f e e l i n g s and i d e a s . What a c h a l l e n g e t h i s i s i n a s t e r i l e c l a s s r o o m s i t u a t i o n of n a i l e d down s e a t s and s t r i c t time i m p o s i t i o n s . However, the environment b e i n g spoken of t r a n s c e n d s the p h y s i c a l l i m i t a t i o n s of the c l a s s r o o m , even though i t must deal w i t h them. That i s , even though the s c h o o l demands a one hour c l a s s d e s i g n a t e d 'Time t o be C r e a t i v e , ' and t r a d i t i o n a l l y emphasizes p u b l i c i t y o v e r p r i v a c y , i n s p e c t i o n o v e r i n t r o s p e c t i o n , and the 'how' of w r i t i n g o v e r the 'what' and 'why' of w r i t i n g \u00E2\u0080\u0094 t h e t e a c h e r need not bow i n r e v e r e n c e to the s e a n c i e n t p r a c t i c e s . One cannot emphasize too much the importance of t h i s t e a c h e r - i n i t i a t e d e n v i r -onment, because w i t h o u t i t the s t u d e n t w r i t e r ' s p o t e n t i a l w i l l remain c o n s c i o u s l y i m p r i s o n e d w i t h i n the n o n t h r e a t e n i n g w a l l s of h i s s e l f . How does a t e a c h e r go about i n i t i a t i n g such an environment? The main f a c t o r s are warmth, t r u s t and c h a r i s m a , and t h e s e cannot be t a u g h t as t h e r e a r e a s many d i f f e r e n t forms as i n d i v i d u a l s . A p r a c t i c e t h a t i s s u c c e s s f u l i n c r e a t i n g such an atmosphere i s t o i n s t i l l i n the s t u d e n t s a few b a s i c p r e m i s e s : T h e i r own work i s , i n f a c t , unique. One w r i t e r ' s good work i s n e v e r , n e v e r , n e v e r l i k e any o t h e r w r i t e r ' s good work. C o n s e q u e n t l y , each w r i t e r , s t u d e n t o r p r o f e s s i o n a l , has h i s own g o a l . T h i s s t a t e o f mind o f p e r s o n a l d i r e c t i o n i s i m p o r t a n t . S t u d e n t s s h o u l d w a i t u n t i l t h e i r works have ' c o o l e d o f f b e f o r e they ask f o r c r i t i c a l r e s p o n s e s . When a work i s s t i l l i n the i n f a n t s t a g e s o f c r e a t i o n and even when a work has been w r i t t e n , but i s s t i l l i n e x t r i c a b l e from i t s c r e a t o r , c r i t i c i s m i s t o r t u r e . I t i s g e n e r a l l y o n l y a m a t t e r o f days f o r the works to cool o f f enough f o r the w r i t e r t o s t e p back and more o b j e c t i v e l y r e g a r d h i s work a p a r t from h i m s e l f . S t u d e n t w r i t e r s must l e a r n to a c c e p t c r i t i c i s m con-s t r u c t i v e l y , w i t h an eye to p o l i s h i n g t h e i r works. T h i s becomes immensely e a s i e r i f the s t u d e n t w r i t e r can a c c e p t the f a c t t h a t i t i s h i s work, the words he chose to put on paper, t h a t are b e i n g c r i t i c i z e d , n o t the i d e a s o r emotions b e h i n d those words. I t i s d i f f i c u l t t o e x t r i c a t e the s e l f from the work, but i t i s mandatory f o r c r i t i c a l p urposes and f o r p r e s e r v a t i o n o f the w r i t e r ' s w e l l - b e i n g . S t u d e n t s must a l s o l e a r n t o g i v e c r i t i c i s m c o n s t r u c -t i v e l y , g e n t l y but h o n e s t l y , and concern the work, not the wri t e r . H e n r i e t t a Dombey c l a i m s she has had s u c c e s s i n t h i s area w i t h h e r C r e a t i v e W r i t i n g c l a s s e s i n j u n i o r h i g h . \"They comment f r e e l y on each o t h e r s ' works and w i t h s u r p r i s i n g l y l i t t l e i n t e r f e r e n c e f rom t h e i r f e e l i n g s about each o t h e r as p e o p l e . \" [Dombey, Autumn, 1969, p. 16] These t r a i t s o f a c c e p t a n c e and d i s p e n s a t i o n o f 133 c r i t i c a l a n a l y s i s t h a t the s t u d e n t s a re l e a r n i n g t r a n s c e n d the C r e a t i v e W r i t i n g c l a s s i n t h e i r v a l u e . These t r a i t s a r e v a l u e d i n g e n e r a l day-to-day l i v i n g . T h i s s u p p o r t i v e , p u b l i c a t i o n - a i m e d atmosphere o f the c l a s s r o o m s h o u l d pervade the a t t i t u d e s o f the s t u d e n t w i t h r e s p e c t to o t h e r s ' works, s t u d e n t and t e a c h e r , p e e r and p r o f e s s i o n a l ) , and o f the s t u d e n t w i t h r e s p e c t t o h i s own works. T e a c h e r as t u t o r Where i s the t e a c h e r i n t h i s s t u d e n t - b u s y workshop? I d e a l l y , the t e a c h e r i s f r e e to assume the r o l e o f a r e s o u r c e person and a t u t o r . Lessons d i r e c t e d to the e n t i r e c l a s s a re seldom o f va l u e t o the s t u d e n t s , as each i s f o l l o w i n g a d i f f e r e n t p u r s u i t , and i s a t a d i f f e r e n t s t a g e i n the development o f h i s i n d i v i d u a l work. Of c o u r s e , i f a common concern i s e v i d e n t among the s t u d e n t s , a whole c l a s s l e s s o n i s i n o r d e r . I t i s most e f f e c t i v e i f the s t u d e n t s r e q u e s t a d v i c e when they a re i n d i v i d u a l l y ready f o r i t . W r i t e r s t h e m s e l v e s , when i n t e r v i e w e d i n v a r i a b l y a p p l a u d t h i s approach. E a r l e B i r n e y , a c c o m p l i s h e d Canadian w r i t e r and, one time b a s t i o n o f the UBC C r e a t i v e W r i t i n g Department r e i t e r a t e s t h i s t e a c h e r r o l e : F o r the C r e a t i v e W r i t i n g i n s t r u c t o r i s n o t , cannot be a remote and g o d l i k e l e c t u r e r b e f o r e a mass c l a s s , n o r a d r o n i n g machine f o r t e x t b o o k s , b ut a man o r woman around a seminar t a b l e i n h i g h l y p e r s o n a l and spontaneous c o n t a c t w i t h a sm a l l group o f s t u d e n t s he has h i m s e l f 134 c a r e f u l l y s e l e c t e d . He has r e a d the v o l u n t a r y e x e r c i s e s o f t h e i r i m a g i n a t i o n s , and he i s t h e r e not o n l y t o make them e x e r c i s e f u r t h e r , but t o v o c a l i z e t o them the e f f e c t o f t h e i r work on him, and t o accustom each i n h i s c l a s s t o do the same, so t h a t each may l e a r n awareness o f h i s own e f f e c t s and be a b l e to compare the r e s u l t he has produced on o t h e r s w i t h the hopes and i n t e n t i o n s and i n t u i t i o n s which i m p e l l e d him t o w r i t e . Such an i n s t r u c t o r becomes more than a r e f e r e e o r Master o f Ceremonies; he i s the maker o f a c l i m a t e . The ' c o n t e n t ' o f the s e m i n a r i s , o f c o u r s e , produced by the s t u d e n t s . [ B i r n e y , 1966, pp. 55-56] P a t r i c k Lane, a more r e b e l l i o u s and outspoken contemporary p o e t , v i g o r o u s l y condemns C r e a t i v e W r i t i n g c l a s s e s t h a t a r e o p e r a t e d w i t h p r o c e d u r e s t h a t are i n d i r e c t c o n t r a s t to the t e a c h e r as t u t o r p r o c e d u r e : There i n the a b s o l u t e p r e t e n s i o n o f Creative Writing Class the s o - c a l l e d poets h o l d c o u r t from the l o f t y p i n n a c l e s o f t h e i r i n v i o l a b l e i v o r y towers o f s u p e r i o r u n d e r s t a n d i n g and knowledge. There they d i c t a t e meaning t o the fawning minds o f t h e i r a m b i t i o u s s t u d e n t s : the laws o f p o e t r y , the a n a l y s i s o f form and s t r u c t u r e and c o n t e n t , the meaning and non-meaning o f imagery, the use o f the l i n e as an e x t e n s i o n o f b r e a t h i n g , the a r c h i t e c t u r e o f the poem as a c o n c r e t e symbol on the page, the t e c h n o l o g y o f the e l e c t r i c i n terms o f the poem beyond Gutenburg, the i n t e r p l a y o f p o o l e d minds around a t a b l e i n a b a r r e n room where the murmurings o f the a c o l y t e s are measured a g a i n s t the wisdom o f the h i g h p r i e s t p o e t / t e a c h e r , who, w i t h h i s s u p e r i o r knowledge and u n d e r s t a n d i n g , d i s s e m i n a t e s the accumulated wisdom o f the ages to t h e i r c o r r u p t e d g r a s p i n g minds. A b i o l o g y o f p o e t s . A c u l t u r e o f poems. I f b u l l s h i t was f e e l i n g t h e s e men c o u l d grow gardens on t h e i r tongues t h a t would put mythic B a b l y l o n to shame. F o r they p l a c e b o u n d a r i e s around the poem w i t h the laws they w r i t e as i f c r e a v i t i t y were the sum o f one p l u s one. [ E l l i s , e d., 1977, p. 211] 135 Lane's words are a p a s s i o n a t e o u t c r y from h i s e n t r a i l s t o the w o r l d a t l a r g e . Lane does n o t o f f e r any s o l u t i o n s , as B i r n e y does, but C r e a t i v e W r i t i n g t e a c h e r s , n e v e r t h e l e s s , s h o u l d take n o t e . Stephen Judy e l a b o r a t e s on t h i s system: In a d d i t i o n , as a c l a s s 'grows' i n the c o u r s e o f a q u a r t e r o r semester, the s t u d e n t s can take o v e r more and more o f the p r o c e s s . A l l t h i s c r e a t e s more time f o r the t e a c h e r t o ' f l o a t , 1 w o r k i n g on a one-to-one b a s i s w i t h s t u d e n t s who seek h i s h e l p as a w r i t i n g C o n s u l t a n t . r , , m -7/1 \u00C2\u00AB n o l [Judy, 1974, p. 112J With p u b l i c a t i o n as each s t u d e n t ' s aim, the t e a c h e r i s kept busy e v e r y minute o f the c l a s s . I t i s r e f r e s h i n g t o w i t n e s s s e n i o r h i g h s t u d e n t s c l a m o u r i n g f o r a s s i s t a n c e t o r e v i s e t h e i r works. And i f the c l a s s i s run on a workshop b a s i s , the s t u d e n t s w i l l i n d e e d clamour. O r g a n i z a t i o n and d i s c i p l i n e are needed as an u n d e r l y i n g u n i f y i n g f o r c e f o r the c l a s s t o run r e l a t i v e l y smoothly. However, t h i s o r g a n i z a t i o n and d i s c i p l i n e w i l l n o t be e v i d e n t to the o b s e r v e r who i s u n f a m i l i a r w i t h workshop methodology. An e f f e c -t i v e workshop i s an u n p r e d i c t a b l e happening, a t times p h y s i c a l l y busy and n o i s y and a t times s t i l l and s i l e n t . Paddy C r e b e r has words f o r the t e a c h e r who i s c o n c e r n e d about the mania t h a t may accompany the workshop methodology: To the c y n i c a l maths master, who happens t o pass the h a l l the p r o c e s s t h a t I have c a l l e d ' s e t t i n g - f r e e ' may appear as l i t t l e l e s s than an a n a r c h i s t i c i n c i t e m e n t to r i o t i n g and worse. Even the E n g l i s h t e a c h e r , h o a r s e - v o i c e d a t 136 the end o f such a l e s s o n , may t e n d to wonder what he has a c h i e v e d . No r u l e s can be g i v e n f o r the c o n t r o l o f l e s s o n s l i k e t h e s e , each t e a c h e r has t o d e v e l o p h i s own method: some w i l l p r e f e r to impose a measure o f d i s c i p l i n e from the s t a r t ; o t h e r s may be c o n t e n t to l e t the c l a s s e v o l v e a d i s c i p l i n e o f t h e i r own. The c u r i o u s f a c t remains t h a t r a d i c a l l y d i f f e r e n t a p p r o a c h e s \u00E2\u0080\u0094 p r o v i d e d they are backed up by c o n v i c t i o n , e n t h u s i a s m and s y m p a t h y \u00E2\u0080\u0094 t e n d to produce comparable r e s u l t s . There must always, however, be c o n s i d e r a b l e freedom t o b e g i n w i t h . In t h i s , as i n much o t h e r E n g l i s h work, the t e a c h e r ' s r e l a t i o n t o h i s p u p i l s i s something l i k e t h a t o f a s m a l l boy t o h i s b o t t l e o f 'pop': he puts h i s thumb o v e r the mouth o f the b o t t l e and shakes i t up; he e n j o y s w a t c h i n g i t f i z z and f e e l i n g the p r e s s u r e b u i l d up; and t h e n , when the moment i s r i g h t , he p o i n t s the b o t t l e , removes h i s thumb and watches the l i q u i d s h o o t o u t \u00E2\u0080\u0094 i n a p r e d e t e r m i n e d d i r e c t i o n . S i m i l a r l y , t h e r e must be f i z z ; t h e r e must be p r e s s u r e ; and t h e r e must be r e l e a s e , a l o n g a p a r t i c u l a r channel we have chosen. [ C r e b e r , 1965, pp. 134-135] The t e a c h e r as t u t o r must be a c r e a t i v e i n d i v i d u a l h i m s e l f t o t o l e r a t e and t h r i v e i n the workshop s i t u a t i o n . There i s a v a s t d i f f e r e n c e between o r g a n i z e d chaos and b l a t a n t r i o t and c o n f u s i o n ! An added bonus o f the workshop method i s the odd time when, by some g o d l y i n t e r v e n t i o n , the s t u d e n t s are a l l w o r k i n g on t h e i r own and do n o t r e q u i r e any t e a c h e r a s s i s t a n c e . The t e a c h e r , t h e n , s h o u l d n o t r e v e r t t o h i s r o b o t f i l i n g d u t i e s , but s h o u l d q u i e t l y r e t r e a t i n t o a c o r n e r and s i t down to w r i t e h i m s e l f ! T h i s a c t t e a c h e s s t u d e n t s more than c o u n t l e s s d i s c u s s i o n s e v e r c o u l d . 137 R e v i s i o n p h i l o s o p h y S t u d e n t s i n d u c t i v e l y l e a r n t h a t r e v i s i o n i s an i n e x t r i c -a b l e p a r t o f w r i t i n g as they p r o g r e s s towards t h e i r g o a l o f p u b l i c a t i o n . They are e n h e a r t e n e d by the f a c t t h a t even p r o f e s s i o n a l s must r e w r i t e c o u n t l e s s times b e f o r e s u b m i s s i o n to a p u b l i s h e r . James A. Michener may rework and reshape each paragraph f i v e times b e f o r e he i s s a t i s f i e d , and Leonard Cohen may w r i t e o n l y 500 words one day, e d i t them t h e n e x t , and heave them a l l i n t o the garbage on the t h i r d . S t u d e n t s , t o o , must be p e r m i t t e d t o d i s c a r d some d r a f t s , and not be p l a g u e d by f e e l i n g s o f g u i l t and f a i l u r e . E d i t i n g embodies a d d i t i o n o f m a t e r i a l s as w e l l as d e l e t i o n , even d e l e t i o n o f the whole d r a f t i f need be. T.S. E l i o t w r i t e s i n \" E a s t Coker\" o f Four Q u a r t e t s about h i s c o n s t a n t s t r u g g l e w i t h the s e a r c h f o r the p e r f e c t words, the p e r p e t u a l need t o r e v i s e , and ' r e - r e v i s e ' : So here I am, i n the m i d d l e way T r y i n g to l e a r n to use words, and e v e r y attempt Is a w h o l l y new s t a r t and a d i f f e r e n t k i n d o f f a i l u r e Because one has o n l y l e a r n t t o g e t the b e t t e r o f words Fo r the t h i n g one no l o n g e r has t o say, o r the way i n which One i s no l o n g e r d i s p o s e d t o say i t . And so each v e n t u r e Is a new b e g i n n i n g , a r a i d on the i n a r t i c u l a t e With shabby equipment always d e t e r i o r a t i n g In the g e n e r a l mess o f i m p r e c i s i o n o f f e e l i n g , U n d i s c i p l i n e d squads o f emotion. [ E l i o t , 1944, pp. 30-31] W r i t i n g r e q u i r e s p e r s i s t a n c e , but as l o n g as the e n d p o i n t has v a l u e , the t a s k o f r e w r i t i n g a l s o has v a l u e . Laverne Gonzalez i s u n e q u i v o c a b l y p l e a s e d w i t h t h i s system: 138 As s t u d e n t s work w i t h language, they b e g i n to r e p l a c e the e v o c a t i v e but i n e f f e c t i v e ' s h i t ' w i t h d e t a i l s t h a t produced the c o m m e n t \u00E2\u0080\u0094 f i n a l l y ' s h i t ' i s a cop-out employed when the a u t h o r r e f u s e s to f i l l i n the d e t a i l s . [ G o n z a l e z , 1973, p. 3] E l l e n Gray Massey has n o t i c e d a f a n t a s t i c change i n the a t t i t u d e s o f h e r s t u d e n t s w i t h the i n t r o d u c t i o n o f p u b l i c a t i o n : B e f o r e , .... My r e q u i r i n g much re w o r k i n g was an i m p o s i t i o n o r r e f l e c t i o n on t h e i r a b i l i t y . The d i f f e r -ence now i s . . . I n s t e a d o f b e i n g d i s c o u r a g e d o r i n s u l t e d by my c r i t i c i s m , the s t u d e n t s are g r a t e f u l and w i l l i n g l y make changes. They would much r a t h e r have me h o n e s t l y s a y , ' I t won't do,' t o something they have done than t o l e t i t be p u b l i s h e d i n B i t t e r s w e e t ( t h e i r q u a r t e r l y magazine about the Ozarks) f o r everyone to see t h e i r mediocre work. [Massey, A p r i l / M a y , 1 9 7 5 , pp. 230-232] In e f f e c t , the t e a c h e r ' s image i n t h e eyes o f the s t u d e n t s changes. He i s no l o n g e r the G u i d i n g L i g h t who l e a d s a l l h i s f o l l o w e r s a l o n g the one r i g h t path t o g l o r y and who demands r e v i s i o n f o r the good o f each s t u d e n t ' s s o u l . I n s t e a d , the t e a c h e r i s seen t o be someone who nudges the w r i t e r from b e h i n d a l o n g whatever path he i s f o l l o w i n g , and who a l s o t r i e s t o d i s p l a y the s t u d e n t s ' work i n the b e s t p o s s i b l e l i g h t to t h e i r r e s p e c t i v e a u d i e n c e s . In the eyes o f the s t u d e n t s the t e a c h e r s t e p s o v e r t h a t i n v i s i b l e l i n e and i s 'with' the s t u d e n t s i n s t e a d o f ' a g a i n s t ' them. Perhaps t h i s i s an o v e r s i m p l i s t i c v e r s i o n o f the r e a l i t y , but r e v i s i o n i s d e f i n i t e l y more e a s i l y stomached by the s t u d e n t s w i t h t h i s p u b l i c a t i o n approach. 