Creative Composition CFP
‘Creative Composition: Inspiration and Techniques for Writing Instruction’ —an essay anthology
Call For Abstracts: Deadline Nov 30, 2012
Creative Composition: Inspiration and Techniques for Writing Instruction
For decades, and perhaps centuries, we’ve bemoaned the idea that creative writing can’t be taught. Yet teachers can learn pedagogical approaches that assist the creative process if they’d just lift the lines between writing disciplines to see how techniques such as invention and collaboration are approached differently, and similarly, in writing classrooms.
In this collection we seek essays that examine concrete approaches to teaching writing in several venues, be they classroom (creative, composition, technical/professional, etc.), online, low-res, or hybrid, considering how disciplines can be crossed to teach the process of writing. How do we get students to consider what is truly the ‘creative process’ no matter what forum/classroom they find themselves in? Topics may include, but are not limited to:
- Historical considerations of creative writing and composition, particularly the definition of creation/invention or ‘creative’;
- Theories about how and why genres have been split into different classrooms, and the implications of teaching writing by genre;
- Strategies for joining approaches to teaching writing, in particular conjoining disciplines that have been considered disparate in traditional academia;
- Different approaches in inspiring creativity in various writing venues, including traditional, hybrid, blended, low-residency, and ‘one-stop’ (i.e. festival or library session) classrooms.
Please submit an abstract of between 200 and 500 words with a projected word count, as well as a brief bio (including institutional affiliation and relevant publications) by Nov 30, 2012. We will send invitations for full essays by Jan 4, 2013. We will expect completed original essays of approximately 2,500 to no more than 7,500 words by March 1, 2013.
How to Submit:
Submit via email, to both Danita Berg [email protected] and Lori A. May [email protected]
Use this subject line: ‘Creative Composition Abstract – [Author First & Last Name]’
Paste your abstract and bio into the body of your email. Attachments will NOT be accepted.
Additional Details:
- Original essays only. No reprints.
- Anticipated 2014 publication date.
- Publisher and Foreword TBA.
- Compensation by way of contributor copies.
- Authors retain copyright to individual works.
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Co-Editor Bios:
Danita Berg chairs the English Department at Full Sail University in Winter Park FL, and is the founding director of the Red Earth Low-Residency MFA in Creative Writing program at Oklahoma City University. She has published creative works in journals such as Redivider, Southern Women’s Review, Quay: A Journal of the Arts, Black Market Review, and The Houston Literary Review, among others, as well as in the non-fiction collections Press Pause Moments: Essays about Life Transitions by Women Writers and Ain’t Nobody That Can Sing Like Me: An Oklahoma Writing Anthology. She is the non-fiction editor for the new online literary journal, Animal: A Beast of a Literary Magazine. She earned her MFA in Creative Writing at Goddard College and Ph.D. in English at the University of South Florida.
Lori A. May is a frequent guest lecturer and workshop presenter at writers’ conferences and graduate writing programs. She is a part-time creative writing faculty member for two community colleges in Michigan. Her books include The Low-Residency MFA Handbook: A Guide for Prospective Creative Writing Students (Continuum, 2011). Lori has contributed to publications includingThe Writer, Writer’s Digest, Phoebe, Hippocampus Magazine, and qarrtsiluni, and she is the founding editor of Poets’ Quarterly. Visit www.loriamay.com for more info.