I’ve always hated the question, in part because of its passive construction, which omits both students and teachers.
It has always seemed to me to imply some abstract learning scenario wherein a generic would-be writer is acted upon by unnamed forces and thereby caused to understand the obscure codes and formulas of creative writing.While it used to be the dominant approach to teaching, no one really believes in transmission model learning anymore, certainly not in the arts and humanities.
Besides, creative writing has no quantifiable body of information, its outcomes are difficult to objectively measure, it involves too much chatter and sitting around in bars and coffee houses, and anyway, real artists are born artists—people whose genius shouldn’t be corrupted by instruction.Before i started down the road of becoming a full-time teacher of creative writing in an mfa program, before i’d entered a graduate fiction writing workshop and heard the late frank conroy’s staple first-day lecture on occam’s razor, abject naturalism, the meaning-sense-and-clarity pyramid, and a long rant that included chalkboard diagrams with stick figures, coal bins, and something reminiscent of broken rainbows, during which he adamantly debunked not transmission model learning but rather transmission model reading (“it’s a dance!
I knew writing was something i wanted to do—and that i could be taught how to do it better.
I didn’t know how i’d learn it, much less how i’d one day teach it; i only knew that i wanted to be in the classroom, and that something about the whole endeavor was electrifying.I had some faith that, if i could learn to do that, then i could learn about writing and i could learn to teach it. Musicians and music teachers don’t spend a lot of time questioning whether or not their instruments can be taught.
But when i was teaching music close to full-time, the question was never, can this be done?The question was always, why are some students so much better and faster at learning?
All my students, if they applied themselves, could absolutely improve, but the ones with discipline and talent, the ones who practiced, could go faster and fifteen years of teaching creative writing full-time, i’m pretty sure the question for writing teachers is, or should be, basically the same.Order to answer, we have to make the original question active by returning to its true subject and object—student and teachable talent: why creative writing can be creative writing be taught? Publish your personal essay with chloe story mechanics with richard and the unconscious: how to write like a maniac, then like an boston is reading wolf hall by hilary know who doesn't think it can be taught?
M like to hear your thoughts on the spokane, wa usa is reading the writing on the course it can be taught. It you choose to embark on the discipline and you love the art then your can learn to write.
To teach what you love to others enriches the artistic community and the artistic 's my longwinded way of saying "fuckin' a" you can teach a person to write, but only if they want to do ng can be taught.This is where we come back to ve writing, the end product of it, is hard as hell to measure in any objective way beyond, "are there words on a page and are they arranged with some kind of logic?
It's hard to look at two samples of writing and say, objectively, that one is better than the other, assuming that both have a good grasp of the objective rules that are easy to evaluate (grammar, punctuation, so on).
You or i can look at two pieces and say which one we think is better, but it's difficult to know, without a doubt, which is the better only way to answer, for me, is with my my gut says totally.If you can learn an entirely new language, you can learn to use one 't forget that intangible thing called "desire.
Toronto is reading a million little fibers by steven gut feeling is that writing can be taught but creativity cannot.These artistic skills can be taught/learned/honed from a craft perspective, but the part of the individual psyche that produces original ideas cannot be acquired simply through commitment and dedication. If you look at any bonafide creative genius, they clearly have something they didn't work for.
But there's always something else, and i believe you either have it or you don' kenny powers put it: "you can train all you want.
But if you want to be a standout, an allstar, a champion, then you need more than hard work and dedication.
Sydney, australia is reading best australian poems all, new to litreactor but enjoying the experience so far.