139 E v a l u a t i o n , t o a c e r t a i n e x t e n t , f o r c e s the t e a c h e r back o v e r t h a t i n v i s i b l e l i n e , ' a g a i n s t ' the s t u d e n t . So, i n t r u t h , the t e a c h e r has a dual r o l e . The key i s t o mi n i m i z e the e v a l u a t i o n r o l e , and t o r e s t r i c t i t to o n l y a few works d e s i g n a t e d by e i t h e r t e a c h e r o r s t u d e n t . The r o l e o f e v a l u a t o r and e d i t o r - c o n s u l t a n t must n e v e r be c o n f u s e d o r attempted t o be e n a c t e d s i m u l t a n e o u s l y . The r o l e o f e v a l u a t i o n i s as synonymous t o p u b l i s h e r as c o n s u l t a n t i s to e d i t o r . P u b l i s h i n g and e d i t i n g a r e two d i s t i n c t c o n c e r n s . R e v i s i o n , i n i t i a l l y , i n v o l v e s making the work more o f what i t i s t r y i n g to be i n the eyes o f the s t u d e n t w r i t e r . The s t u d e n t must be s e n s i t i v e t o h i s work as a l i v i n g e n t i t y , and be s e r i o u s about h i s p o t e n t i a l a u d i e n c e , b e i n g c l e a r , p r e c i s e , and e f f e c t i v e . The d i s c u s s i o n o f c o r r e c t n e s s and p u b l i s h i n g con-v e n t i o n s s h o u l d be d e l a y e d u n t i l the l a s t p o s s i b l e moment i n the r e v i s i o n - e d i t o r i a l p r o c e s s , l e a v i n g the s t u d e n t s f r e e t o do the i n i t i a l w r i t i n g and r e v i s i o n s w i t h o u t concern o v e r e x t r i n s i c r u l e s . The b e s t approach t o w r i t i n g does not c o n s i s t o f a s e r i e s o f d o n ' t s , a l i s t o f r e s t r a i n t s and r e s t r i c t i o n s . Such s e r i e s and l i s t s t e n d t o t r i v i a l i z e language and t o d i m i n i s h i t s p o t e n t i a l i n human c r e a t i v i t y . Only a f t e r the s t u d e n t has e d i t e d h i s w r i t i n g i n t o a form t h a t s a t i s f i e s h i m s e l f s h o u l d the d i s c u s s i o n o f mechanics and usage be opened. Even then r e d -p e n c i l p h o b i a s h o u l d not descend from on h i g h . The s t u d e n t must make h i s own d e c i s i o n s . 140 An i m p o r t a n t p a r t o f the r e v i s i o n p r o c e s s i s the r e a d -i n g a l o u d o f a s t u d e n t ' s work, t o h i m s e l f o r a f e l l o w s t u d e n t . T h i s , o f c o u r s e , i s fundamental i f the i n t e n d e d p u b l i c a t i o n i s t o be o r a l . But, even i f the a u d i e n c e i s meant t o see the work, not hear i t , i t i s a v a l u a b l e e x e r c i s e . M i c r o s c o p i c weaknesses t h a t miss the eye are o f t e n m a g n i f i e d when heard. James E. M i l l e r s t a t e s : Such a r e a d i n g w i l l f r e q u e n t l y r e v e a l weaknesses t h a t remain weaknesses whether the prose i s i n t e n d e d f o r h e a r i n g o r s e e i n g . I t w i l l a l s o p i c k up s e n t e n c e s and paragraphs t h a t seem harmless t o the eye, but whose s t u m b l i n g and awkward rhythms t r i p the tongue o f the s p e a k e r and d i s s i p a t e a l l emphasis and p o i n t . [ M i l l e r , 1973, p. 198] I t i s e f f e c t i v e both f o r the s t u d e n t w r i t e r to read a l o u d h i s own work, h i m s e l f , and a l s o t o hear h i s own work read a l o u d by someone e l s e . Everyone reads a work a l i t t l e d i f f e r e n t l y . The p o i n t o f r e f e r e n c e f o r r e v i s i o n i s the p a r t i c u l a r a u d i e n c e t h a t the work i s w r i t t e n f o r . Each p a r t i c u l a r a u d i e n c e demands c e r t a i n s t r u c t u r e s . Hence the w r i t e r who wishes t o communicate t o an a u d i e n c e , has a p a r t i c u l a r s t r u c t u r e imposed on h i s work by t h a t a u d i e n c e ' s c a p a c i t y to p e r c e i v e . To d e v i a t e from t h i s s t r u c t u r e too d r a s t i c a l l y would undoubtedly c o s t him h i s r e a d e r s h i p . To concur w i t h Stephen Judy: 141 I s u g g e s t t h a t c o n c e r n f o r s k i l l s s h o u l d have i t s p r o p e r p l a c e but be kept i j i p l a c e . That p l a c e i s i n the e d i t i n g p r o c e s s . U n t i l the s t u d e n t and t e a c h e r have determined the a u d i e n c e f o r a paper, a l m o s t any i n s t r u c t i o n o r a d v i c e i n r h e t o r i c o r mechanics i s i r r e l e v a n t . However, when the form o f p u b l i c a t i o n has been d e t e r m i n e d , commentary about w r i t i n g as w r i t i n g becomes a p p r o p r i a t e ; and the t e a c h e r and s t u d e n t can b e g i n r a i s i n g q u e s t i o n s about e f f e c t i v e n e s s , c l a r i t y , o r g a n i z a t i o n , s t y l e , and s t r u c t u r e . But i t i s c r i t i c a l t h a t t h i s commentary r e l a t e to the p a r t i c u l a r form o f p u b l i c a t i o n and the p a r t i c u l a r a u d i e n c e f o r the paper. P u b l i c a t i o n s and r e a d e r s have d i f f e r i n g s t a n d a r d s , and i f e d i t o r i a l a d v i c e i s t o be h e l p f u l , i t must be v a l i d . r, , [Judy, 1974, p. 110] The s t u d e n t s and the t e a c h e r s h o u l d f a m i l i a r i z e themselves w i t h the e d i t o r i a l e x p e c t a t i o n s o f v a r y i n g a u d i e n c e s t h a t the w r i t e r s a re d i r e c t i n g t h e i r works t o . A s o u r c e o f e d i t o r i a l i n f o r m a t i o n i s the l i s t s o f e x p e c t a t i o n s t h a t p u b l i s h e r s o f t e n d i s p e n s e , upon r e q u e s t , t o t h e i r p r o s p e c t i v e w r i t e r s . I t i s e s s e n t i a l f o r the s t u d e n t s t o s e a r c h out t h i s i n f o r m a t i o n , as they cannot r e l y on themselves ( g e n e r a l l y too l a x ) n o r on t h e i r t e a c h e r s ( g e n e r a l l y too s t r i c t ) . In g e n e r a l , the m a j o r i t y o f the t e a c h e r s s t i l l r e j e c t many usages t h a t p u b l i s h e d i n f o r m a t i o n tends t o s u p p o r t as a c c e p t a b l e . V a l i d i t y o f e d i t o r i a l i n f o r m a t i o n w i t h r e s p e c t t o the p a r t i c u l a r a u d i e n c e concerned i s the c o r n e r s t o n e t o t h i s s t a g e o f the s t u d e n t w r i t e r ' s work. E d i t i n g o f mechanics Keeping i n mind t h e i r d e s i r e d a u d i e n c e s , the s t u d e n t s must f i n a l l y examine the b a s i c mechanical s t r u c t u r e s o f t h e i r works. Too o f t e n , t h i s mechanical e d i t i n g p r o c e d u r e i s viewed as b e i n g synonymous w i t h ' c o r r e c t i n g ' one's work. T h i s i s a dangerous n o t i o n . L l o y d , i n an a r t i c l e e n t i t l e d \"Our N a t i o n a l Mania f o r C o r r e c t n e s s \" b e r a t e s our c u l t u r e ' s u n h e a l t h y compulsion f o r c o r r e c t n e s s : The demon which p o s s e s s e s us i s o u r mania f o r c o r r e c t n e s s . I t dominates our minds from the f i r s t grade t o the graduate s c h o o l ; i t i s the f i r s t and o f t e n the o n l y t h i n g we t h i n k o f when we t h i n k o f our language. Our s p e l l i n g must be ' c o r r e c t ' - - e v e n i f the words are i l l - c h o s e n ; o u r 'usage' must be ' c o r r e c t ' - -even though any p o s s i b l e s u b s t i t u t e e x p r e s s i o n , however c r u d e , would be p e r f e c t l y c l e a r ; our p u n c t u a t i o n must be 1 c o r r e c t ' - - e v e n though p r a c t i c e s surge and change w i t h the p a s s i n g o f y e a r s , and d i f f e r from book t o book, p e r i o d i c a l t o p e r i o d i c a l . C o r r e c t ! That's what we've got t o be, and the i d e a t h a t we've got t o be c o r r e c t r e s t s l i k e a soggy b l a n k e t on o u r b r a i n s and o u r hands whenever we t r y to w r i t e . [Kaufman and Powers, ed., 1970, p. 404] C l e a r l y t h e n , e d i t i n g f o r mechanics must o c c u r a t the end o f the C r e a t i v e W r i t i n g p r o c e s s . Premature concern o v e r mechanics i s d e a d l y , as Paddy C r e b e r so e x p l i c i t l y s t a t e s : Teachers whose s o l e s t a n d a r d i s c o r r e c t n e s s can dry up the f l o w o f language and s h a c k l e c r e a t i v e and i m a g i n -a t i v e w r i t i n g b e f o r e i t i s under way. [ C r e b e r , 1965,,p. 242] E d i t i n g f o r mechanics does not presuppose any u n i v e r s a l s t a n d a r d s o f ' c o r r e c t n e s s . ' M e c h a n i c a l c o r r e c t n e s s i s not an unchanging a b s o l u t e . C o n v e r s e l y , the n o t i o n o f mechanical c o r r e c t n e s s must 143 u l t i m a t e l y take i n t o a c c o u n t the i n t e n d e d a u d i e n c e , t he t o p i c c o n c e r n e d , and the w r i t e r ' s p e r s o n a l f e e l i n g s . Such areas as p u n c t u a t i o n , s p e l l i n g , c a p i t a l i z a t i o n , e t c . must be reviewed i f the p u b l i c a t i o n i s t o be w r i t t e n . However, i f a work i s t o be p u b l i s h e d o r a l l y , s o l e l y through r e a d i n g i t a l o u d o r tape r e c o r d i n g i t , any d i s c u s s i o n o f w r i t i n g s k i l l s i s a i m l e s s and a waste o f time. V a r i o u s methods o f e d i t i n g mechanics s h o u l d be con-s i d e r e d , not o n l y by the t e a c h e r , but by the c l a s s as a whole. Laverne G o n z a l e z ' s f i r s t y e a r E n g l i s h c l a s s e s a t Purdue U n i v e r s i t y have worked out a scheme f o r p r o o f r e a d i n g each o t h e r s ' works: B e f o r e any paper may be p u b l i s h e d , i t must undergo r e v i s i o n and e d i t i n g . To h e l p w i t h t h i s p r o c e s s p r o o f -r e a d i n g q u i c k i e s , i . e . , t h r e e o r f o u r s e n t e n c e s l i f t e d from s t u d e n t s ' papers f o c u s i n g on p u n c t u a t i o n , verb-noun-pronoun agreement, s p e l l i n g o r any grammar problem a re reviewed d a i l y . Sometimes a p a r t i c u l a r l y t r o u b l e s o m e s p o t w i l l e l i c i t s e v e r a l days work on grammar c o n c e p t s . Each s t u d e n t keeps h i s own grammar c h a r t which a l l o w s him t o c o n c e n t r a t e on any r e c u r r i n g problem. From t h i s p a r t i c u l a r f a c e t o f the course a s l i d e s e t on p u n c t u a t i o n u s i n g t he an a l o g y o f a t r a i n e v o l v e d . Grammar books appear, composed o f d i t t o e d m a t e r i a l d e v e l o p e d by each s t u d e n t . E x e r c i s e s c r e a t e d by c l a s s members t o home a p o i n t a re a d m i n i s t e r e d . When the m a t e r i a l demands a s p e c i f i c r h e t o r i c a l form, s p e c i f i c t o n e , s t u d e n t s work i t through t o g e t h e r . [ G o n z a l e z , 1973, pp. 2-3] I f s t u d e n t s f i n d they are e n c o u n t e r i n g d i f f i c u l t i e s a t t h i s s t a g e , i t i s a b e n e f i c i a l e x p e r i e n c e f o r them t o take the time to c o n s t r u c t a b a s i c c l a s s check l i s t t h a t i s a p p l i c a b l e t o most a u d i e n c e s . C a r r i e S t e g a l l ' s C r e a t i v e W r i t i n g s t u d e n t s wrote t h e i r own 144 \" E n g l i s h Book\" which c o n t a i n s t h e i r r u l e s o f usage, s p e l l i n g , p u n c t u a t i o n and c a p i t a l i z a t i o n . [ S t e g a l l , 1967] Laverne G o n z a l e z ' s s t u d e n t s wrote t h e i r own grammar book and then produced a f i l m t o a i d f u t u r e s t u d e n t s : S e v e r a l o f the s t u d e n t s were s t r u g g l i n g w i t h grammar books because they were a t the e d i t i n g s t a g e i n papers they wanted p u b l i s h e d . They complained t h a t t h e y c o u l d n ' t u n d e r s t a n d the grammar books; so the group wrote t h e i r own. The method was s i m p l e : r e c o r d f i r s t the grammar r u l e . Then o b s e r v e how you wrote the s e n t e n c e : now c o r r e c t . F i n a l l y , what t e c h n i q u e d i d you f i n d f o r remembering the next time? I n c i d e n t a l l y , most o f the s t u d e n t s had memorized grammar r u l e s which they c o u l d quote but found no c o r r e l a t i o n between the r u l e and the paper they were e d i t i n g . The i m p o r t a n t p a r t o f the grammar book was, o f c o u r s e , t h e r e c o r d i n g t e c h n i q u e f o r remembering. B u i l d i n g from t h e s e t e c h n i q u e s , the group c r e a t e d a f i l m -s t r i p f o r f u t u r e use by s t u d e n t s h a v i n g p u n c t u a t i o n problems. [ G o n z a l e z , 1973, p. 6] The s t u d e n t s a r e most c a p a b l e o f c r e a t i n g t h e i r own methodology f o r e d i t i n g mechanics, under the guidance o f the t e a c h e r . Whatever the p u b l i c a t i o n medium employed, the a d v i c e g i v e n t o the s t u d e n t w r i t e r must be o p e r a t i o n a l . Vague a b s t r a c -t i o n s about u n i t y , coherence, p a r a l l e l i s m , t o p i c and c o n c l u d i n g s e n t e n c e s , and b r e v i t y are o f l i t t l e s i g n i f i c a n t v a l u e t o the s t u d e n t . What i s o f v a l u e a r e s p e c i f i c s u g g e s t i o n s o f a l t e r n a -t i v e s f o r the s t u d e n t t o c o n s i d e r . I t i s emphatic t h a t the t e a c h e r be e x t r e m e l y c a r e f u l not t o remodel the s t u d e n t ' s work so t h a t i t becomes the ' s t u d e n t ' s work w i t h t e a c h e r r e v i s i o n s . 1 A l l e d i t i n g changes, a d d i t i o n s and d e l e t i o n s a l i k e , must u l t i m a t e l y come from the s t u d e n t h i m s e l f . 