The Rise of Creative Writing

  • Andrew Cowan  

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In The Elephants Teach , his analysis of the complex history of Creative Writing as a university subject in the United States, D. G. Myers remarks that Creative Writing achieved its ‘full growth’ as a discipline in the late 1960s and early 1970s ‘when the purpose of its graduate programs (to produce serious writers) was uncoupled from the purpose of its undergraduate courses (to examine writing seriously from within)’ (2006, p. 149). Myers’s argument (in context) is persuasive, though the binary starkness of his proposition inevitably fails to anticipate the increasingly vocational orientation of many undergraduate programmes (with their emphasis on skills appropriate to employment in the ‘creative industries’) and the research orientation of many PhD programmes (with their aim of producing serious academics).

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Cowan, A. (2016). The Rise of Creative Writing. In: Hewings, A., Prescott, L., Seargeant, P. (eds) Futures for English Studies. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-137-43180-6_4

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The Future of Creative Writing

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2007, The Handbook of Creative Writing (ed. Steve Earnshaw)

It is no longer possible for Creative Writing to maintain its romantic ideal of a garret in the ivory tower, a community of writers made possible by the patronage of the university. And it is not sufficient to define Creative Writing pedagogy as the passing down of a guild craft from established practitioners to a new generation of writers. Writing programs now exist in an intellectual environment of interdisciplinarity, critical self-reflection and oppositional politics on the one hand, and in an institutional environment of learning outcomes, transferable skills and competitive research funding on the other. What effects will this academic environment have on how the subject is taught, and on the creative work produced? This is the crucial question confronting teachers of writing in the New Humanities.

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The Cambridge Introduction to Creative Writing

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Elements of Creative Writing

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J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

Copyright Year: 2023

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

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Table of Contents

  • Introduction
  • Chapter One: One Great Way to Write a Short Story
  • Chapter Two: Plotting
  • Chapter Three: Counterpointed Plotting
  • Chapter Four: Show and Tell
  • Chapter Five: Characterization and Method Writing
  • Chapter Six: Character and Dialouge
  • Chapter Seven: Setting, Stillness, and Voice
  • Chapter Eight: Point of View
  • Chapter Nine: Learning the Unwritten Rules
  • Chapter One: A Poetry State of Mind
  • Chapter Two: The Architecture of a Poem
  • Chapter Three: Sound
  • Chapter Four: Inspiration and Risk
  • Chapter Five: Endings and Beginnings
  • Chapter Six: Figurative Language
  • Chapter Seven: Forms, Forms, Forms
  • Chapter Eight: Go to the Image
  • Chapter Nine: The Difficult Simplicity of Short Poems and Killing Darlings

Creative Nonfiction

  • Chapter One: Creative Nonfiction and the Essay
  • Chapter Two: Truth and Memory, Truth in Memory
  • Chapter Three: Research and History
  • Chapter Four: Writing Environments
  • Chapter Five: Notes on Style
  • Chapter Seven: Imagery and the Senses
  • Chapter Eight: Writing the Body
  • Chapter Nine: Forms

Back Matter

  • Contributors
  • North American Review Staff

Ancillary Material

  • University of Northern Iowa

About the Book

This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They’ve selected nearly all of the readings and examples (more than 60) from writing that has appeared in NAR pages over the years. Because they had a hand in publishing these pieces originally, their perspective as editors permeates this book. As such, they hope that even seasoned writers might gain insight into the aesthetics of the magazine as they analyze and discuss some reasons this work is so remarkable—and therefore teachable. This project was supported by NAR staff and funded via the UNI Textbook Equity Mini-Grant Program.

About the Contributors

J.D. Schraffenberger  is a professor of English at the University of Northern Iowa. He is the author of two books of poems,  Saint Joe's Passion  and  The Waxen Poor , and co-author with Martín Espada and Lauren Schmidt of  The Necessary Poetics of Atheism . His other work has appeared in  Best of Brevity ,  Best Creative Nonfiction ,  Notre Dame Review ,  Poetry East ,  Prairie Schooner , and elsewhere.

Rachel Morgan   is an instructor of English at the University of Northern Iowa. She is the author of the chapbook  Honey & Blood , Blood & Honey . Her work is included in the anthology  Fracture: Essays, Poems, and Stories on Fracking in American  and has appeared in the  Journal of American Medical Association ,  Boulevard ,  Prairie Schooner , and elsewhere.

Grant Tracey   author of three novels in the Hayden Fuller Mysteries ; the chapbook  Winsome  featuring cab driver Eddie Sands; and the story collection  Final Stanzas , is fiction editor of the  North American Review  and an English professor at the University of Northern Iowa, where he teaches film, modern drama, and creative writing. Nominated four times for a Pushcart Prize, he has published nearly fifty short stories and three previous collections. He has acted in over forty community theater productions and has published critical work on Samuel Fuller and James Cagney. He lives in Cedar Falls, Iowa.

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    Introduction Fiction Chapter One: One Great Way to Write a Short Story Chapter Two: Plotting Chapter Three: Counterpointed Plotting Chapter Four: Show and Tell Chapter Five: Characterization and Method Writing Chapter Six: Character and Dialouge Chapter Seven: Setting, Stillness, and Voice Chapter Eight: Point of View

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