Michael Dean Clark is Associate Professor of Writing at Azusa Pacific University, USA. Formerly an award-winning journalist, his fiction and non-fiction work has appeared in Pleiades, Fast Forward, Relief, and a number of other periodicals.Trent Hergenrader is an Assistant Professor at the Rochester Institute of Technology, USA. He is a co-founder of the Creative Writing Studies Organization and the Journal of Creative Writing Studies and the author of Collaborative Worldbuilding for Writers and Gamers.Joseph Rein is Assistant Professor of Creative Writing at the University of Wisconsin, River Falls, USA. He is the editor of Dispatches from the Classroom and his fiction, poetry and essays have appeared in such publications as The Pinch Literary Magazine, Iron Horse Literary Review, and Ruminate Magazine. He is also an award-winning short-film screenwriter.

Written by practitioners for practitioners whose hackles might still raise at the suggestion that theirs is a soft option, there is a sense of community in these pages which speak to those already working in the field and so do not waste time explaining, but move swiftly to examine the subject’s dynamics and potential. It aims to challenge practitioners in order to provoke newer forms and studies in this field … Does the book achieve what it sets out to do? Certainly. It points towards the ‘vast possibilities of our field’ and it offers discussion, debate and practical resources and it provokes newer enquiries … Our students need to be in safe hands for the exciting journeys they embark on, and this book is a strong map for those of us who direct and point out the possible routes.

• 1. IntroductionPart 1: Rethinking the Workshop2. Invention and Early Process: A framework for the introductory multi-genre Creative Writing course (Timothy Mayers, Millersville University, USA)3. Against Undergraduate Creative Writing: Or, how to trick students into wanting what they need (Katharine Haake, California State University-Northridge, USA)4. Space Changing and Time Traveling: Empowering evolutionary creative writing (Graeme Harper, Oakland University, USA)5. Rocks are Hard; There Are Many Kinds of Rocks: A meta-workshop for undergraduate writers (Rachel Himmelheber, Warren Wilson College, USA)6. Emphasizing the Macro: An argument for the sequence graduate workshop (Derrick Harriell, University of Mississippi, USAPart 2: Expanding Genre7. The Poetry of Music, the Music of Poetry (Tom Hunley, Western Kentucky University, USA)8. Musico-Literary Miscegenations: Word and sound relationships in creative writing pedagogy (Hazel Smith, University of Western Sydney, Australia)9. Words with Borders, Projects Without: The collaborative possibilities of screenwriting (Joseph Rein, University of Wisconsin-River Falls, USA)10. Non-Sensical Sense: Impressions as connections in creative nonfiction (Michael Dean Clark, Azusa Pacific University, USA)Part 3: Creative Collaborations11. Collaborative Story Writing and the Question of Influence (Mary Ann Cain, Indiana University–Purdue University Fort Wayne, USA)12. Steampunk Rochester: A collaborative, location-based, interdisciplinary project (Trent Hergenrader, Rochester Institute of Technology, USA)13. Place-Based Pedagogy and Creative Writing as a Fieldwork Course (Janelle Adsit, Humboldt State University, USA)14. Our Town: Teaching Creative Writing students to love research and collaboration (Cathy Day, Ball State University, USA)Part 4: Identity and the Creative Writing Classroom15. Radical Inclusivity: Honesty and agony in an "imperfect" Creative Writing classroom (Tonya Hegamin, Medgar Evers College, USA)16. Genre-Queering the Creative Writing Classroom (Ching-In Chen, University of Wisconsin-Milwaukee, USA)17. Pedagogy and Authority in Teaching The Wasteland: Authorial voices and postcolonial criticism (Prageeta Sharma, University of Montana in Missoula, USA)Index

Michael Dean Clark is Associate Professor of Writing at Azusa Pacific University, USA. Formerly an award-winning journalist, his fiction and non-fiction work has appeared in Pleiades, Fast Forward, Relief, and a number of other periodicals.Trent Hergenrader is an Assistant Professor at the Rochester Institute of Technology, USA. He is a co-founder of the Creative Writing Studies Organization and the Journal of Creative Writing Studies and the author of Collaborative Worldbuilding for Writers and Gamers.Joseph Rein is Assistant Professor of Creative Writing at the University of Wisconsin, River Falls, USA. He is the editor of Dispatches from the Classroom and his fiction, poetry and essays have appeared in such publications as The Pinch Literary Magazine, Iron Horse Literary Review, and Ruminate Magazine. He is also an award-winning short-film screenwriter.

Written by practitioners for practitioners whose hackles might still raise at the suggestion that theirs is a soft option, there is a sense of community in these pages which speak to those already working in the field and so do not waste time explaining, but move swiftly to examine the subject’s dynamics and potential. It aims to challenge practitioners in order to provoke newer forms and studies in this field … Does the book achieve what it sets out to do? Certainly. It points towards the ‘vast possibilities of our field’ and it offers discussion, debate and practical resources and it provokes newer enquiries … Our students need to be in safe hands for the exciting journeys they embark on, and this book is a strong map for those of us who direct and point out the possible routes.

• 1. IntroductionPart 1: Rethinking the Workshop2. Invention and Early Process: A framework for the introductory multi-genre Creative Writing course (Timothy Mayers, Millersville University, USA)3. Against Undergraduate Creative Writing: Or, how to trick students into wanting what they need (Katharine Haake, California State University-Northridge, USA)4. Space Changing and Time Traveling: Empowering evolutionary creative writing (Graeme Harper, Oakland University, USA)5. Rocks are Hard; There Are Many Kinds of Rocks: A meta-workshop for undergraduate writers (Rachel Himmelheber, Warren Wilson College, USA)6. Emphasizing the Macro: An argument for the sequence graduate workshop (Derrick Harriell, University of Mississippi, USAPart 2: Expanding Genre7. The Poetry of Music, the Music of Poetry (Tom Hunley, Western Kentucky University, USA)8. Musico-Literary Miscegenations: Word and sound relationships in creative writing pedagogy (Hazel Smith, University of Western Sydney, Australia)9. Words with Borders, Projects Without: The collaborative possibilities of screenwriting (Joseph Rein, University of Wisconsin-River Falls, USA)10. Non-Sensical Sense: Impressions as connections in creative nonfiction (Michael Dean Clark, Azusa Pacific University, USA)Part 3: Creative Collaborations11. Collaborative Story Writing and the Question of Influence (Mary Ann Cain, Indiana University–Purdue University Fort Wayne, USA)12. Steampunk Rochester: A collaborative, location-based, interdisciplinary project (Trent Hergenrader, Rochester Institute of Technology, USA)13. Place-Based Pedagogy and Creative Writing as a Fieldwork Course (Janelle Adsit, Humboldt State University, USA)14. Our Town: Teaching Creative Writing students to love research and collaboration (Cathy Day, Ball State University, USA)Part 4: Identity and the Creative Writing Classroom15. Radical Inclusivity: Honesty and agony in an "imperfect" Creative Writing classroom (Tonya Hegamin, Medgar Evers College, USA)16. Genre-Queering the Creative Writing Classroom (Ching-In Chen, University of Wisconsin-Milwaukee, USA)17. Pedagogy and Authority in Teaching The Wasteland: Authorial voices and postcolonial criticism (Prageeta Sharma, University of Montana in Missoula, USA)Index