145 Form There i s a d e f i n i t e s p l i t among C r e a t i v e W r i t i n g t e a c h e r s on t he t e a c h i n g o r the not t e a c h i n g o f form. A t the H o l l i n s C o n f e r e n c e i n C r e a t i v e W r i t i n g and Cinema, c o n v e r s a t i o n s w i t h poets and n o v e l i s t s who tea c h C r e a t i v e W r i t i n g a t v a r i o u s u n i v e r s i t i e s i n the U n i t e d S t a t e s r e v e a l t h i s s p l i t i s p a r t i c u l a r l y e v i d e n t . [ G a r r e t t , e d ., 1972] However, the m a j o r i t y o f c r e a t i v e w r i t e r s a p p l a u d the abandonment o f the formal t e a c h i n g o f form. Even C o l e r i d g e i n the Romantic P e r i o d was most concerned w i t h t h i s m a t t e r : The form i s mechanic, when on any g i v e n m a t e r i a l we impress a p r e - d e t e r m i n e d form, not n e c e s s a r i l y a r i s i n g o u t o f the p r o p e r t i e s o f the m a t e r i a l ; \u00E2\u0080\u0094 a s when t o a mass o f wet c l a y we g i v e whatever shape we wish i t t o r e t a i n when hardened. The o r g a n i c form, on the o t h e r hand, i s i n n a t e ; i t shapes, as i t d e v e l o p s , i t s e l f from w i t h i n , and t he f u l l n e s s o f i t s development i s one and the same w i t h t he p e r f e c t i o n s o f i t s outward form. Nature . . . i n e x h a u s t i b l e i n d i v e r s e powers, i s e q u a l l y i n e x h a u s t i b l e i n f o r m s ; \u00E2\u0080\u0094 e a c h e x t e r i o r i s the physiognomy o f the b e i n g w i t h i n . . . . Some w r i t e r s go so f a r as t o co n c u r w i t h W i l l i a m C a r l o s W i l l i a m s ' a d v i c e t o w r i t e r s : F o r g e t a l l r u l e s , f o r g e t a l l r e s t r i c t i o n s , as t o t a s t e , as t o what ought t o be s a i d , w r i t e f o r t h e p l e a s u r e o f i t \u00E2\u0080\u0094 w h e t h e r s l o w l y o r f a s t \u00E2\u0080\u0094 e v e r y form o f r e s i s t a n c e t o a complete r e l e a s e s h o u l d be abandoned. [ W i l l i a m s , 1936, p. 45] P a t r i c k Lane o v e r f l o w s w i t h p a s s i o n at the v e r y i d e a o f w r i t e r s r e s t r i c t i n g themselves t o t r a d i t i o n a l form: 146 The poet has no p l a c e w i t h i n the law. He e x i s t s w i t h o u t i t . Not f o r him the p u r i t y o f the i n v i o l a b l e s t r a i g h t l i n e t h a t s t a g g e r s , f a l l s and. ends. To Lane, r e a l p o e t r y has a form t h a t i s : \"impure as the c l o t h i n g we wear, s o u p - s t a i n e d , s o i l e d w i t h our shameful b e h a v i o u r , our w r i n k l e s and v i g i l s and dreams.\" He r e i t e r a t e s h i s p o i n t . \"No p o e t r y born i n the bondage o f e x p e r i e n c e was e v e r w r i t t e n w i t h i n the law.\" [ E l l i s , ed., 1977, p. 211] E a r l e B i r n e y quotes from McLuhan's U n d e r s t a n d i n g Media, remarking t h a t a r t , when i t i s most s i g n i f i c a n t , \" i s a D E W L i n e , a D i s t a n t E a r l y Warning system t h a t can always be r e l i e d on t o t e l l the o l d c u l t u r e what i s b e g i n n i n g t o happen t o i t . \" N o n - w r i t e r s are o f the o l d c u l t u r e . B i r n e y , i n h i s e l o q u e n t manner, p h i l o s o p h i z e s on the n e c e s s i t y o f p e r p e t u a l change t o r e t a i n the v i t a l i t y o f a l l a r t , w r i t i n g i n c l u d e d : L i v i n g a r t , l i k e a n y t h i n g e l s e , s t a y s a l i v e o n l y by c h a n g i n g . The young a r t i s t must c o n s t a n t l y examine the forms and the a e s t h e t i c t h e o r i e s he has i n h e r i t e d ; he must r e j e c t most o f them, and he must s e a r c h f o r new ones. L i t e r a t u r e i s a l l the more a l i v e today because i t i s changing so r a p i d l y . In f a c t i t ' s a d j u s t -i n g t o the p o s s i b i l i t y t h a t the p r i n t e r page i s no l o n g e r the c h i e f d i s s e m i n a t o r o f i d e a s , and t h a t a u t h o r s must f i n d ways t o bend the new t e c h n o l o g i c a l media t o a r t i s t i c p urposes. The r e b e l s and e x p e r i m e n t e r s who are f o r c i n g t h e s e changes a r e , o f c o u r s e , h a v i n g t o f i g h t the same b a t t l e s a g a i n s t the same k i n d o f academic c r i t i c s who a t t a c k e d the l i t e r a r y r e v o l u t i o n -a r i e s o f the l a s t g e n e r a t i o n . In t h e i r b e g i n n i n g s , J o y c e , K a f k a , Rimbaud, R i l k e , Pound, B r e c h t , even E l i o t , were pooh-poohed o r i g n o r e d as cheap and s e n s a t i o n a l , as mad o r f r i v o l o u s d e s t r o y e r s o f s a c r e d t r a d i t i o n . Now t h e s e men are the a n c i e n t g r e a t \u00E2\u0080\u0094 a n d the young w r i t e r s who f i n d them i n a d e q u a t e are g e t t i n g the same t r e a t m e n t . Of c o u r s e , many l i t e r a r y move-ments i n e v e r y g e n e r a t i o n t u r n out to be b l i n d a l l e y s , but no c r i t i c s h o u l d t h i n k h i m s e l f so p e r c e p t i v e t h a t he can always t e l l the p a s s i n g f a s h i o n from t he s i g n i f i c a n t b r e a k t h r o u g h . I don't know e x a c t l y where the l i t e r a r y Dew L i n e i s t h i s moment, but I'm s u r e i t l i e s somewhere i n the c o m p l i c a t e d w o r l d o f today's l i t t l e - l i t t l e magazines and s m a l l - p r e s s chapbooks. [ B i r n e y , 1966, pp. 71-72] He goes on, s p e c i f i c a l l y z e r o i n g i n on the comtemporary changes w r i t i n g t e c h n i q u e s : In t h a t w o r l d y o u ' l l f i n d t h a t many o f the p o e t i c and p r o s e t e c h n i q u e s which were r e g a r d e d a few y e a r s ago as merely f a r o u t and p r o b a b l y i n c o n s e q u e n t i a l are now customary and e s t a b l i s h e d ones. To b e g i n w i t h a s m a l l example, p u n c t u a t i o n i n p o e t r y i s now used f u n c t i o n a l l y o n l y \u00E2\u0080\u0094 o r not a t a l l . S y n t a c t i c a l a m b i g u i t i e s a r e e i t h e r p e r m i t t e d , o r o b v i a t e d by a r t f u l b r e a k i n g s between l i n e s , and b l a n k s o r b r e a t h i n g spaces between p h r a s e s . Or, i f p u n c t u a t i o n i s used, i t may be i n company w i t h s p e l l i n g d i s t o r t i o n s and enormous v a r i a t i o n s o f typ e f a c e s and s i z e s , t o s i g n a l v o i c e tones s i m u l t a n e o u s l y w i t h v i s u a l e f f e c t s , t o r e i n f o r c e t he f e e l i n g and meaning o f the poem. One L a t i n - a m e r i c a n p o e t , Jose G a r c i a V i l l a , i s p a r t i c u l a r l y known f o r a s e r i e s o f s h o r t v e r s e s he c a l l e d Comma poems, i n which a l l words a r e s e p a r a t e d by commas, t o f o r c e t he r e a d e r t o a c c e p t each word as o f equal importance. Here i s the c o n c l u s i o n o f one o f t h e s e p i e c e s ( i n which t he poet has been v i s i o n i n g God danc-i n g on a bed o f s t r a w b e r r i e s : 'Yet, He, h u r t , n o t , the l i t t l e s t , one,/ But, gave, them, r i p e n e s s , a l l . ' [ B i r n e y , 1966, p. 72] Denise L e v e r t o v e x p r e s s e s h i s views on form i n a poem o f non-t r a d i t i o n a l f o r m a t : I b e l i e v e e v e r y space and comma i s a l i v i n g p a r t o f the poem and has i t s f u n c t i o n , j u s t as e v e r y muscle and pore o f t h e body has i t s f u n c t i o n . And the way the l i n e s a r e broken i s a f u n c t i o n i n g p a r t e s s e n t i a l t o the l i f e o f the poem. 148 The l e s s r a d i c a l contend t h a t pure form i s a myth and hence i t i s r i d i c u l o u s t o be concerned about i t : I f we loo k a t any p i e c e o f w r i t i n g , we f i n d n a r r a t i o n mixed up w i t h e x p o s i t i o n , argument c r e e p i n g i n t o d e s c r i p t i o n , f i c t i o n f i l t e r i n g through p o e t r y , and p o e t r y e n c r o a c h i n g on drama. Sometimes f i x e d and r i g i d n o t i o n s about form w i l l cause one t o d i s t o r t r e a l i t y , demanding p u r i t y where t h e r e i s o n l y a l l o y . I t i s b e t t e r t o remain f l e x i b l e , and t o t a k e w r i t i n g as we f i n d i t , n ot as we might wish t o f o l l o w from p a t and t i d y d e f i n i t i o n s . [ M i l l e r , 1973, p. 2] Pure form i s an i n v e n t i o n o f E n g l i s h t e a c h e r s t o l a b e l and c a t e g o r i z e . Stephen Judy speaks f o r the f a r r i g h t o f t h i s ' f o r m - l e s s ' s c h o o l . S t u d e n t s need forms, o r mediums, through which they d e l i v e r t h e i r messages. Yet they do not r e q u i r e i n s t r u c t i o n i n form: There seemed t o be two s o u r c e s f o r t h e s e s k i l l s : F i r s t , f o r many o f the a c t i v i t i e s the s t u d e n t s had an i n t u i t i v e sense o f form based on r o u t i n e r e a d i n g h a b i t s ( t h e y had a l l r e a d e d i t o r i a l s , columns, p l a y s , commer-c i a l s ) o r on human e x p e r i e n c e ( a f t e r a l l 'drama,' ' s t o r y , ' 'essay' r e f l e c t ways o f l i v i n g and t h i n k i n g ; t h e y a r e not a r b i t r a r y ) . The second s o u r c e was q u e s t i o n -i n g . When s t u d e n t s d i d n ' t know what something was, they n a t u r a l l y asked: 'What's g r a f f i t i ? ' 'What's s a t i r e ? ' T h i s d i s c o v e r y l e d t o a n o t h e r from t h a t same c l a s s : q u e s t i o n s about form a r e b e s t answered i n o p e r a t i o n a l , not d e f i n i t i o n a l , terms. . . . In the end, the s t u d e n t s t i l l may not be a b l e t o d e f i n e s a t i r e , but he w i l l know how t o make one. [ J u d y j m ^ pp_ 9 2 _ 9 3 ] I n d u b i t a b l y , t h e s e b a s i c p h i l o s o p h i e s each have v a l i d i t y f o r the s t u d e n t w r i t e r . Rohman and Wlecke, i n an a r t i c l e e n t i t l e d \"The Person i n the P r o c e s s \" c o n s e r v a t i v e l y sum up t h i s g e n e r a l approach t o t he t e a c h i n g o f form: 149 We do not deny the v a l i d i t y o f e x t r i n s i c approaches t o c o m p o s i t i o n and t o w r i t e r s , w i t h t h e i r emphasis upon methods, t r a d i t i o n , c o n d i t i o n i n g , grammar and the l i k e ; we o n l y h o l d t h a t t h e s e a l o n e and t h e s e f i r s t w i l l n e v e r produce good w r i t i n g d e f i n e d as f r e s h p e r s p e c t i v e . [Kaufman and Powers, ed., 1970, p. 50] I t i s the s t u d e n t w r i t e r who must make the d e c i s i o n as t o what form h i s work w i l l t a k e , i f i t w i l l a b i d e by the laws o f t r a d i t i o n a l forms o r not. I f he d e c i d e s h i s work needs a t r a -d i t i o n a l f o r m a t , the l i s t he has t o choose from i s l o n g . And, i n r e a l i t y , t he s t u d e n t s h o u l d have a sample l i s t , such as f o l l o w s , to m ull o v e r : Adventure t a l e A d v e r t i s e m e n t Animated f i l m A u t o b i o g r a p h y B a l l a d C a r t o o n C o l l a b o r a t i v e novel C o l l a g e Commercial C o n c r e t e p o e t r y C o n f e s s i o n C r i t i c i s m Debate D i a l o g u e E x p o s i t o r y e s s a y Fantasy F i c t i o n F l y e r Free v e r s e F u l l l e n g t h drama G r e e t i n g c a r d Haiku and Tanka I m p r o v i s a t i o n ( w r i t t e n down) Informal speech I n s t r u c t i o n s I n t e r v i e w Joke J o u r n a l and d i a r y L e t t e r 150 L i g h t e s s a y L i g h t show ( d i r e c t i o n s w r i t t e n down) L i g h t v e r s e L i m e r i c k Magazine M a n i f e s t o Memoir Metaphor Monograph Monologue M u s i c a l Novel One-act s k i t Pamphlets Panel P e r s o n a l e s s a y P e t i t i o n P o e t r y P o l i c y p a p er P l a y P o s t e r Probe Propaganda Puppet show Radio s c r i p t Reminiscence Research Review (books, c o n c e r t s , s p o r t s , d a t e s ) Ri d d l e Soap opera S h o r t scene S h o r t s t o r y Songs Sonnet Sound tape Stream o f c o n s c i o u s n e s s Telegram T e l e v i s i o n s c r i p t T h i r t y - s e c o n d drama Underground newspaper W r i t e r ' s notebook I f , on the o t h e r hand, the s t u d e n t w r i t e r d e c i d e s to s t r i k e o u t i n s e a r c h o f h i s own new form, he does so as h i s own path-maker. He has gone beyond the law, and w h i l e t h e r e are no i m p r i s o n i n g r u l e s , t h e r e a r e a l s o no s i g n p o s t s o r h e l p f u l g u i d e l i n e s t o r e l y on. He i s a l o n e . Whatever the s t u d e n t ' s c h o i c e , t r a d i t i o n a l form o r e x p e r i m e n t a l , the t e a c h e r must be c o n s c i o u s l y aware t h a t w r i t e r s a r e i n a d i f f e r e n t p h i l o s o p h i c a l w o r l d than c r i t i c s (most t e a c h e r s i n c l u d e d ) . I f a C r e a t i v e W r i t i n g t e a c h e r i s a l s o a w r i t e r , as he c e r t a i n l y s h o u l d be, he w i l l u n d e r s t a n d t h a t i t i s the w r i t e r s who i n v e n t form. C r e a t i v e W r i t e r s a r e a l l i n a w o r l d o f p o t e n t i a l new forms and, p o s s i b l y , new laws. S t y l e The t e a c h i n g o f s t y l e i s an i m p o s s i b l e t a s k . W r i t i n g i s an e x p r e s s i o n o f s e l f which i s m a n i f e s t i n the s t y l e o r v o i c e o r d i s t i n c t i v e a c c e n t o f the w r i t e r . S t y l e , t h e n , i s not a t e c h n i q u e t h a t can be t a u g h t o r l e a r n e d . I t can o n l y be g i v e n freedom t o d e v e l o p . S t y l e i s as unique to each w r i t e r as h i s f i n g e r p r i n t : . . . the essence o f a sound s t y l e i s t h a t i t cannot be reduc e d t o r u l e s \u00E2\u0080\u0094 t h a t i t i s a l i v i n g and b r e a t h i n g t h i n g , w i t h something o f the demoniacal i n i t \u00E2\u0080\u0094 t h a t i t f i t s i t s p r o p r i e t o r t i g h t l y and y e t e v e r so l o o s e l y , as h i s s k i n f i t s him. I t i s , i n f a c t , q u i t e as s e c u r e l y an i n t e g r a l p a r t o f him as t h a t s k i n i s . I t hardens as h i s a r t e r i e s harden. I t i s gaudy when he i s young and g a t h e r s decorum when he grows o l d . On the day a f t e r he makes a mash on a new g i r l i t glows and g l i t t e r s . I f he has f e d w e l l , i t i s mellow. I f he has g a s t r i t i s i t i s b i t t e r . In b r i e f , a s t y l e i s always the outward and v i s i b l e symbol o f a man, and i t cannot be a n y t h i n g e l s e . To attempt t o t e a c h i t i s as s i l l y as t o s e t up c o u r s e s i n making l o v e . [ M e n c k e n , 1 9 4 9 > p > 4 6 0 ] 152 There i s no such animal as 'a b e s t s t y l e . 