To many people, if not most, the phrase “creative writing” marks a genre. A man writes in a garret, his pages lit by the faint glow of a lamp. Ideas are spilling madly from his cerebral cortex to the page. He probably has a cup of coffee next to him. Or a dog. And he is writing a story -- perhaps about a road trip.
I know that is the image in most people’s brains because it is the one I’ve read or heard described hundreds of times by the news media, in popular culture, by writers themselves, in books written by writers on writing, by my students and by friends. It is also the image most strangers (or distant family members) produce when I tell them my field is writing studies, a discipline dedicated to the academic study of writing of all kinds: college writing, digital writing and workplace writing, just to name a few examples.
Upon hearing that, a man I met in a hostel over breakfast asked me to listen to his poem to see if it was publishable, even though, not being a poet, I have no credentials for evaluating his text. My distant cousin, after years of asking at Thanksgiving dinners, still can’t understand why I don’t want to edit his novel. Most of us learn to laugh off the glaze that comes over people’s faces as we academics in writing studies explain what we, in fact, do write.
The problem is that one image of writing dominates the popular imagination and is weighted with value more heavily than all others: writing as “creative writing,” which is treated as if it’s interchangeable with fiction and poetry. Over the years, I’ve come to understand a few pervasive problems that stem from the view of creativity as tied to fiction and poetry, from the public’s lack of awareness of what academics and other workplace writers do, from problematic attitudes held within the so-called field of creative writing itself about what types of writing are creative, and from the ways we as writing studies/English scholars reinforce problematic ideas about creativity. Those attitudes include:
- One sphere of writing is marked off as “creative” while others are devalued.
- People who write everything except poetry and fiction -- those who contribute the vast majority of writing to the world, in the form of lists, essays, emails, blog posts, texts, instruction manuals and so on -- see their work as less creative and important.
- This mass of unrecognized writing and labor is virtually unrepresented in popular culture, and academics and other workplace writers are not part of the cultural narrative around creativity (save for some exceptional examples, such as the way writing is represented in the TV show The West Wing, often a powerful meditation on the importance of collaboration and revision in workplace writing, and in Her, a movie that celebrates the ghostwriting of love letters, not generally a celebrated writing genre).
I first took note of the emotional weight and impact of this phenomenon when conducting interviews for my dissertation on the impact of materials of all kinds on the writing process. I interviewed four dozen people and, in countless interviews, they expressed the heartbreaking sentiment that there once was a time when they wrote creatively (i.e., they wrote poems and stories), but now they are just academics or workplace writers. Even more troubling was that when asked if they considered themselves writers, they resoundingly answered no. Even for people who write daily for their trade, writing has become synonymous with poetry and fiction writing, which has become synonymous with “creative writing.”
I began asking more people whose livelihoods depend on the written word and who write daily if they see themselves as writers. I also began asking graduate students who came to see me at various writing centers where I worked whether they considered themselves writers. And again most said no. There was something in the identity label of “writer” that people have attached to a particular kind of writing. Deborah Brandt voiced this powerfully when she pointed out that while the identity label of “reader” is available to most people -- meaning that most readers could confidently say “I’m a reader” -- the identity label of “writer” is not.
In her book, Brandt demonstrates how cultural narratives around the importance of reading enable families to understand the value of this act and to support reading as a family value and practice. This practice, of course, has a long history -- reading was not a solitary or silent activity until relatively recently. (Scholars debate exact dates, but some point to silent reading as a late-19th-century or even 20th-century phenomenon.) Writing, in contrast, has often been associated with privacy, secrecy and solitude, as Brandt asserts.
Writing is also associated not with workplace forms but with poetry and fiction. A question that comes to mind is that if a persistent narrative around writing is that the only creative writing is fiction and poetry, and if families do not see themselves as skilled in this way, how can they encourage writing in all of its forms as a family value? Brandt notes that in her hundreds of interviews with families, people rarely remembered writing around parents. For many families, being a writer is not seen as a valuable trade -- it’s the stuff of fiction.
What persists are damaging stereotypes about writing and creativity that continue to reinforce troubling dichotomies about the nature of creativity. Consider the famous joke that “those who can’t do teach,” which parodies the work of people dedicated to fostering creative thinking in others, which requires them, also, to be constantly creating. Or consider that teachers and professors are almost always depicted in popular culture as practitioners, not talent.
For instance, in the 2015 film Me, Earl and the Dying Girl, Nick Offerman plays a bumbling sociology professor whose intellectual contribution to his field is portrayed solely via his penchant for wearing “tribal” clothing from around the world. His son characterizes him as a person who basically sits around a lot. When faculty members aren’t being ridiculed in popular culture, all sorts of other problematic stereotypes are propagated, such as the effectiveness of white teachers or teacher figures inspiring at-risk or inner-city students and/or students of color to be “creative” by writing fiction or poetry. (See, for example, Dangerous Minds, Finding Forrester, Freedom Writers, Up the Down Staircase.) Try to imagine those movies teaching writing skills that would actually potentially be valuable in today’s marketplace.