1 I t cannot be t a u g h t because i t does not e x i s t . I t would be a b s u r d t o ask Joyce t o w r i t e i n the s t y l e o f Hemingway, o r F e r l i n g h e t t i i n the s t y l e o f D i c k i n s o n . James E. M i l l e r i s most adamant about t h i s p o i n t : There i s , i n p o i n t o f f a c t , no 'best s t y l e ' f o r a l l w r i t e r s . And the p r e v a l e n t view t h a t everyone s h o u l d w r i t e i n the same s i m p l i s t i c s t y l e i s based on a misunder-s t a n d i n g o f the n a t u r e o f language and the w r i t i n g p r o c e s s . The b e s t s t y l e f o r any w r i t e r w i l l be one t h a t t a k e s i n t o account h i s own temperament and p e r s o n a l -i t y , the r e q u i r e m e n t s o f h i s s u b j e c t , and the n a t u r e o f h i s a u d i e n c e . On some o c c a s i o n s t h e s e may c a l l f o r l o n g words r a t h e r than s h o r t , f o r c o m p l i c a t e d s e n t e n c e s r a t h e r than s i m p l e , f o r an i n t e n t i o n a l opaqueness r a t h e r than a d i s t o r t i n g l u c i d i t y . They might c a l l , i n d e e d , f o r a t o r r e n t o f words r a t h e r than a t r i c k l e , f o r a f l o o d o f r h e t o r i c r a t h e r than a r i v u l e t . [ M i l l e r , 1973, p. 202] He condemns the dated n o t i o n o f ' c o r r e c t ' w r i t i n g : So many peop l e have been i n d o c t r i n a t e d w i t h the view t h a t good w r i t i n g i s p r i m a r i l y ' c o r r e c t ' w r i t i n g , and t h a t the b e s t w r i t i n g i s ' o b j e c t i v e ' and ' i m p e r s o n a l ' (and t h e r e f o r e d e v o i d o f the f i r s t - p e r s o n s i n g u l a r ) , t h a t t h e r e i s abroad i n the c o u n t r y an ' i d e a l ' p r o s e t h a t i s almost u n r e a d a b l e . T h i s p r o s e pours out o f government o f f i c e s , u n i v e r s i t i e s , b u s i n e s s e s ; has become a k i n d o f e s t a b l i s h m e n t p r o s e ; and might be d e s c r i b e d as the p r o s e i n t he gray f l a n n e l s u i t . I t i s a f a c e l e s s and v o i c e -l e s s p r o s e : the sound t h a t a r i s e s from i t i s monotonous and b o r i n g . r m - n m-? - . m / n 3 [ M i l l e r , 1973, p. 184] S t u d e n t s and t e a c h e r s s h o u l d beware o f s i m p l e r u l e s f o r good w r i t i n g . A l l g e n e r a l i z a t i o n s which a r e supposed t o have u n i v e r s a l a p p l i -c a t i o n a r e most l i k e l y m i s l e a d i n g , i f not t o t a l l y f a l s e . Even the d i a l e c t a w r i t e r uses s h o u l d be o f h i s own c h o o s i n g , be i t 153 a r e g i o n a l o r a s o c i a l d i a l e c t . Language i s too v i t a l t o the w r i t e r ' s i d e n t i t y and t o the e f f e c t s o f h i s work t o be s t r i c t l y c o n t r o l l e d by any p r e s c r i p t i o n s o f one ' s t a n d a r d language.' P u b l i c a t i o n : end o r a n o t h e r b e g i n n i n g ? Throughout t h i s t h e s i s p u b l i c a t i o n has been spoken o f a s t h e c u l m i n a t i o n o f a l l t h e s t u d e n t w r i t e r ' s w r i t i n g e f f o r t s . P u b l i c a t i o n i s , i n f a c t , an end p o i n t , b u t i t i s a l s o a n o t h e r b e g i n n i n g . P u b l i c a t i o n : . . . i s not the f i n i s h e d p r o d u c t , i t i s a t e a c h i n g t o o l - - s i n c e s t u d e n t s l e a r n p r i n t i n g does not make an a r t i c l e p r o f o u n d o r even c o r r e c t - c r i t i c a l t h i n k i n g - [ G o n z a l e z , 1973, p. 3] A f t e r p u b l i c a t i o n has been e f f e c t e d , the s t u d e n t s s h o u l d not abandon the p u b l i s h e d works, r e g a r d i n g them as 'done.' There i s s t i l l much to l e a r n o f a work a f t e r i t has been p u b l i s h e d . P u b l i c a t i o n does n o t mark t h e e n d p o i n t f o r t h e r e v i s i o n p r o c e s s , though p r e -sumably most e n s u i n g r e v i s i o n s w i l l be r e l a t i v e l y minor. T.S. E l i o t makes note o f the i m p o s s i b i l i t y o f even a r r i v i n g a t a c o n c l u s i v e e n d p o i n t : What we c a l l the b e g i n n i n g i s o f t e n the end And to make an end i s t o make a b e g i n n i n g . The end i s where we s t a r t from. And e v e r y phrase And s e n t e n c e t h a t i s r i g h t (where e v e r y word i s a t home. T a k i n g i t s p l a c e t o s u p p o r t the o t h e r s , The word n e i t h e r d i f f i d e n t o r o s t e n t a t i o u s , an easy commerce o f the o l d and the new, 154 The common word e x a c t w i t h o u t v u l g a r i t y , The formal word p r e c i s e but not p e d a n t i c , The complete c o n s o r t d a n c i n g t o g e t h e r ) E v e r y phrase and e v e r y s e n t e n c e i s an end and a b e g i n n i n g , Every poem an e p i t a p h . [ E l i o t , 1944, p. 58] The p r o c e s s o f w r i t i n g i s a c o n t i n u o u s endeavour, and the word 'pr o d u c t , ' o r 'work o f a r t , 1 s i m p l y d e s i g n a t e s the development a t a p a r t i c u l a r pause i n the w r i t e r ' s p e r p e t u a l l a b o u r . I t i s not i n t e n d e d t h a t the p r o c e s s o f w r i t i n g be viewed as an e x i s t e n t i a l i s t a l b a t r o s s . Rather, i t i s s u g g e s t e d t h a t the s t u d e n t keep an open mind t o change, even a f t e r h i s work has been p u b l i s h e d . E d i t i n g and P u b l i s h i n g Summary Fundamental i s the b a s i c p h i l o s o p h y o f Stage Two, the E d i t i n g and P u b l i s h i n g Stage o f w r i t i n g . A f t e r the i n i t i a l c r e a t i v e d r a f t i n g o f a work, the w r i t e r t h e n , and o n l y t h e n , becomes c o n c e r n e d w i t h p o l i s h i n g the work f o r h i s i n t e n d e d a u d i e n c e , and then proceeds t o p u b l i s h i t . I t must be kept i n mind t h a t i t t a k e s both a w r i t e r and a r e a d e r t o b r i n g a l i t e r a r y work t o l i f e : 155 T r a n s c e n d e n t ' p o e t i c ' e x p e r i e n c e B e f o r e p u b l i c a t i o n and r e a d e r r e s p o n s e , the l i t e r a r y work i s i n c o m p l e t e . The words o f the p u b l i s h e d l i t e r a r y work aim a t u n i t i n g p a r t i c u l a r e x p e r i e n c e s o f the w r i t e r w i t h s i m i l a r e x p e r i e n c e s o f the r e a d e r . The r e a d e r b r i n g s h i s e x p e r i e n c e s t o b e a r on words t h a t have been c r a f t e d by the w r i t e r , molded by the w r i t e r ' s e x p e r i e n c e s . I f the words are s u c c e s s f u l , they c r e a t e a unique bond between r e a d e r and w r i t e r t h a t t r a n s c e n d s e i t h e r i n d i v i d u a l ' s l o n e e x p e r i e n c e . Both the r e a d e r and the w r i t e r then g i v e the l i t e r a r y work meaning. Conse-q u e n t l y , the w r i t e r must u l t i m a t e l y p r e p a r e h i s work, h i s p e r f e c t l y n u r t u r e d embryo, f o r the r e a d e r t o g i v e i t b i r t h . 156 EVALUATION With a l l t h i s g r e a t t a l k about p r o c e s s , p r o d u c t , s e l f -d i s c o v e r y and p u b l i c a t i o n , where does e v a l u a t i o n f i t ? In t r u t h , the e v a l u a t i o n t h a t i s synonymous w i t h the d i s p e n s a t i o n o f judgement does not f i t . (The e v a l u a t i o n t h a t i s synonymous w i t h s e n s i t i v e and c o n c e r n e d t e a c h e r r e a c t i o n to s t u d e n t work i n s p e c i f i c u t i l i t a r i a n l anguage, has pervaded the e n t i r e w r i t i n g p r o c e s s ) . U n f o r t u n a t e l y , the e d u c a t i o n a l system demands t h a t s t u d e n t s ' work be graded on a r e g u l a r b a s i s . So t e a c h e r s a r e caught, i n the end, w i t h d e s p e r a t e l y t r y i n g to compromise the r e a l w o r l d s i t u a t i o n t h a t i s b e i n g s t r i v e n f o r , and the f a l s e c l a s s r o o m r e q u i r e m e n t s . The aim here i s to make t h i s compromise m i n i m a l . The prime magic a c t , a t t h i s p o i n t , i s to c o n v i n c e the s t u d e n t s t h a t the t e a c h e r ' s dual r o l e s o f e d i t o r and judge a r e m u t u a l l y e x c l u s i v e . And, t o o , i t must be o b v i o u s to the s t u d e n t which r o l e the t e a c h e r i s e n a c t i n g a t any g i v e n time. T h i s f e a t a c c o m p l i s h e d , the t e a c h e r can become as c o n s c i e n c e - f r e e a judge as i s humanly p o s s i b l e ! But how do you grade C r e a t i v e W r i t i n g ? I f one d o e s n ' t l o o k f o r 'correctness', what does one l o o k f o r ? S i n c e the b e g i n n i n g o f time p e o p l e have not been a b l e t o agree on a d e f i n i -t i o n o r s p e c i f i c a t i o n o f what c o n s t i t u t e s e f f e c t i v e n e s s i n w r i t i n g . Whenever anyone has a p r o m i s i n g t h e o r y , some well-known and w e l l - l i k e d p i e c e s o f w r i t i n g a r e always o m i t t e d from the exem-p l a r y l i s t because t h e y c o n t r a d i c t the t h e o r y . A t the p r e s e n t time, w r i t i n g i s t o a g r e a t e x t e n t , a mystery. W r i t e r s make marks 157 on paper and w a i t t o see what w i l l happen when o t h e r p e o p l e come a l o n g and s t a r e a t t h e s e marks. T h i s whole u n p r e d i c t a b l e mess i s a c c e n t u a t e d by the f a c t t h a t d i f f e r e n t p e o p l e have d i f f e r e n t r e a c t i o n s t o any g i v e n p i e c e o f work, and even one p e r s o n w i l l l i k e l y have d i f f e r e n t r e a c t i o n s on d i f f e r e n t days. So how, on t h i s e a r t h , can a t e a c h e r e v a l u a t e C r e a t i v e W r i t i n g w i t h an i n d e l i b l e l e t t e r - g r a d e ? S u g g e s t i o n : v e r y c a u t i o u s l y , and i n c o n j u n c t i o n w i t h c l a s s response and w i t h the s t u d e n t h i m s e l f . C r i t i c a l e v a l u a t i o n and c r e a t i v i t y are i n t e r t w i n e d i n the s t u d e n t ' s mind from the o n s e t o f the c r e a t i v e p r o c e s s . The s t u d e n t i s c o n s t a n t l y c h o o s i n g h i s words from the whole p r o l i f e r a -t i o n o f words i n the E n g l i s h language. He i s c r i t i c a l l y c h o o s i n g , i n a d v e r t e n t l y e v a l u a t i n g , as he i s c r e a t i n g . Hence i t i s im-p o r t a n t f o r the s t u d e n t t o s h a r e i n the f i n a l p r o c e s s o f grade e v a l u a t i o n . S e l f - c r i t i c i s m i s a most v a l u a b l e growth f a c t o r . I t i s not o n l y the s t u d e n t who b e n e f i t s from p a r t i c i -p a t i n g i n the g r a d i n g p r o c e d u r e . The t e a c h e r ' s marking burden i s somewhat l i g h t e n e d . But more i m p o r t a n t y e t , the t e a c h e r who i n c l u d e s h i s s t u d e n t s i n the g r a d i n g t a s k w i l l i n e v i t a b l y f i n d t h a t h i s t e a c h i n g becomes t a u t e r and more c l e a r l y f o c u s e d as a r e s u l t , and t h a t h i s u n d e r s t a n d i n g o f the s t u d e n t s ' d i f f i -c u l t i e s , and c o n s e q u e n t l y h i s a b i l i t y t o h e l p them, are i n d e e d i n c r e a s e d . Some v a r i a t i o n s i n g r a d i n g methods can be c o n s i d e r e d the t e a c h e r , dependent upon a d m i n i s t r a t i v e e x p e c t a t i o n : Non-graded systems: W r i t t e n e v a l u a t i o n (26 l e t t e r g r a d i n g ) by t e a c h e r W r i t t e n s e l f - e v a l u a t i o n by s t u d e n t S t u d e n t and t e a c h e r w r i t t e n e v a l u a t i o n E x p e r i e n c e p o r t f o l i o Performance c h e c k l i s t ( s t u d e n t w r i t t e n c h e c k l i s t which i s compared t o h i s a c t u a l performance) A l t e r n a t i v e s t o c o n v e n t i o n a l g r a d i n g : P a s s / F a i l P a s s / Q u e s t i o n ( Q u e s t i o n i s an i n t e r i m grade which can be upgraded t o a Pass) P a s s / Q u e s t i o n / D e s c r i b e C r e d i t / N o C r e d i t A, B, C, IP ( i n p r o g r e s s ) , W (withdrew) A l t e r n a t i v e approaches t o g r a d i n g : Recommended g r a d i n g ( c o n v e n t i o n a l g r a d i n g ) Grades w i t h w r i t t e n e v a l u a t i o n S e l f - g r a d i n g Matched g r a d i n g w i t h o r w i t h o u t w r i t t e n e v a l u a t i o n (Take the average o f t e a c h e r and s t u d e n t recommended grades) C o n f e r e n c e g r a d i n g (same as matched g r a d i n g , o n l y w i t h f a c e t o f a c e d i s c u s s i o n ) Performance mastery by l e v e l 159 P o i n t system B l a n k e t g r a d i n g (the e n t i r e c l a s s i s g i v e n the same grade, perhaps even b e f o r e the c o u r s e s t a r t s ) C o n t r a c t g r a d i n g P o r t f o l i o g r a d i n g (can be combined w i t h any o f the o t h e r methods) C o n t r a c t g r a d i n g has had w i d e s p r e a d p u b l i c i t y o f l a t e , and has had a wide range o f s u c c e s s . Some s t u d e n t s f i n d t h i s system m o t i v a t i o n a l , w h i l e o t h e r s f i n d i t an easy way o f d i s c o v e r i n g the minimum re q u i r e m e n t s f o r a p a s s , and h o l d i n g the t e a c h e r to i t . Because o f i t s a c t i v e i n c l u s i o n o f the s t u d e n t i n the g r a d i n g t a s k and because o f i t s i n c r e a s i n g p o p u l a r i t y , some e x p l i c i t c o n t r a c t s a r e i n c l u d e d : S t r u c t u r i n g C o n t r a c t s P r e - c o n t r a c t p r e p a r a t i o n : Thorough exposure t o the o p t i o n s a v a i l a b l e t o the s t u d e n t . D e f i n e the b a l l p a r k . T y p i c a l c o n t r a c t components 1. D e s c r i p t i o n o f a r e a o f s t u d y 2. D e t a i l e d l i s t o f o b j e c t i v e s 3. C r i t e r i a f o r g r a d i n g (time commitment, q u a n t i t y o f r e a d i n g and w r i t i n g , e t c . ) 4. C r i t e r i a o f q u a l i t y f o r a c c e p t a n c e o f work 160 5. P l a n o f a t t a c k (a) Reading and r e s o u r c e l i s t (b) Independent r e s e a r c h p l a n s (c) P o s s i b l e f i e l d o r community work (d) Schedule o f c o n f e r e n c e s and/or i n t e r i m d e a d l i n e s (e) P r o j e c t e d t e a c h e r h e l p and r e s p o n s i b i l i t i e s 6. E v a l u a t i o n p r o c e d u r e . When g r a d i n g i s b e i n g f o r m u l a t e d whether by t e a c h e r , s t u d e n t o r b o t h , many f a c t o r s have to be c o n s i d e r e d v e r y c a r e f u l l y . Q u a l i t y o f work, q u a n t i t y o f work, s t u d e n t e f f o r t , c l a s s p a r t i c i p a t i o n , c o o p e r a t i o n and a t t i t u d e , n o t to mention i n d i v i d u a l s t u d e n t improvement are b ut a few o f these 'bug-bears.' Kenneth Lewis o u t l i n e s a system t h a t i n c l u d e s these d i v e r s e f a c t o r s : GRADING STANDARDS Q u a l i t y o f Work \u00E2\u0080\u0094 w r i t t e n , o r a l r e p o r t s , e t c . ( T h i s i s i n comparison w i t h a h i g h and demanding s t a n d a r d I c a r r y around i n my head--not i n comparison w i t h anyone e l s e i n t h i s c l a s s ) E x c e l l e n t \u00E2\u0080\u0094 c o n s i s t e n t l y meeting o r even e x c e e d i n g the h i g h s t a n d a r d s I h o l d A Good-accurate b ut n o t t o p - n o t c h , o r i n c o n s i s t e n t work B M e d i o c r e \u00E2\u0080\u0094 b a r e l y meeting a s s i g n m e n t s \u00E2\u0080\u0094 s o - s o q u a l i t y C P o o r \u00E2\u0080\u0094 l o w q u a l i t y D E f f o r t Always work to b e s t o f y o u r a b i 1 i t y \u00E2\u0080\u0094 e v e r y a c t i v i t y , . be i t w r i t i n g o r o r a l work was a c c o m p l i s h e d w i t h p r i d e and a d e t e r m i n a t i o n to do y o u r b e s t . . . . A Making a good e f f o r t \u00E2\u0080\u0094 g o o d b ut n o t c o n s i s t e n t l y g i v i n g y o u r ' a l l ' B So-so e f f o r t \u00E2\u0080\u0094 o r e x t r e m e l y i n c o n s i s t e n t e f f o r t \u00E2\u0080\u0094 y o u d i d n ' t c o n s i s t e n t l y c a r e much o r t r y v e r y h a r d . . C 161 L i t t l e e f f o r t \u00E2\u0080\u0094 o n l y a f l i c k e r o f r e s p o n s e \u00E2\u0080\u0094 n o t t r y i n g o r c a r i n g , o n l y f i l l i n g a space up D C l a s s P a r t i c i p a t i o n , C o o p e r a t i o n , A t t i t u d e S i g n i f i c a n t c o n t r i b u t i o n \u00E2\u0080\u0094 f o r w a r d i n g a l l group a c t i v i t i e s \u00E2\u0080\u0094 p o s i t i v e , open a t t i t u d e \u00E2\u0080\u0094 c o n s t a n t and spontaneous e f f o r t t o make t h i s c l a s s ( t h i s p a r t n e r s h i p o f t e a c h e r and s t u d e n t s t o l e a r n ) work A Some c o n t r i b u t i o n \u00E2\u0080\u0094 w o r k i n g f o r the c l a s s sometimes \u00E2\u0080\u0094 'proper' a t t i t u d e B Answers when o b l i g e d to n e u t r a l a t t i t u d e \u00E2\u0080\u0094 i r r e g u l a r c o o p e r a t i o n C F i l l i n g a s p a c e \u00E2\u0080\u0094 l i t t l e c o - o p e r a t i o n \u00E2\u0080\u0094 i n d i f f e r e n t \u00E2\u0080\u0094 even h o s t i l e \u00E2\u0080\u0094 g e t s i n the way o f the c l a s s . . . . D I n d i v i d u a l improvement ( w i t h i n the l i m i t a t i o n s o f my a b i l i t y as a t e a c h e r and the s t r u c t u r e o f t h i s c l a s s \u00E2\u0080\u0094 o b v i o u s l y you s h o u l d n o t be p e n a l i z e d i f I o r the c l a s s do n o t a i d y o u r honest and de-l i b e r a t e e f f o r t s a t improvement) Marked and growing A Si g n s o f p r o g r e s s , r e s p o n d i n g to c l a s s o r i n d i v i d -ual s t i m u l a t i o n B No p r o g r e s s C [L e w i s , March, 1975, p. 83] The t e a c h e r and s t u d e n t s i n any C r e a t i v e W r i t i n g c l a s s can use t h i s b a s i c l i s t as a s t a r t i n g p o i n t f o r d i s c u s s i o n s on g r a d i n g t e c h n i q u e s . A d d i t i o n s and d e l e t i o n s s h o u l d be c o n s i d e r e d . The t e a c h e r and s t u d e n t s can d e c i d e how t o b a l a n c e and average the s e f a c t o r s t o make a t o t a l grade. By g i v i n g n u m e r i c a l e q u i v a l e n t s a mark can r e a d i l y be a r r i v e d a t . 162 I t must be s t r e s s e d a g a i n t h a t t h e r e i s a d i s t i n c t d i f f e r -ence between the e v a l u a t i o n t h a t i n v o l v e s s k i l l f u l t e a c h e r q u e s t i o n -i n g and b e n e f i c i a l s u g g e s t i o n i n p r e c i s e language, and the e v a l u a t i o n t h a t i s synonymous w i t h marking and g r a d i n g , i n v o l v i n g the d i s p e n -s a t i o n o f judgement. T e a c h e r s , not o n l y o f C r e a t i v e W r i t i n g b ut o f a l l s u b j e c t s , must c o n s t a n t l y be on the a l e r t f o r the a l l too common s u b o r d i n a t i o n o f honest, i n t e l l i g e n t r e a c t i o n , to r e l a t i v e l y s u p e r f l u o u s r a n k i n g and c l a s s i f i c a t i o n . Beyond a l l o f t h i s d i s c u s s i o n on e v a l u a t i o n p r o c e d u r e , i s the u l t i m a t e q u e s t i o n t h a t a l l s t u d e n t s s h o u l d be encouraged to g r a p p l e w i t h and f o r m u l a t e an answer t o , r e g a r d l e s s how t e n t a t i v e . What i s s u c c e s s i n C r e a t i v e W r i t i n g f o r each i n d i v i d u a l ? h i g h marks? e n c o u r a g i n g comments? a t t e n t i o n ? c o l l e a g u e a p p r o v a l ? p u b l i c a t i o n ? s e l f - s a t i s f i c t i o n ? In t he r e a l w o r l d good w r i t e r s do n o t g e t marks; th e y g e t p u b l i s h e d . The more i n g r a i n e d t h i s c o n c e p t becomes i n each i n d i v i d u a l , the l e s s i n s t i t u t i o n a l i z e d and i m p r i s o n e d the s t u d e n t s , and t h e i r w r i t i n g , w i l l be. 163 CONCLUSION C r e a t i v e W r i t i n g Journey Summary .Work Submi t t e d Q u e s t i o n : Is t h i s b a s i c a l l y an i n v o l v e d p i e c e o f w r i t i n g ? Are t h e r e s i g n s t h a t the s t u d e n t \-NO\u00E2\u0080\u0094> e n j o y e d d o i n g i t ? Can you hear The s t u d e n t ' s v o i c e coming through? E s s e n t i a l l y . . . i s i t r e a l ? YES Respond as h o n e s t l y as the s t u d e n t has w r i t t e n . T e l l about y o u r p e r s o n a l r e a c t i o n s . T e l l the s t u d e n t about the p a r t s t h a t most i n t e r e s t e d o r e x c i t e d you. D i s a g r e e i f you d i s a g r e e , but don't t e a c h , p r e a c h , o r 'improve.' In s h o r t , be a human audi e n c e o f one. Q u e s t i o n : Is t h i s a work t h a t s h o u l d be made p u b l i c ? W i l l i t a p o s i t i v e e x p e r i e n c e f o r the s t u d e n t i f i t i s ? be YES \-NO-^ Decide ( o r h e l p the s t u d e n t d e c i d e ) the most s u i t a b l e medium f o r p u b l i c a t i o n . O r a l r e a d i n g ? B u l l e t i n board? C l a s s magazine? School paper? I Q u e s t i o n Why was the v o l v e d w i t h the What went wrong? s t u d e n t s n o t i n -h i s work? Read work, f i n d the good p a r t s , respond p o s i t i v e l y , r e t u r n i t , and then s t a r t o ver. Return i t w i t h y o u r compliments. Not a l l w r i t i n g needs an a u d i -ence anyway. T e l l the s t u d e n t how and why you e n j o y e d i t . Respond i n p e r s o n a l terms as a p p r o p r i a t e . I n v i t e more w r i t i n g . Suggest new d i r e c t i o n s , r e l a t e d r e a d i n g s . E d i t i n g . The aim now becomes h e l p -i n g the s t u d e n t get t h i s work ready f o r t h i s p u b l i s h i n g medium and t h i s a u d i e n c e a t t h i s time. Here i s where the t e a c h e r ' s e x p e r t i s e can l e a d t o q u e s t i o n s about ' e f f e c t i v e n e s s . ' How w i l l the work be r e c e i v e d ? What r e v i s i o n s w i l l h e l p improve i t ? These s u g g e s t i o n s are b e s t o f f e r e d i n terms o f o p e r a t i o n a l a d v i c e (how to do i t ) r a t h e r than a b s t r a c t i o n s about r h e t o r i c , and the t e a c h e r does i t w i t h the aim o f h e l p i n g a s t u d e n t s u c c e e d , n o t t r y i n g , t o change a human b e i n g . 4 164 C o l l e a g u e Response: The work i s c r i t i c a l l y d i s c u s s e d by the o t h e r s t u d e n t s i n the c l a s s , i n terms o f e f f e c t i v e n e s s . P u b ! i c a t i o n . C o p y r e a d i n g ( n ot to be c o n f u s e d w i t h r e v i s i n g ) . Help the s t u d e n t p o l i s h the work to e l i m i n a t e any g r a p h i c , mechanical o r s y n t a c t i c b a r r i e r s to s u c c e s s . A g a i n r e l a t e a d v i c e and sugges-t i o n s to the p a r t i c u l a r form o f p u b l i c a t i o n ( e . g . , i f the s t u d e n t -is g o i n g t o rea d the work a l o u d , don't g i v e a d v i c e about s p e l l i n g e r r o r s ) . I f the t e a c h e r has been a good e d i t o r , the work i s a s u c c e s s w i t h the a u d i e n c e . Both p r o c e s s and p r o d u c t are v i t a l n e c e s s i t i e s t o round the s t u d e n t w r i t e r ' s w r i t i n g e x p e r i e n c e . N e i t h e r i s s t r e s s e d above the o t h e r . Three b a s i c assumptions which have run thro u g h t h i s t h e s i s w a r r a n t v e r b a l i z i n g . 1. Language s e r v e s each s t u d e n t both i n the e x p l o r a t i o n and d i s c o v e r y o f h i s i n n e r s e l f , and i n c o n n e c t i n g him t o o t h e r s . 2. R e v i s i o n , o r e d i t i n g , can be m o t i v a t e d i n e v e r y s t u d e n t , and must be f o r e f f e c t i v e w r i t i n g t o r e s u l t . P u b l i c a t i o n m o t i v a t e s . 165 3. A l l n o t i o n s o f ' c o r r e c t n e s s ' o f language are r e l a t i v e to the i n d i v i d u a l w r i t e r , t o the s p e c i f i c s u b j e c t m a t t e r o f the work and t o the i n t e n d e d a u d i e n c e . When f i n i s h e d the i n i t i a l w r i t i n g , the s t u d e n t w r i t e r must ask him-s e l f s e r i o u s l y , \"Do I wish t o be understood? Do I c a r e i f my audi e n c e m i s r e a d s o r mis j u d g e s me?.\" He must g l a n c e i n s e v e r a l d i r e c t i o n s as he p o l i s h e s h i s work. He must keep an eye on h i s a u d i e n c e , h i s s u b j e c t m a t t e r , and, p o s s i b l y , the n a t u r e o f the o c c a s i o n f o r h i s w r i t i n g . S i m u l t a n e o u s l y , he must a l s o keep a n o t h e r eye on h i s own s e n s i t i v i t i e s and a t t u n e h i s v o i c e t o the v i b r a t i o n s o f h i s i n n e r s e l f . The s t u d e n t s should e x p e r i e n c e a s e r i e s o f s t a g e s i n t h e i r w r i t i n g . B r o a d l y , they a r e p s y c h o l o -g i c a l p r e p a r a t i o n , i n i t i a l w r i t i n g , p e e r r e s p o n s e , r e v i s i o n and e d i t i n g , and p u b l i c a t i o n . The w r i t i n g t e a c h e r must p r e p a r e the s t u d e n t s t o a c c e p t the d i f f i c u l t y i n v o l v e d i n w r i t i n g and r e w r i t i n g . V e r b a l e x p r e s s i o n o f e x p e r i e n c e i s p a i n f u l and f r u s t r a t i n g and the s t u d e n t s must a c c e p t i t as such. However, they must a l s o be made aware o f the rewarding f e e l i n g o f s u c c e s s when they f i n a l l y do c a p t u r e the essence o f thoughts w i t h the ' p e r f e c t ' words, and e f f e c t i v e l y r e c r e a t e t h e i r e x p e r i e n c e s i n the minds o f t h e i r a u d i e n c e s . U n q u e s t i o n a b l y , t he s e c r e t to an e x c i t i n g , m o t i v a t e d , and p r o d u c t i v e s e c o n d a r y w r i t i n g program i s k e e p i n g the s t u d e n t s d i s c o v e r i n g t h e i r i n n e r w o r l d s through w r i t i n g , w h i l e s i m u l t a n e o u s l y k e e p i n g the i n t e r e s t and s p i r i t o f p u b l i c a t i o n a l i v e . 166 The L a s t Word C r e a t i v e W r i t i n g i s an e x c i t i n g f i e l d t o be i n v o l v e d i n a t p r e s e n t , because r e s e a r c h and p r a c t i c a l i t i e s are j u s t be-g i n n i n g t o merge. The c o u r s e i s o n l y on t h e ground f l o o r now, but the i m p l i c a t i o n s and p o t e n t i a l i t i e s a r e sky-bound. There i s a r a g i n g need f o r the Department o f E d u c a t i o n t o update i t s t h i n k i n g w i t h r e s p e c t t o t h i s c o u r s e . The C u r r i c u l u m Guide and the P r e s c r i b e d Textbook L i s t need much re w o r k i n g and augmentation. Seven y e a r s have passed s i n c e i t s i n c e p t i o n . C r e a t i v e W r i t i n g may have begun as an added e x t r a , an e x p e r i m e n t a l f r i l l t o the b a s i c s . However, i t s c o n t i n u a l growth i n e n r o l l m e n t a t t e s t s t o i t s r e l e v a n c e and importance i n the s t u d e n t s ' eyes. C r e a t i v e W r i t i n g must be made a d i s t i n c t c r e d i t , d i v o r c e d c o m p l e t e l y from J o u r n a l i s m , B r o a d c a s t Media, o r whatever e l s e W r i t i n g 11 has come t o l a b e l t h r o u g h o u t B.C. S c h o o l s . And C r e a t i v e W r i t i n g 12 must be r e c o g n i z e d and deemed worthy o f c o u r s e c r e d i t s . The t e a c h e r s o f C r e a t i v e W r i t i n g a r e d o i n g a r e s p e c t a b l e j o b g i v e n the l a c k o f guidance and the l a c k o f m a t e r i a l s . T e a c h i n g C r e a t i v e W r i t i n g i s a very demanding endeavour t h a t r e q u i r e s l i m i t l e s s energy and p e r s o n a l a t t e n t i o n . When p r a c t i c a l t e a c h e r guidance and r e l e v a n t m a t e r i a l s become a v a i l a b l e , the c o u r s e w i l l r e a l l y blossom. A t p r e s e n t , the c o u r s e i s l i m i t e d o n l y by the numbers o f t e a c h e r s who f e e l competent t o t e a c h i t , knowing 167 f u l l w e l l t h a t they a r e , f o r the most p a r t , g r o p i n g i n the dark, f o l l o w i n g t h e i r own w r i t i n g bent. The g u i d e l i n e s f o r c u r r i c u l u m development t h a t a r e p r e s e n t e d a r e i n t e n d e d f o r c o n s i d e r a t i o n by each C r e a t i v e W r i t i n g t e a c h e r w h i l e he i s p l a n n i n g h i s c u r r i c u l u m . What i s p r e s e n t e d i s not a c u r r i c u l u m p e r s e , but r a t h e r g u i d e l i n e s f o r C r e a t i v e W r i t i n g c u r r i c u l u m d e v e l o p e r s , i . e . the a c t u a l t e a c h e r s . The s t u d e n t s i n each c l a s s w i l l v a r y a c c o r d i n g t o t h e i r needs and d e s i r e s , and the t e a c h e r s v a r y a c c o r d i n g t o t h e i r i d e o l o g y and methodology. No c o n s t a n t c u r r i c u l u m c o u l d meet even a f r a c t i o n o f t h e s e v a r i a t i o n s . But the g u i d e l i n e s do remain c o n s t a n t . Each t e a c h e r must s e r i o u s l y c o n s i d e r the s p e c i f i c n a t u r e o f h i m s e l f and o f h i s c l a s s and then a p p l y the g u i d e l i n e s t o the unique s i t u a t i o n a t hand. Perhaps the key c o n c e p t i n C r e a t i v e W r i t i n g i s the a b s o l u t e i n d i v i d u a l i t y o f each w r i t e r . U l t i m a t e l y t h i s must be the c o n c e r n o f the c r e a t i v i t y r e s e a r c h e r s , the Department o f E d u c a t i o n p o l i c y makers, the t e a c h e r , and the s t u d e n t h i m s e l f . C o n s e q u e n t l y , a c o u r s e o f t h i s n a t u r e has t o be 'ry.eal'; i t has t o o f f e r something more than c o u r s e c r e d i t s and graded papers. In o r d e r t o be \" r e a l , 1 the c o u r s e has t o h e l p each s t u d e n t a l o n g an i n d i v i d u a l p u r s u i t t h a t goes beyond the s c h o o l ' s w a l l s i n t o the o u t s i d e w o r l d . I t i s no one's d e c i s i o n but the s t u d e n t ' s what h i s p u r s u i t w i l l be. P.K. Page, a v e r y contemporary p o e t , c r i e s 168 o u t f o r r e c o g n i t i o n o f t h i s i n d i v i d u a l j o u r n e y each w r i t e r must take : I am t r a v e l l e r . I have a d e s t i n a t i o n but no maps. Others perhaps have reached t h a t d e s t i n a t i o n a l r e a d y , s t i l l o t h e r s a r e on t h e i r way. But none has had to go from here b e f o r e - - n o r w i l l a g a i n . One's r o u t e i s one's own. One's j o u r n e y unique. What l i e s on the way i s unknown. How to go? Land, sea o r a i r ? What t e c h n i q u e s to use? What v e h i c l e ? [ E l l i s , ed., 1977, p. 240] So, i n the end, the w r i t e r i s a l o n e . But r e g a r d l e s s o f whether he i s w r i t i n g i n b u s i n e s s o r i n f r i e n d s h i p , f o r a p o l i t i c a l group o r a c h u r c h community, o r j u s t f o r h i m s e l f , the w r i t e r i s coming to know and u n d e r s t a n d h i s own s e l f i n a v e r y s p e c i a l way. U l t i -m a t e l y a l l C r e a t i v e W r i t i n g c o u r s e s must endeavour to h e l p each i n d i v i d u a l w r i t e r w r i t e what i t i s t h a t he f e e l s c o m p e l l e d to w r i t e about. A P P E N D I X A PROVINCIAL SURVEY LETTER TO ALL B.C. SUPERINTENDENTS September 1, 1977 School D i s t r i c t No. ATTENTION: Mr. . . . . D i s t r i c t S u p e r i n t e n d e n t Gentlemen: I am c o m p i l i n g a l i s t o f a l l the D i s t r i c t s i n B r i t i s h Columbia which o f f e r t he e l e c t i v e c o u r s e W r i t i n g 11. T h i s i n f o r -mation i s n o t on f i l e a t the Department o f E d u c a t i o n i n V i c t o r i a , and i s u r g e n t l y needed. My p a r t i c u l a r i n t e r e s t i n t h i s i n f o r m a t i o n i s t o a l l o w me t o c o n t a c t the W r i t i n g 11 t e a c h e r s i n d i v i d u a l l y t o e x p l o r e w i t h them t h e c u r r i c u l u m they a r e employing. I am w r i t i n g my M.A. t h e s i s i n E n g l i s h E d u c a t i o n a t the U n i v e r s i t y o f B r i t i s h Columbia and need t o know the numbers o f t h i s c o u r s e o f f e r e d i n B r i t i s h Columbia, and the type o f c o u r s e o f f e r e d , be i t J o u r n a l i s m , C r e a t i v e W r i t i n g , Communications, o r j u s t a c a t c h - a l l l a b e l . The B.C. E n g l i s h T e a c h e r ' s A s s o c i a t i o n a l s o needs t h i s l i s t f o r workshop purposes. I am r e q u e s t i o n t h a t you respond t o the a t t a c h e d q u e s t i o n s , and promptly r e t u r n y o u r response i n the s e l f - a d d r e s s e d e n v e l o p e i n c l u d e d . I a p p r e c i a t e y o u r time and c o n c e r n . Thank you. Yours t r u l y , NJ/mle E n c l o s u r e Mrs. Norma Jamieson E n g l i s h C u r r i c u l u m C o o r d i n a t o r A P P E N D I X B PROVINCIAL SURVEY LETTER TO ALL TEACHERS OF CREATIVE WRITING IN BRITISH COLUMBIA PRINCIPAL - R. V. SIMPSON MATTHEW MCNAIR SENIOR SECONDARY SCHOOL VICE PRINCIPAL - E. T. NOVAKOWSKI 950 No. 4 ROAD RICHMOND, B.C. V7A 2Y9 274-7258 Today's date Name School A ddress C i t y P o s t a l Code Dear Mr./Mrs./Miss : I have r e c e i v e d y o u r name from y o u r D i s t r i c t S u p e r i n t e n d e n t , , and d e s p e r a t e l y need you to respond. I am c o m p i l i n g a l i s t o f a l l the s c h o o l s i n B r i t i s h Columbia which o f f e r the C r e a t i v e W r i t i n g o p t i o n o f the the e l e c t i v e , W r i t i n g 11. T h i s i n f o r m a t i o n i s n o t on f i l e a t the Department o f E d u c a t i o n i n V i c t o r i a , and i s d e s p e r a t e l y needed. My p a r t i c u l a r i n t e r e s t i n t h i s i n f o r m a t i o n i s t h a t I am w r i t i n g my M.A. t h e s i s i n E n g l i s h E d u c a t i o n a t U.B.C. My t h e s i s t o p i c c o n c e r n s C r e a t i v e W r i t i n g i n B.C. s e n i o r s e c o n d a r y s c h o o l s , a t o p i c on which no i n f o r m a t i o n has been g a t h e r e d . The B.C. E n g l i s h T e a c h e r s ' A s s o c i a t i o n a l s o needs t h i s l i s t f o r work-shop purp o s e s . I am r e q u e s t i n g t h a t you respond to the a t t a c h e d q u e s t i o n s and promp t l y r e t u r n y o u r response i n the s e l f - a d d r e s s e d e n v e l o p e i n c l u d e d . I a p p r e c i a t e y o u r time and co n c e r n . Thank you. Yours t r u l y , urs/NJ E n c l o s u r e s Mrs. Norma Jamieson E n g l i s h C u r r i c u l u m C o o r d i n a t o r 1. Do any S e n i o r Secondary S c h o o l s i n y o u r d i s t r i c t o f f e r the co u r s e W r i t i n g 11? 