In Dead Poets Society, we even see the symbolic gesture of a teacher tearing up the syllabus, perhaps imagined to be the dullest of literary genres. But as a material representation of a 16-week experience, it is, I would argue, one of the most creative and rewarding of writing forms. Indeed, if creative writing is about world creation, as many people contend it is (although that, too, is debatable), what is closer to this than the creation of a new experience?
How did the field of creative writing, and the public’s idea about this type of writing, emerge? In The Elephants Teach, D. G. Myers traces the origins of this term, the genre and the workshop that has become the standard in English departments across America. Myers presents ample evidence that the institutionalized field of creative writing barely resembles the ideals and movement that produced it in the 1920s, when it exploded in popularity largely due to the writings of educator William Hughes Mearns. Mearns developed and popularized what’s considered to be the first creative writing workshop for junior high school students. He was tired of English courses that used literature as a means of drilling students on vocabulary or grammar or as some other means to an end.
Mearns proposed the practice of writing literary texts for self-expression, so that kids would enjoy literature, and for promoting an understanding of literature by writing it. His description of his creative workshop spread quickly and was rapidly adopted across the United States, largely because he traveled throughout the country presenting the model to teachers and schools and then published student work in various texts that were also publicly devoured.
However, according to Myers, in contrast with current conceptions of writing that treat fiction and poetry as more cultured than genres such as workplace writing, emails, lists or even theses, Mearns would not have abided by a view of creative writing as somehow more cultured or valuable. Neither would the prominent progressive educator John Dewey, Mearns’s influencer.
In fact, both Dewey and Mearns were highly critical of the notion of “culture,” which seemed to be a means of discriminating against the masses for abilities that people held due to various privileges and advantages (such as speaking “proper” English). Myers demonstrates how the rise of creative writing paralleled the rise of post-World War II college enrollments due to the GI Bill, as well as the rise of federal student aid. The growth of creative writing programs also divorced creative writing from its study of literary texts, and the field emerged as one that -- rather than training future writers -- trained future teachers of fiction and poetry. He notes that “Creative writing was devised as an explicit solution to an explicit problem. It was an effort to integrate literary knowledge with literary practice,” but that “what had begun as an alternative to the schismatizing of literary study had ended as merely another schism.” Now, English departments are divided, with the study of fiction and poetry quite divorced from other parts of the program.
An effect of popular attitudes about writing is that much public, popular and workplace writing is devalued, despite its ubiquity, importance, creativity and potency. The division impacts so-called nonfiction, too (a genre defined by a lack). As Barbara Tuchman articulates, “I see no reason why the word ‘literature’ should always be confined to writers of fiction and poetry while the rest of us are lumped together under that despicable term ‘nonfiction’ -- as if we were some sort of remainder.”
Too often, binaries are leaned on in order to praise one thing and devalue another. This is the case with the phrase “creative writing” and just about every form of writing that is set apart from it. And also too often, what’s placed on the other side of the binary is work that is “critical” in nature. Consider an article by scholar and literature professor Graeme Harper, who, in championing the creative writing workshop, repeatedly utters sentences like these: “[My students] are required to write both creatively and critically.” When the critical is opposed to the creative, it’s easy to understand why public attitudes, and even those of academics and other writers who produce critical work, are so pervasively seen as uncreative.
Over the years, the students with whom I have worked, and particularly those who see me in the writing center, have reported that after I talk with them about some of these ideas, and after they begin thinking of themselves as writers, their positive feelings about writing intensify. No one wants to feel that the daily work they do is valueless, dull, uncreative. And everyone should be able to access an identity that they are proud of related to their trade.
I am concerned that narratives about what it means to be creative and a creative writer are to blame for much of what I’ve described. I’ve seen this in the various departments in which I’ve worked, where certain faculty members spurn the fields of professional writing and writing studies and reinforce the idea that teaching poetry, fiction and even literary analysis are somehow more desirable.
I would love to see English and related departments banish the use of “creative writing” in titling disciplines, tracks and departments. Instead, bring us all together under the banner of Writing Studies, Writing or Writing Arts. In my courses, I tell my students at the beginning of the term that they will not hear me use the phrase, and I tell them why. Most of my students are not going to be fiction writers and poets; they are going to be journalists, technical writers, emailers, texters, medical record writers, memo writers, proposal writers and list writers. And I want them to understand that if they enjoy this work, it is as valuable to them as fiction and poetry.
It’s time we banish the idea that certain writing forms are creative and certain aren’t. And that academic writing is dull. Let’s challenge ourselves to stop using the pernicious phrase “creative writing.” To produce more public texts that depict the creativity involved with forms besides fiction and poetry. And to expand our fundamental ideas about what it means to be creative.
Cydney Alexis is an assistant professor of English and writing center director at Kansas State University. You can find her on Twitter at @cydneyalexis. This is the first in a series of essays on Bad Ideas About Writing -- adapted from a collection of pieces edited by Cheryl E. Ball and Drew M. Loewe. The essays are being published this spring as an open-access book by the Digital Publishing Institute at West Virginia University Libraries -- in which scholars and writing instructors identify bad ideas and suggest more productive, inclusive and useful ones.
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