2. I f W r i t i n g 11 i s o f f e r e d , p l e a s e l i s t the names o f the s c h o o l s i n v o l v e d and t h e i r r e s p e c t i v e a d d r e s s e s and, i f p o s s i b l e , the names o f the t e a c h e r s . P l e a s e r e t u r n t h i s q u e s t i o n n a i r e , even i f y o u r d i s t r i c t does not o f f e r W r i t i n g 11. Thank you N. Jamieson 174 CREATIVE WRITING IN B.C. 1. Does y o u r c l a s s \" p u b l i s h \" a \"book\"? U s i n g s c h o o l d i t t o machines? U s i n g the s c h o o l o f f s e t p r e s s ? U s i n g o u t s i d e p u b l i s h e r s ? Do you s e l l y o u r p u b l i c a t i o n ? 2. Does y o u r c o u r s e r e v o l v e about a s e r i e s o f assignments? Or, do the s t u d e n t s w r i t e what th e y wish? 3. Do you s e t d e a d l i n e s ? 4. Do you i n s i s t s t u d e n t s m i n i c t he form o f o u t s t a n d i n g w r i t e r s ? 5. Do you i n s i s t s t u d e n t s t r y w r i t i n g i n v a r y i n g genres? 6. Do you i n s i s t on r e v i s i o n ? 7. Do you mark i n d i v i d u a l p i e c e s o f w r i t i n g ? I f so \u00E2\u0080\u0094 e v e r y p i e c e ? I f not \u00E2\u0080\u0094 e x p l a i n . 8. Do you i n s i s t on s i l e n c e i n y o u r c l a s s ? 9. Do s t u d e n t s d i s c u s s o t h e r s t u d e n t s ' works? I f so -- as a p r e s c r i b e d p a r t o f the c o u r s e ? Or, o n l y c a s u a l l y and s p o n t a n e o u s l y among i n d i v i d u a l s ? 175 10. Do you p r e s c r i b e r e a d i n g ? I f so -- by the s t u d e n t s ? - - b y community w r i t e r s ? S p e c i f y . 11. Do you have r e a d i n g s ? I f so \u00E2\u0080\u0094 by the s t u d e n t s ? \u00E2\u0080\u0094 by community w r i t e r s ? S p e c i f y . 12. Do you i n s i s t t h a t s t u d e n t s keep a d a i l y j o u r n a l ? I f so -- do you i n s p e c t i t ? \u00E2\u0080\u0094 do you mark i t ? 13. Do you i n v o l v e the s t u d e n t s i n o t h e r modes o f e x p r e s s i o n ? I f so -- s p e c i f y . 14. Do you use any t e x t s ? I f so -- s p e c i f y . 15. Does y o u r s c h o o l o f f e r C r e a t i v e W r i t i n g 12? I f so -- what i s i t l a b e l l e d on the s t u d e n t s ' t r a n s c r i p t s ? 16. Do you f e e l more d i r e c t i o n from the Department o f E d u c a t i o n i s needed f o r t h i s c o u r s e ? 17. Do you have a c o u r s e d e s c r i p t i o n t h a t you use i n y o u r s c h o o l c o u r s e c a t a l o g u e ? I f so -- p l e a s e send the d e s c r i p t i o n a l o n g . P l e a s e f e e l f r e e t o add any comments on the back, and to r e q u e s t a copy o f the r e s u l t s o f t h i s endeavour. Thank you a g a i n f o r y o u r e f f o r t s . A P P E N D I X C SCHOOLS OFFERING CREATIVE WRITING IN 1977-1978 WITH THE RESPECTIVE TEACHERS 177 APPENDIX C SCHOOLS OFFERING CREATIVE WRITING IN 1977-1978 WITH THE RESPECTIVE TEACHERS School T e a c h e r F e r n i e Secondary School D i s t r i c t #1 2nd Avenue F e r n i e , B.C. The t e a c h e r i s not known. S t a n l e y Humphries Secondary School D i s t r i c t #9 Box 3190 C a s t l e g a r , B.C. Ms. T. Hal l a s J . F l o y d Crowe Secondary School D i s t r i c t #11 5th Avenue T r a i l , B.C. Mr. J . R a n a l l o Southern Okanagon Secondary School D i s t r i c t #14 Box 990 O l i v e r , B.C. VOH 1T0 Mr. C M . T a y l o r Similkameen Secondary School D i s t r i c t #16 Box 410 Keremeos, B.C. VOX 1N0 Mr. R. Thomas Kelowna Secondary School D i s t r i c t #23 575 Harvey Avenue Kelowna, B.C. Mrs. N. C a s s i d y 178 Appendix C ( c o n t i n u e d ) School T e a c h e r C o r r e l i e u S e n i o r Secondary School D i s t r i c t #28 850 Anderson D r i v e Q u e s n e l , B.C. V2J 1G4 Mr. Mrs. Mark Kunen J i l l L e b e d o f f S a r d i s J r - S r Secondary School D i s t r i c t #33 Box 100 S a r d i s , B.C. L i n d a L u t c h e r C h i l l i w a c k S e n i o r Secondary School D i s t r i c t #33 239 Y a l e Road E a s t C h i l l i w a c k , B.C. Ms. M.J. M o r r i s A b b o t s f o r d S e n i o r Secondary School D i s t r i c t #34 c/0 2343 McCallum Road A b b o t s f o r d , B.C. V2S 3P5 Mr. Jack Wood E a r l M a r r i o t t Secondary School D i s t r i c t #36 15751 - 16th Avenue S u r r e y , B.C. Mr. V. Webber P r i n c e s s Margaret S e n i o r Secondary School D i s t r i c t #36 12870 - 72nd Avenue S u r r e y , B.C. Mr. D. L a r s e n \ 179 Appendix C ( c o n t i n u e d ) School T e a c h e r S t e v e s t o n S e n i o r Secondary School D i s t r i c t #38 1044 No. 2 Road Richmond, B.C. Mr. Gary M a c h e l l McNair S e n i o r Secondary School D i s t r i c t #38 950 - #4 Road Richmond, B.C. Mrs. N. Jamieson C h u r c h i l l Secondary School D i s t r i c t #39 7055 Heather S t r e e t Vancouver, B.C. Mr. Stubbs G l a d s t o n e Secondary School D i s t r i c t #39 4105 G l a d s t o n e Vancouver, B.C. Mr. R. Cooper P o i n t Grey Secondary School D i s t r i c t #39 5350 E a s t B o u l e v a r d Vancouver, B.C. Miss Schwartz P r i n c e o f Wales Secondary School D i s t r i c t #39 2250 E d d i n g t o n Vancouver, B.C. Mr. F e a r i n g Tupper Secondary School D i s t r i c t #39 419 E a s t 24th Avenue Vancouver, B.C. Mr. Robb 180 Appendix C ( c o n t i n u e d ) School T e a c h e r U n i v e r s i t y H i l l S chool D i s t r i c t #39 2896 A c a d i a Vancouver, B.C. Ms. Barb Baker Burnaby North S e n i o r Secondary School D i s t r i c t #41 751 Hammarskjold D r i v e Burnaby, B.C. Mr. V.F. W r i g h t A r g y l e Secondary School D i s t r i c t #44 1131 F r e d e r i c k Road North Vancouver, B.C. V7K 1J3 Mr. Mr. Mr. J . Bryan H. Cross Ed. Reimer S e n t i n e l Secondary School D i s t r i c t #45 1250 C h a r t w e l l D r i v e West Vancouver, B.C. V7S 2R2 Mrs . M. T i n g e y Max Cameron Secondary School D i s t r i c t #47 4360 J o y c e Avenue Powell R i v e r , B.C. V8A 3A4 Mr. T.M. Foreman P r i n c e Rupert Secondary School D i s t r i c t #52 417 West 9th Avenue P r i n c e R u p e r t , B.C. V8J 2P8 Mr. M. Clement 181 Appendix C ( c o n t i n u e d ) School T e a c h e r S m i t h e r s Secondary School D i s t r i c t #54 Box 849 S m i t h e r s , B.C. VOJ 2N0 G a r r e t t M. VanWeetherizen Lakes D i s t r i c t Secondary School D i s t r i c t #55 Box 3000 Burns Lake, B.C. VOJ 1E0 Mrs.Doreen Woodal1 Nechako V a l l e y Secondary School D i s t r i c t #56 P.O. Box 950 Vanderhoof, B.C. VOJ 3A0 Mr. L. C o l o n e l l o K e l l y Road Secondary School D i s t r i c t #57 c/o 1891 6th Avenue P r i n c e George, B.C. V2M 1L7 Mr. Rod M u l l i g a n McBride Secondary School D i s t r i c t #57 c/o 1891 6th Avenue P r i n c e George, B.C. V2M 1L7 Mrs. Nora Penner North Peace Secondary School D i s t r i c t #60 10419 - 99th Avenue F o r t S a i n t John, B.C. VIJ 1V6 Mr. B a r r e Eyre 182 Appendix C ( c o n t i n u e d ) School T e a c h e r Mount Douglas Secondary School D i s t r i c t #61 3970 Gordon Head Road V i c t o r i a , B.C. V8P 3X3 Mr. C h a r l e s Brookman Oak Bay Secondary School D i s t r i c t #61 2151 Cranmore Road V i c t o r i a , B.C. V8R 1Z2 The t e a c h e r i s not known. Spectrum Community Secondary School D i s t r i c t #61 957 West B u r n s i d e Road V i c t o r i a , B.C. V8Z 6E9 The t e a c h e r i s not known. V i c t o r i a Secondary School D i s t r i c t #61 1260 Grant S t r e e t V i c t o r i a , B.C. V8T 1C2 The t e a c h e r i s not known. P a r k l a n d Secondary School D i s t r i c t #63 10640 McDonald Park Road S i d n e y , B.C. V8L 3S8 Mr. Ross M a r t i n S t e l l y ' s Secondary School D i s t r i c t #63 c/o School Board O f f i c e P.O. Box 2010 S i d n e y , B.C. Mrs R o s a l i n d T a y l o r 183 Appendix C ( c o n t i n u e d ) School T e a c h e r Claremont Secondary School D i s t r i c t #63 4980 Wesley Road V i c t o r i a , B.C. V8Y 1Y9 Mr. George K e l l y Cowichan S e n i o r Secondary School D i s t r i c t #65 2652 James S t r e e t Duncan, B.C. Ms. J . S h e l b o u r n Lake Cowichan Secondary School D i s t r i c t #66 Box 40 Lake Cowichan, B.C. Mr. Dave Boekner Nanaimo D i s t r i c t Secondary School D i s t r i c t #68 355 Wakesiah Avenue Nanaimo, B.C. Mr. Mr. Rod Brown Jack Hodgins Ladysmith Secondary School D i s t r i c t #68 Drawer 190 L a d y s m i t h , B.C. David K e l l e y A l b e r n i D i s t r i c t Secondary School School D i s t r i c t #70 4000 Burde S t r e e t P o r t A l b e r n i , B.C. Mr. R. Rankin 184 Appendix C ( c o n t i n u e d ) School T e a c h e r Georges P. V a n i e r Secondary School D i s t r i c t #71 Box 3369 Courtenay, B.C. Mrs. D. C r o f t F o r t N e lson Secondary School D i s t r i c t #81 Box 90 F o r t N e l s o n , B.C. VOC 1R0 Mrs. J i l l V i v i a n North I s l a n d Secondary School D i s t r i c t #85 P.O. Box 100 P o r t M c N e i l l , B.C. VON 2R0 Mr. Dave Manning C a s s i a r E l e m e n t a r y - S e c o n d a r y School D i s t r i c t #87 Box 190 C a s s i a r , B.C. Ms. Donna A b l i n C a l e d o n i a S e n i o r Secondary School D i s t r i c t #88 3605 Munroe S t r e e t T e r r a c e , B.C. V8G 1X2 Mr. P e t e r Vogt Salmon Arm S e n i o r Secondary School D i s t r i c t #89 Box 1000 Salmon Arm, B.C. Mr. Duncan Lowe A P P E N D I X D PROVINCIAL SURVEY: ADDITIONAL TEACHER COMMENTS APPENDIX D PROVINCIAL SURVEY: ADDITIONAL TEACHER COMMENTS Comment No. 1 No q u e s t i o n s on c l a s s s i z e ? C l a s s s e l e c t i o n ( i . e . , c r i t e r i a f o r e n t r y ) . Comment No. 2 St u d e n t assignments i n c l u d e d i r e c t i o n t o seek o u t s i d e p u b l i c a t i o n o f m a t e r i a l s . U s u a l l y some do g e t p u b l i s h e d and get payment. Comment No. 3 A d v i c e to a l l C r e a t i v e W r i t i n g s t u d e n t s : I t i s f a r b e t t e r t o screw i n one s m a l l l i g h t -b u l b than t o reach f o r the sun a t m i d n i g h t . Comment No. 4 Have you e v e r thought o f t r y i n g t o o r g a n i z e W r i t i n g 11 t e a c h e r s i n the p r o v i n c e so t h a t we can exchange i d e a s more f r e q u e n t l y . Such an exchange would be most u s e f u l . Appendix D ( c o n t i n u e d ) Comment No. 5 I t s h o u l d be n o t e d t h a t the book we produce i s an 'annual' ( y e a r b o o k ) . I t o f f e r s a c e r t a i n o u t l e t f o r some o f the C r e a t i v e W r i t i n g t h a t i s done. The o t h e r method we used, t o p u b l i s h C.W., was the monthly s c h o o l newspaper. I t would c e r t a i n l y be b e n e f i c i a l t o have a P r o v i n c i a l j o u r n a l p u b l i s h e d (monthly?) w i t h v a r i o u s s t u d e n t c r e a t i o n s . . . . Comment No. 6 I have been t e a c h i n g t h i s c o u r s e f o r o n l y two y e a r s , and am s t i l l s e a r c h i n g f o r ways t o d e v e l o p the elements o f the w r i t e r ' s s t y l e . I doubt t h a t the Department o f E d u c a t i o n c o u l d do v e r y much i n t h i s f i e l d , u n l e s s they c o u l d commission a b o o k l e t c o n t a i n i n g passages i l l u s t r a t i n g v a r i o u s s t y l e s , w i t h a s i m p l e a n a l y s i s o f the s t y l e o f each. T h i s s h o u l d be o f such a l e v e l as to be a c c e s s i b l e t o the s t u d e n t . Such a b o o k l e t would a l l o w the s t u d e n t t o become f a m i l i a r w i t h s t y l e s , and t o o b s e r v e the manner i n which they d i f f e r . Appendix D ( c o n t i n u e d ) The g r e a t e s t h e l p would be t o hear from o t h e r s i n v o l v e d i n t e a c h i n g C r e a t i v e W r i t i n g . Perhaps t h i s c o u l d be a l o n e by the p r o v i n c i a l E n g l i s h T e a c h e r s ' a s s o c i a t i o n . Comment No. 7 I am a new t e a c h e r o f C r e a t i v e W r i t i n g and am g r e a t l y i n t e r e s t e d i n l e a r n i n g p r o c e d u r e s used by o t h e r t e a c h e r s . Do you know o f any a r t i c l e s o r books r e l a t e d t o the s u b j e c t o f t e a c h i n g C r e a t i v e W r i t i n g ? Comment No. 8 J u s t f o r the r e c o r d , I ' v e d i v i d e d the c o u r s e i n t o t h r e e segments:Journal ism, B r o a d c a s t i n g (emphasis on r a d i o t e c h n i q u e s ) and C r e a t i v e W r i t i n g . In a small s c h o o l such as t h i s i t ' s d i f f i c u l t t o o f f e r r e a l l y \" i n depth\" c o u r s e s which one m a i n l y makes up o n e s e l f . I was g i v e n t he c o u r s e t o t e a c h as I had a one time worked i n the Newsroom o f the Vancouver Sun--hence I had j o u r n a l i s t i c e x p e r i e n c e . 189 Appendix D ( c o n t i n u e d ) I'm not an E n g l i s h t e a c h e r \u00E2\u0080\u0094 r a t h e r my f i e l d i s t h a t o f H i s t o r y and Geography but I'm v e r y t h a n k f u l f o r t a k i n g E n g l i s h 303 a t the U n i v e r s i t y o f B r i t i s h Columbia. I don't know what the c o u r s e was supposed t o c o n t a i n b ut my i n s t r u c t r e s s f e l t t h e o u t l i n e as put f o r t h by the F a c u l t y o f E d u c a t i o n l e f t \"something\" t o be d e s i r e d and what she d i d was o f f e r a C r e a t i v e W r i t i n g c o u r s e a l b e i t f a i r l y w e l l s t r u c t u r e d s t a r t i n g w i t h how t o w r i t e so o t h e r s can un d e r s t a n d what y o u ' r e t r y i n g t o say. I've used a g r e a t p a r t o f my n o t e s , e t c . from my o l d E n g l i s h 303 c o u r s e and have found them i n v a l u a b l e f o r t h i s p a r t i c u l a r s e c t i o n o f W r i t i n g 11.. Comment No. 9 I f e e l t h a t t h i s c o u r s e was one o f the most s u c c e s s f u l I have t a u g h t because we jumped r i g h t i n and d i d t h i n g s and l e a r n e d from e x p e r i e n c e . We made a movie, made a v i d e o t a p e , made a l i t e r a r y magazine, e t c . and then a n a l y z e d o u r e f f o r t s a f t e r w a r d s t o see where we c o u l d improve. We o n l y l o o k e d something up t o see how t o do i t i f we got s t u c k . I thought t e x t b o o k s t u d i e s i n Appendix D ( c o n t i n u e d ) t h i s c o u r s e would s t i f l e c r e a t i v i t y . As i t was, we had no l a c k o f c r e a t i v e i d e a s . E n c l o s e d i s a copy o f o u r l i t e r a r y magazine. Very l i t t l e o f the c l a s s ' s t o t a l C r e a t i v e W r i t i n g o u t p u t i s i n the magazine because we t r i e d t o b a l a n c e the c o n t r i b u -t i o n s from d i f f e r e n t g r a d e s . A l s o , we a r e somewhat l i m i t e d by o u r g e o g r a p h i c a l l o c a t i o n ! For i n s t a n c e , t h e r e p r o b a b l y i s n ' t a p r o f e s s i o n a l ( o r even s e m i - p r o f e s s i o n a l ) w r i t e r w i t h i n m i l e s who c o u l d do a r e a d i n g . Comment 10 T h i s j u s t got t o me today so I hope i t reaches you on time! YEA CREATIVE WRITING'. LONG LIVE WRITERS. Don't l e t the government put i n c o u r s e o u t l i n e s o r screw us up a t a l l . We can d e v e l o p genre s e c t i o n s and d e v e l o p s k i l l s o u r s e l v e s i f we have p e o p l e who know what they a r e d o i n g . We need p e o p l e who know w r i t i n g , p r e f e r a b l y w r i t e r s who l i k e h e l p i n g o t h e r s t o l e a r n . The s t u d e n t s a r e v e r y i n t e l l i g e n t , can ha n d l e d i f f i c u l t c o n c e p t s and a r e v e r y f u n t o work w i t h . I am going back t o do my M.F.A. i n C r e a t i v e W r i t i n g and o n l y then w i l l I f e e l r e a l l y q u a l i f i e d t o t e a c h t he c o u r s e . 191 Appendix D ( c o n t i n u e d ) Comment No. 11 C r e a t i v e W r i t i n g i s a v e r y p o p u l a r e l e c t i v e h e r e \u00E2\u0080\u0094 a b o u t s i x t y s t u d e n t s do i t each semester. (School R o l l - 550) Many s t u d e n t s w r i t e f a r more than e x p e c t e d amounts and o f t e n c o n t i n u e t o b r i n g work i n a f t e r c o m p l e t i n g the c o u r s e . P o e t r y i s most p o p u l a r . I e n j o y r e a d i n g n e a r l y e v e r y t h i n g t h a t i s handed i n , m a i n l y because p e o p l e a r e encouraged t o w r i t e what i s most i m p o r t a n t t o them from d a y - t o - d a y \u00E2\u0080\u0094 a n d I emphasize e m o t i o n a l s i n c e r i t y so t h a t p e o p l e e x p r e s s s u b s t a n t i a l a s p e c t s o f t h e m s e l v e s . I used t o s u g g e s t t o p i c s a t the b e g i n n i n g o f e v e r y p e r i o d but i t seems t h a t the more I withdraw my d i r e c t i o n t h e more t h e q u a l i t y o f w r i t i n g i m p r o v e s \u00E2\u0080\u0094 a d e l i c a t e p r o c e s s . Comment 12 I would a p p r e c i a t e any h e l p o r s u g g e s t i o n s I can g e t . Next y e a r I w i l l i n s i s t on a j o u r n a l kept f o r the y e a r . I w i l l a l s o spend some time t e a c h i n g STANDARD grammar and u s a g e \u00E2\u0080\u0094 s e n t e n c e s , p a r a g r a p h s , e s s a y s . I b e l i e v e I a l s o emphasize e n j o y i n g t h e p r o c e s s r a t h e r than a c h i e v i n g the g o a l . I t seems t o w o r k \u00E2\u0080\u0094 t h e r e s u l t s a r e g e n e r a l l y i m p r e s s i v e . 192 Appendix D ( c o n t i n u e d ) t h a t c r e a t i v e w r i t e r s must be aware o f the \" s t a n d a r d \" t h e y a r e r a n g i n g from. I l o o k upon STANDARD grammar and usage as a knowledge o f the CRAFTSMANSHIP o f w r i t i n g . I w i l l a l s o spend time on a h i s t o r y o f s t y l e s \u00E2\u0080\u0094 h a v e s t u d e n t s parody s t y l e s . I w i l l , i n a d d i t i o n , do a l i t t l e s u r v e y o f g e n r e s . Once s t u d e n t s have a background o f s t a n d a r d grammar and usage, an awareness o f d i f f e r e n t s t y l e s and forms, then they can t r y t h e i r hand f r e e l y moulding t h e i r own t h o u g h t s . Then I w i l l have workshops t o d i s c u s s themes, compare notes and so on. D i s c u s s i o n s , r e a d i n g s . . . . Next y e a r w i l l be the second y e a r f o r t h i s c o u r s e . T h i s y e a r I made the m i s t a k e o f assuming: (1) o n l y p e o p l e i n t e r e s t e d i n w r i t i n g o r p e o p l e who are w r i t i n g a l r e a d y w i l l be i n the c o u r s e ( C r e a t i v e W r i t i n g 11 i s a c o n v e n i e n t dumping ground f o r s t u d e n t s who have no p l a c e t o g o \u00E2\u0080\u0094 s c h o o l problem which won't co n c e r n y o u r t h e s i s but which n o n e t h e l e s s a f f e c t s the c o u r s e ) . 193 Appendix D ( c o n t i n u e d ) (2) c r e a t i v i t y i s i t s own m o t i v a t i o n . (3) c r e a t i v i t y f u n c t i o n s b e s t w i t h i n a s t r u c t u r -l e s s ( f r e e ) environment) I w i l l h e a v i l y s t r u c t u r e the c o u r s e f o r a p p r o x i -m a t e l y o n e - h a l f a y e a r \u00E2\u0080\u0094 s e n t e n c e s , p a r a g r a p h s , l o n g e r c o m p o s i t i o n s , h i s t o r y o f s t y l e s , s u r v e y o f f o r m s \u00E2\u0080\u0094 t h e n o n e - h a l f y e a r on workshops, ' f r e e r ' environment e t c . , r e a d i n g s . I ' l l ' i m p r i s o n ' them i n a s t r u c t u r e f i r s t , then s e t them f r e e . Comment No. 13 Your q u e s t i o n n a i r e uses ' i n s i s t ' i n s e v e r a l q u e s t i o n s . I t i s c o n t r a r y w i t h the s p i r i t , o f my c o u r s e t o i n s i s t on a n y t h i n g c r e a t i v e \u00E2\u0080\u0094 w i t h one e x c e p t i o n , I i n s i s t t h a t s t u d e n t s not be humble about t h e i r work but t h a t they s h a r e i t w i t h o t h e r s . H o p e f u l l y , they work because they want t o . 194 Comment 14 I am c u r r e n t l y e n d e a v o u r i n g t o persuade the Department o f E d u c a t i o n i n V i c t o r i a t h a t s e p a r a t e c r e d i t s s h o u l d be g i v e n f o r C r e a t i v e W r i t i n g 11 and J o u r n a l i s m 11 , as they d e v e l o p e n t i r e l y d i f f e r e n t s k i l l s . I am o f the o p i n i o n t h a t t h e y appear t o d i f f e r e n t t ypes o f s t u d e n t s and c a p i t a l i z e on d i f f e r e n t t a l e n t s . So f a r , I have met the usual b u r e a u c r a t i c 'red t a p e ' \u00E2\u0080\u0094 b u t I haven't g i v e n upl 195 APPENDIX E Ways o f Knowing The S t u d e n t A. Ideas R e l e v a n t to an Awareness o f the Person's I n d i v i d u a l i t y 1. Remember t h a t p o t e n t i a l i t i e s have t o be l o o k e d f o r and t h a t t h i s t a k e s e f f o r t . 2. T r y t o d i s c o v e r something unique about each c h i l d o r young p e r s o n . 3. Expect him t o be d i f f e r e n t . 4. I d e n t i f y him by name as e a r l y as p o s s i b l e . 5. Remember t h a t c h i l d r e n come i n many d i f f e r e n t shapes, s i z e s , c o l o r s . Each has h i s own p e r s o n a l i t y t h a t needs t o be d i f f e r e n t i a t e d . 6. Remember t h a t each has h i s own p a t t e r n o f l e a r n i n g and t h a t i t i s i m p o r t a n t t o \"tune i n t o i t \" o r become aware o f i t . 7. A c c e p t him as he i s . Every c h i l d and young p e r s o n has i n -t e r e s t i n g , e x c i t i n g , and v a l u a b l e q u a l i t i e s . 8. Observe the e n v i r o n m e n t a l e f f e c t s on him; know the e n v i r o n -mental background. 9. Be aware o f the p r e v i o u s i n j u r i e s o r e x p e r i e n c e s t h a t have shaped h i s way o f t h i n k i n g , a c t i n g , and f e e l i n g . 10. Be f a m i l i a r w i t h h i s p a s t r e c o r d , achievement, d i s c i p l i n e , h e a l t h , e t c . 11. Learn something o f h i s f a m i l y r e l a t i o n s h i p s (\"chip o f f o l d b l o c k \" ) . 12. Know what the normal p a t t e r n i s and compare t o see how h i s p a t t e r n d i f f e r s from i t . 13. Remember t h a t we n e v e r l e a r n a l l t h e r e i s t o know about a p e r s o n . B. Ideas I n v o l v i n g H e i g h t e n e d Sensory E x p e r i e n c e 14. Look him o v e r . 15. Focus y o u r a t t e n t i o n d i r e c t l y on him. 16. A c h i l d ' s p h y s i c a l q u a l i t i e s a r e one way o f knowing him. 17. Use a l l y o u r senses o f \" k n o w i n g \" \u00E2\u0080\u0094 s t r e t c h i n g them t o the utmost. * [ T o r r a n c e , 1970, pp. 26-30]. 196 19. Weigh and t e s t . 20. Look a t , l i s t e n t o , r e a c t t o him from al1 a n g l e s . 21. Observe i n v a r i o u s k i n d s o f l i g h t ( i n as many s i t u a t i o n s as p o s s i b l e ) . B r i g h t l i g h t s b r i n g o u t some c h a r a c t e r i s t i c s , w h i l e shade b r i n g s o u t o t h e r s . 22. Observe the c h i l d f i r s t as an i s o l a t e d i n d i v i d u a l , and then h i s r e a c t i o n t o h i s environment, the r e a c t i o n s o f o t h e r s t o him, and h i s b e h a v i o r i n d i f f e r e n t s i t u a t i o n s . 23. T e s t the depth and genuineness o f h i s o b s e r v a b l e ( s u r f a c e ) c h a r a c t e r i s t i c s . What you might assume t o be sham o r p r e t e n s e may be genuine. 24. Observe what he does when l e f t a l o n e . 25. Empathize. T r y to imagine how he e x p e r i e n c e s t h i n g s . 26. C o n s t r u c t f a n t a s i e s o r dream c a s t l e s about what he c o u l d become. 27. Observe c l e a n l i n e s s o r l a c k o f c l e a n l i n e s s . What appears t o be u n c l e a n l i n e s s may o n l y be s t a i n s . 28. Go below the s u r f a c e appearance t o f i n d the r e a l c h i l d . 29. See him from a l l s i d e s and p o s i t i o n s . 30. N o t i c e p h y s i c a l d i f f e r e n c e s so as t o d i s t i n g u i s h one p u p i l from a n o t h e r as e a r l y as p o s s i b l e . 31. Photograph him engaged i n v a r i o u s k i n d s o f a c t i v i t i e s . Record h i s v o i c e . 32. Observe whether he i s r e l a x e d o r t e n s e . 33. Look, l o o k , l o o k , and then l o o k a g a i n . C. E x t e n s i o n o f S e n s i n g through E x p e r i m e n t a t i o n 34. Encourage him t o go f u r t h e r than he t h i n k s he c a n , t o t e s t h i s l i m i t s . 35. F i n d h i s most ob v i o u s a s s e t s , put them t o use, and see what o t h e r s emerge. 36. Do not be a f r a i d t o c h a l l e n g e a c h i l d o r a young person t o h i s l i m i t s o c c a s i o n a l l y , even t o the f r u s t r a t i o n p o i n t . 37. P r o v i d e m a t e r i a l s f o r m a n i p u l a t i o n , g i v e o p p o r t u n i t i e s f o r t h e i r use, and see what p o t e n t i a l i t i e s emerge. 38. S e t up a v a r i e t y o f s i t u a t i o n s where he may work a l o n e , w i t h one, w i t h a committee, and w i t h a s t r u c t u r e d c l a s s , and o b s e r v e changes i n b e h a v i o r . 39. Observe h i s response t o d i f f e r e n t e n v i r o n m e n t a l f a c t o r s . 40. A l t e r t he c l a s s r o o m s t r u c t u r e . 41. Give him an i n t e r e s t i n v e n t o r y o f some k i n d . 42. C h a l l e n g e him w i t h a v a r i e t y o f types o f assignments and note the r e s u l t s . 43. Use him f o r an i m p o r t a n t purpose o r goal and o b s e r v e what new p o t e n t i a l i t i e s t h i s b r i n g s out. 44. Observe him under s t r e s s , when he i s angry, e t c . 45. Observe what he chooses t o do when he i s a l o n e . 46. Give him o p p o r t u n i t i e s t o pursue h i s hobbies o r s t r o n g i n t e r e s t s as a way o f b r i n g i n g o u t some o f h i s b e s t a b i l i t i e s and s t r o n g e s t m o t i v a t i o n s . 47. Observe changes o r l a c k o f change ( s t a b i l i t y ) under d i f f e r -e n t c o n d i t i o n s . 48. Keep chan g i n g the c o n d i t i o n s . Give d i f f e r e n t a c t i v i t i e s t o b r i n g out new p o t e n t i a l i t i e s t h a t don't j u s t happen t o come o u t . 49. Observe how he responds and t o what he responds. 50. L e t him a c t i n d e p e n d e n t l y . 51. Give him a chance t o e x p r e s s h i m s e l f . 52. Experiment and e v a l u a t e ; o b s e r v e what new q u a l i t i e s come out under v a r i o u s c o n d i t i o n s . 53. Use a v a r i e t y o f ways o f t e s t i n g them. 54. Develop o r enhance one p o t e n t i a l i t y and see what o t h e r s come o u t . 55. Joke w i t h him. 56. Needle him. 57. Remember t h a t e v e r y c h i l d and young person has i n f i n i t e p o t e n t i a l i t i e s , and t h e r e i s no end t o them i f we are open, and i f we e x e r t e f f o r t . 58. Observe him under s t r e s s and c o m p e t i t i o n . 59. S y n t h e s i z e t e s t s c o r e s and o t h e r d a t a i n t o a c o h e r e n t m e a n i n g f u l p i c t u r e . D. E x t e n d i n g Awareness by R e c o r d i n g , P r e d i c t i n g , and C h e c k i n g P r e d i c t i o n s 60. A f t e r making o b s e r v a t i o n s , p r e d i c t how the c h i l d o r young person w i l l p e r f o r m (behave, a c h i e v e , r e a c t , respond) i n v a r i o u s s i t u a t i o n s ; how he w i l l meet p r e d i c t a b l e s t r e s s e s , e 198 61. Have him r e a c t to c e r t a i n o b j e c t s , and p r e d i c t h i s r e a c t i o n . 62. W i t h h o l d f i n a l judgment. Keep open t o changes and unseen p o t e n t i a l i t i e s . 63. L i s t o b s e r v a b l e c h a r a c t e r i s t i c s . W r i t e down p r e d i c t i o n s and keep a r e c o r d o f t h e i r outcome. 64. Record o b s e r v a t i o n s from time t o t i m e , o v e r a span o f time. Observe t r e n d s . 65. When you combine h i s p o t e n t i a l i t i e s w i t h someone e l s e ' s , what new q u a l i t i e s emerge. 66. Examine performance d a t a , i f a v a i l a b l e . Study growth t r e n d s . E. E x t e n d i n g Awareness Through I n t e r p e r s o n a l R e a c t i o n 67. F i n d ways o f r e a r r a n g i n g c h i l d r e n f o r g r e a t e r i n t e r a c t i o n . 68. A l l o w c h i l d r e n t o work i n teams, and l i s t e n and o b s e r v e t o see what unexpected q u a l i t i e s are m a n i f e s t e d . 69. Observe what t a l e n t s , i n t e r e s t s , o r m o t i v a t i o n s emerge i n r o l e p l a y i n g , p l a y g r o u n d a c t i v i t i e s , lunchroom i n t e r a c t i o n , f a n t a s y a c t i v i t i e s , e t c . 70. Observe the c h i l d ' s b e h a v i o r i n d i f f e r e n t c o m b i n a t i o n s o f o t h e r p u p i l s . 71. Ask o t h e r people about him; f i n d out how o t h e r s see him. 72. Use sociograms and o t h e r peer r a t i n g s , i n t e r a c t i o n i n f o r m a t i o n , e t c . 73. Observe how he i n t e r a c t s w i t h h i s peers i n the c l a s s r o o m . 74. Compare him w i t h o t h e r s h i s age, sex, e t c . 75. N o t i c e h i s moods and r e a c t i o n s day a f t e r day; o b s e r v e how h i s p r e s e n c e o r absence a f f e c t s o t h e r s . F. U s i n g S e l f i n I n t e r a c t i o n P r o c e s s 76. Remember t h a t warmth o f p e r s o n a l i t y i s f e l t o n l y by c o n t a c t , a s s o c i a t i o n , e t c . 77. Touch him. 78. H o l d him. 79. C a r e s s him. 80. Converse w i t h the c h i l d o r young person i n d i v i d u a l l y . 81. A c t as a r e s p o n s i v e environment. 199 82. Be a v a i l a b l e , always take time to l i s t e n , and l o o k f o r p o t e n t i a l i t i e s . 83. Be r e a l l y i n t e r e s t e d ; r e a l l y c a r e . 84. T r y t o get t o know him w e l l enough t o d i s c o v e r what \"warms\" o r \" s p a r k s \" him. 85'. Love him. 86. Enjoy him. 87. Work and p l a y a l o n g w i t h him; c o - e x p e r i e n c e , c o - l e a r n . G. Through H e i g h t e n e d C o n s c i o u s n e s s 88. Become aware o f y o u r own b i a s e s \u00E2\u0080\u0094 p o t e n t i a l i t i e s you t e n d e i t h e r t o see o r t o i g n o r e . 89. I n s t e a d o f f o r c i n g the c h i l d i n t o y o u r mold, t h i n k o f ways o f h e l p i n g him develop as he i s , u s i n g h i s own b e s t poten-t a l i t i e s . 90. Become aware o f the c h i l d o r young person's e f f e c t on you e m o t i o n a l l y . 91. Remember t h a t no c h i l d o r young person i s d u l l o r u n i n t e r e s t -i n g ; i t t a k e s time and q u i e t e f f o r t t o f i n d the q u a l i t i e s t h a t make him unique. 92. A person's p o t e n t i a l i t i e s a re many-sided; sometimes we see o n l y one dominant q u a l i t y and miss a l l the o t h e r s . 93. Do not l e t a l a b e l b l i n d you t o what the c h i l d r e a l l y i s and can become. The l a b e l may sometimes be i n c o r r e c t o r i n a p p r o p r i a t e . 94. Know what b i a s e s and l i m i t a t i o n s f o r awareness keep you from u n d e r s t a n d i n g a c h i l d o r young p e r s o n . 95. R e f l e c t about the c h i l d and y o u r own f e e l i n g s about him. 96. Take time out t o become aware o f h i s p o t e n t i a l i t i e s . 97. Keep open t o the c h i l d ' s developmental and b e h a v i o r a l p a t t e r n . 98. Seek t o know the c h i l d i n t i m a t e l y and i n t u i t i v e l y . 99. A f t e r making o b s e r v a t i o n s , l e t the p r o c e s s e s o f i n c u b a t i o n o p e r a t e . 100. D i f f e r e n t i a t e the s i m i l a r i t i e s and d i f f e r e n c e s between you and him; do not assume t h a t he responds as you do i n a l l r e s p e c t s . APPENDIX F H e l p f u l A r t i c l e s on the P r a c t i c a l i t i e s o f S t u d e n t P u b l i c a t i o n s W i t h i n the School Benjamin W. A l l n u t . \"Why Do You Do I t ? , \" C.S.P.A.A. B u l l e t i n : V o l . 32, May 1974. T h i s a r t i c l e reviews the r e s p o n s i b i l i t i e s o f h i g h s c h o o l s t u d e n t s and a d v i s o r s i n v o l v e d i n p r o d u c i n g s c h o o l p u b l i c a t i o n s . Edmund A r n o l d . \"Your P u b l i c a t i o n s can Improve When You S e t High S t a n d a r d s , \" Communication: J o u r n a l i s m E d u c a t i o n Today: V o l . 7, W i n t e r 1974. T h i s a r t i c l e s u g g e s t s i d e a s f o r e n c o u r a g i n g h i g h s c h o o l p u b l i c a t i o n s s t a f f e r s t o produce c o n s i s t e n t l y h i g h q u a l i t y work. J u l i a M. Connor. \" A d v i s i n g S t u d e n t P u b l i c a t i o n s - S t e p by S t e p , \" S c h o l a s t i c E d i t o r Graphics/Communications: V o l . 54, O c t o b e r 1974. Connor p r o v i d e s a number o f p r a c t i c a l t i p s f o r t e a c h e r s who are c u r r e n t l y f a c u l t y a d v i s o r s f o r s t u d e n t p u b l i -c a t i o n s o r a r e c o n t e m p l a t i n g such a move. Joseph M. Murphy. \" L i v i n g A f t e r Three,\" C.S.P.A.A. B u l l e t i n : V o l . 32, May 1974. C o n t a i n e d i n t h i s a r t i c l e i s the address o f D i r e c t o r E m e r i t u s , Dr. Joseph M. Murphy o f the Columbia S c h o l a s t i c P r e s s A d v i s o r s A s s o c i a t i o n , on the n a t u r e o f t h e r e l a t i o n s h i p o f the j o u r n a l i s m a d v i s o r and h i s s t u d e n t s . Robert Stephen S i l v e r m a n . \"How t o Measure a P u b l i c a t i o n s ' L e g i b i l i t y , \" School P r e s s Review: V o l . 49, F e b r u a r y 1974. S i l v e r m a n p r o v i d e s and d i s c u s s e s the use o f an i n s t r u -ment f o r e v a l u a t i n g the l e g i b i l i t y o f any p u b l i c a t i o n . 201 Howard J . Waters. \"Step Up Advocacy, S o f t - P e d a l A u t h o r i t y , \" C a t h o l i c School E d i t o r : V o l . 43, March 1974. P a r t One o f a two p a r t s e r i e s , t h i s a r t i c l e examines the r o l e and r e s p o n s i b i l i t i e s o f f a c u l t y a d v i s o r s f o r s e c o n d a r y p u b l i c a t i o n s . L e s l i e Z a i t a . \" L e t Your S t u d e n t s C a r r y the B a l l , \" C a t h o l i c School E d i t o r : V o l . 43, March 1974. P a r t Two o f a two p a r t s e r i e s , t h i s a r t i c l e examines the r o l e s o f the f a c u l t y a d v i s o r and s t u d e n t e d i t o r from the p o i n t o f view o f a former s t u d e n t e d i t o r . A Book t h a t i s p a r t i c u l a r l y h e l p f u l i s The School L i t e r a r y Magazine, by B. Jo. K i n n i c k , ed. I t i s an i m p r e s s i v e book t h a t p u b l i s h i n g c l a s s r o o m s s h o u l d not be w i t h o u t . 202 APPENDIX G Exemplary P u b l i s h e d S t u d e n t Work \u00C2\u00BBFoxfire. Anya Seton ed. S t u d e n t s d e l v e i n t o the f o l k a r t s and f o l k l o r e o f the r u r a l A p p a l a c h i a s . Sunshine U n f o l d i n g . C r a i g H o l d r e g e , and o t h e r s . S t u d e n t s d e s i g n e d t h i s book f o r use by both e l e m e n t a r y and h i g h s c h o o l s t u d e n t s . T o p i c s c o v e r e d i n c l u d e Hinduism, Yoga, T r a n s c e n d e n t a l m e d i t a t i o n , t r a d i t i o n a l American p h i l o s o p h i e s , F a r - E a s t e r n p h i l o s o p h i e s (Taoism, Zen Buddhism, and Zen c o n c e p t s ) , M a c r o b i o t i c s and Judeo-C h r i s t i a n T e a c h i n g s . The W h i s p e r i n g Wind: P o e t r y by Young American I n d i a n s . T e r r y A l l e n ed. T h i s book i s a c o l l e c t i o n o f p o e t r y by s t u d e n t s from the i n s t i t u t e o f American I n d i a n A r t s . Many poems a r e r o o t e d i n the I n d i a n o r a l t r a d i t i o n . Wishes, L i e s and Dreams. Kenneth Koch and the S t u d e n t s o f P.S. 61 i n New York C i t y . T h i s book i s a c o l l e c t i o n o f c h i l d r e n ' s p o e t r y , augmented by Kenneth Koch's d e s c r i p t i o n s o f how he t a u g h t the c h i l d r e n t o w r i t e p o e t r y and t o e n j o y the e x p e r i e n c e . Those i n t e r e s t e d i n r e a d i n g o t h e r s t u d e n t a u t h o r e d work, s h o u l d r e a d the a r t i c l e , \" C h i l d r e n as A u t h o r s , \" Elementary E n g l i s h : V o l . 49, O c t o b e r 1972, by Mary Anne H a l l and L i n d a B. G a m b r e l l . 203 APPENDIX H Musts f o r the C r e a t i v e W r i t i n g S t u d e n t L i b r a r y Canadian W r i t e r ' s Guide. Canadian A u t h o r s ' A s s o c i a t i o n . T h i s comprehensive manual and market l i s t i s a must f o r e v e r y Canadian w r i t e r . I t e x p l a i n s the r e q u i r e -ments o f Canadian e d i t o r s , s u p p l i e s i n f o r m a t i o n on such items as g r a n t s , c o p y r i g h t and f e e s t r u c t u r e s . The C r e a t i v e W r i t e r . E a r l e B i r n e y . T h i s book c o n t a i n s the t e x t s o f seven h a l f - h o u r p h i l o s o -p h i c a l t a l k s w i t h E a r l e B i r n e y about the w r i t e r and h i s a r t . How t o P u b l i s h Your Own Book. L.W. M u e l l e r . As a guide f o r a u t h o r s who wish to p u b l i s h a book a t t h e i r own expense, t h i s book i s complete i n i t s p r a c t i c a l s u g g e s t i o n s . D e t a i l e d i n f o r m a t i o n i s p r o -v i d e d on e v e r y a s p e c t o f p u b l i c a t i o n . The o n l y drawback i s i t s l a c k o f p a r t i c u l a r Canadian i n f o r m a t i o n . I n t e r n a t i o n a l D i r e c t o r y o f L i t t l e Magazines and Small P r e s s e s . Len F u l t o n ed. A l l the p e r t i n e n t d e t a i l s , f o r both s u b m i s s i o n s and o r d e r s , f o r e v e r y magazine p r i n t e d a re i n c l u d e d i n t h i s c o m p i l a t i o n . ^ L e t ' s W r i t e a S c r i p t . T.E. H a r d i n g . Some problems o f w r i t i n g s c r i p t s f o r r a d i o and/or t e l e v i s i o n are d i s c u s s e d . Notes a re a l s o i n c l u d e d t o h e l p the f r e e l a n c e w r i t e r who wishes to s e l l h i s work. The P u b ! i s h - I t - Y o u r s e l f Handbook. B i l l Henderson ed. T h i s book i s a c o l l e c t i o n o f p r a c t i c a l t i p s f o r many ki n d s o f p u b l i c a t i o n s , from r e c i p e books t o under-ground newspapers. I t i s w r i t t e n by w r i t e r s who have a l r e a d y p u b l i s h e d i n the f i e l d they a re w r i t i n g about. Western Windows: A Comparative A n t h o l o g y o f P o e t r y i n B r i t i s h Columbia. P a t r i c i a M. E l l i s ed. T h i s contemporary a n t h o l o g y o f poems, w i t h accompanying poe t i n t e r v i e w s , i s i n t e n d e d to f o r c e r e a d e r s t o a c c e p t p o e t r y as r e a l and v i t a l messages from one human b e i n g t o a n o t h e r . W r i t e r ' s Market. Canadian A u t h o r s ' A s s o c i a t i o n . T h i s book expands on the i n f o r m a t i o n p r o v i d e d i n Canadian W r i t e r ' s Guide. W r i t i n g C h i l d r e n ' s Books. C h i l d r e n ' s Book C o u n c i l pamphlet. T h i s pamphlet concerns what the w r i t e r needs t o know: s p e c i a l t e c h n i q u e s , how to submit a m a n u s c r i p t and what happens to a m a n u s c r i p t a t a p u b l i s h i n g house. W r i t i n g f o r C h i l d r e n and Teen-Agers. Lee Wyndham. The purpose o f t h i s book i s to t e a c h would-be a u t h o r s how to w r i t e and p u b l i s h a book f o r young p e o p l e . I t i s d i v i d e d i n t o two p a r t s : \"A P r a c t i c a l Guide t o P u b l i s h i n g \" and \" S p e c i a l W r i t i n g Problems and P r o j e c t s . \" APPENDIX I W r i t e r s ' Market The A n t i g o n i s h Review. S t . F r a n c i s X a v i e r U n i v e r s i t y , A n t i g o n i s h , Nova S c o t i a . B l a c k f i s h . 1851 Moore Avenue, Burnaby 2, B r i t i s h Columbia Bluenose Magazine, Box 580, P o r t M a i t l a n d , Nova S c o t i a , BOW 2V0. The Canadian F i c t i o n Magazine, P.O. Box 46422, S t a . G., Vancouver, B r i t i s h Columbia. Canadian P o e t r y , Department U n i v e r s i t y Uni ve r s i t y London, O n t a r i o . o f E n g l i s h , Col l e g e , o f Western O n t a r i o , The C a p i l a n o Review, 2055 P u r c e l l Way, North Vancouver, B r i t i s h Columbia, V7J 3H5. Charasee P r e s s , P.O. Box 340, S t a t i o n E, T o r o n t o , O n t a r i o d a v a n c i , P.O. Box 813, S t a t i o n A, M o n t r e a l , Quebec. Eve n t , Douglas C o l l e g e P.O. Box 2503, New Westminster, B r i t i s h Columbia F i l e , A r t O f f i c i a l I n c . , 241 Yonge S t r e e t , T o r o n t o , O n t a r i o , M5B 1N8 G r a i n , Box 1885, Sa s k a t o o n , Saskatchewan. Impulse, Box 901, S t a t i o n \"Q\", T o r o n t o , O n t a r i o , M4T 2P1. I t Needs To Be S a i d , R.R. 1, Box 201, K i n g s t o n , O n t a r i o . c/o. E n g l i s h Department, C o n c o r d i a U n i v e r s i t y , L o y o l a Campus, 7141 Sherbrooke S t r e e t , W. M o n t r e a l , Quebec. K a r a k i , Apt. 1 2821 Irma S t r e e t V i c t o r i a , B r i t i s h Columbia V9A 1S3. Makara, 1011 Commercial D r i v e , Vancouver, B r i t i s h Columbia V5L 3X1. Malahat Review, U n i v e r s i t y o f V i c t o r i a , V i c t o r i a , B r i t i s h Columbia. Newest ReView, 13024-109 Avenue, Edmonton, A l b e r t a . Only Paper Today, c/o A Space, 85 S t . N i c h o l a s S t r e e t , T o r o n t o , O n t a r i o . O n t a r i o Review, 6,000 R i v e r s i d e Dr. E., Windsor, O n t a r i o , N8S 1B6 P a r a c h u t e , C P . 730, S u c c u r s a l e N, M o n t r e a l , Quebec, H2X 3N4. P o e t r y Windsor P o e s i e , Box 6, Sandwich, P.O. Windsor, O n t a r i o , N9C 3Y6. P r i s m I n t e r n a t i o n a l , Department o f C r e a t i v e W r i t i n g U n i v e r s i t y o f B r i t i s h Columbia Vancouver, B r i t i s h Columbia. R e p o s i t o r y , R.R. 7, Buckhorn Road, P r i n c e George, V2N 2J5. Revue, Box 652, S t a . A, Vancouver, B r i t i s h Columbia. Room o f One's Own, 1918 Waterloo S t r e e t , Vancouver, B r i t i s h Columbia, V6R 3G6. West C o a s t Review, Simon F r a s e r U n i v e r s i t y , Burnaby 2, B r i t i s h Columbia. 209 Wascana Review, Wascana Parkway, Regina, Saskatchewan. There a r e c e r t a i n l y many o t h e r some o f which are l i s t e d below: Anansi A r t s c a n a d a A t h a n o r blewointment B r a n c h i n g Out Canada West Canadian Forum Canadian L i t e r a t u r e Coach House Combustion C o n t a c t CV'/II D a l h o u s i e Review D e l t a . F i d d l e h e a d Imago Is I s l a n d Moment M o r r i s e P r e s s new p r e s s Poet L o r e P o e t r y Bag P o e t r y Northwest Quarry Queen's Q u a r t e r l y i c a t i o n s worthy o f a t t e n t i o n , Q u i l l \" a n d Q u i r e Sono N i s T a l o n Tamarack Review Vancouver L i fe V i g i l a n t e White P e l i c a n The Whole Apple W r i t i n g Yes APPENDIX J W r i t i n g C o m p e t i t i o n s Canada C o u n c i l o f Teachers o f E n g l i s h (CCTE): P r o j e c t Pandora P o e t r y Content r submit through B r i t i s h Columbia E n g l i s h T e a c h e r s ' A s s o c i a t i o n (BCETA) - d e t a i l s a v a i l a b l e i n BCETA p u b l i c a t i o n : Update Canada Permanent T r u s t : S h o r t S t o r y C o n t e s t - submit through S t u d e n t W r i t i n g C o n t e s t , The Permanent, Room 1502, 320 Bay S t r e e t , T o r o n t o , O n t a r i o M5H 2P6 - submit by December 31 - w r i t e f o r d e t a i l s N a t i o n a l C o u n c i l o f Teachers o f E n g l i s h : S p r i n g P o e t r y F e s t i v a l - submit through The E n g l i s h J o u r n a l , 1111 Kenyon Road, Urbana, I l l i n o i s , 61801 - submit by March 1 S c h o l a s t i c Magazine: S c h o l a s t i c Awards - annual w r i t i n g awards i n s h o r t s t o r y , p o e t r y , drama and a r t i c l e - submit through S c h o l a s t i c Magazine, 50 W. 44th S t r e e t , New York, N.Y., 10036 - submit i n January Seventeen Magazine: S h o r t S t o r y C o n t e s t - submit through S e v e n t e e n , 320 Park Avenue, New York, N.Y., 10022 - see March i s s u e - submit by J u l y 1 211 U n i v e r s i t y o f V i c t o r i a : S c i e n c e and Humanities Symposium - e s s a y c o m p e t i t i o n - w r i t e f o r d e t a i l s Youth Magazine: C r e a t i v e A r t s Awards - submit through Youth Magazine, Room 1203, 1505 Race S t r e e t , P h i l a d e l p h i a , PA 19102 - w r i t e f o r d e t a i l s W r i t e r ' s D i g e s t : Annual c o n t e s t f o r s h o r t s t o r y , a r t i c l e o r poem - submit through W r i t e r ' s D i g e s t , 9933 A l l i a n c e Road, C i n c i n n a t i , Ohio 45242 - not l i m i t e d to s t u d e n t s - submit by May 31 212 BIBLIOGRAPHY Abraham, W. Common Sense About G i f t e d C h i l d r e n (New York, H a r p e r and Row, 1958). A l l e n , T e r r y , ed. W h i s p e r i n g Wind: P o e t r y by Young American I n d i a n s (New York, Doubleday, 1972). A l l n u t , Benjamin W. \"Why Do You Do I t ? \" C.S.P.A.A. B u l l e t i n . V o l . 34, May 1974 (New York, New York, C.S.P.A.A. A s s . ) , ed. J . F . P a s c h a l . A r n o l d , Edmund. \"Your P u b l i c a t i o n s Can Improve When You S e t High S t a n d a r d s , \" Communications: J o u r n a l i s m E d u c a t i o n Today. V o l . 7, W i n t e r 1974 ( S p r i n g f i e l d , Mo., J o u r n a l i s m E d u c a t i o n A s s . ) , ed. V i r g i n i a Woodring. B a g n a l l , N i c h o l a s , ed. New Movements i n the Study and T e a c h i n g o f E n g l i s h (London, Temple Smith, 1973). B i r n e y , E a r l e . The C r e a t i v e W r i t e r ( T o r o n t o , O n t a r i o , CBC P u b l i c a t i o n s , 1966). 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