Creative Writing Workshop in the 21st Century

Adrian Markle is Lecturer in Creative Writing at Falmouth University, UK. He has a PhD in English by Creative Practice from the University of Exeter and a Postgraduate Certificate in Teaching Creative Writing from the University of Cambridge. He is the co-author of a chapter in the pedagogy text The Power of Storytelling in Hong Kong Education (2024) as well as several short pedagogy essays. He is the author numerous short stories and the novel Bruise 2024).Marshall Moore is Course Leader and Senior Lecturer in the School of Communication at Falmouth University, UK. He is the author of several novels and collections of short fiction, the most recent being Inhospitable (2018). With Xu Xi, he is the co-editor of the anthology The Queen of Statue Square: New Short Fiction from Hong Kong (2015). He holds a PhD in creative writing from Aberystwyth University, UK, and his current research focuses on the disconnects between the publishing industry and the academy, and on the mythology and lore that surround creative practice and pedagogy.Sam Meekings is Assistant Professor of Creative Writing at Northwestern University in Qatar. He is the author of Under Fishbone Clouds (2011, called ‘a poetic evocation of the country and its people’ by the New York Times), The Book of Crows (2012), and The Afterlives of Dr Gachet (2018). He has a PhD in creative writing from Lancaster University, UK, and has taught writing at NYU (Global Campus) and the University of Chichester, UK. He researches issues of identity in grief narratives, and the practices and processes of digital storytelling.

• Introduction – Sam Meekings (Northwestern Qatar), Marshall Moore (Falmouth University, UK) & Adrian Markle (Falmouth University, UK)1. Toward a New Literary Public: Reconfiguring the Creative Writing Workshop for Non-Majors - Jennifer Pullen (Ohio Northern University, USA)2. Designing and running a UK master’s programme in creative writing - Matthew Cheeseman (University of Derby, UK)3. Revising Purpose: How Workshop Can Create Supportive Communities for Young Writers - Alexa Garvoille (North Carolina School of Science & Mathematics, USA)4. Weird in A Good Way: Helping Aspiring Writers Find Their People and Build Community - Angie Abdou (Athabasca University, Canada)5. Against the Conveyor Belt: Narrative Medicine as Rehumanizing the Creative Writing Workshop - Caleb Lee González (University of Texas Rio Grande Valley, USA) & Janelle Adsit (Cal Poly Humboldt, Germany)6. Varieties of Feedback with a Unifying Course Project - Anna Leahy (Chapman University, USA)7. Failure and Workshopping; or Killing Butterflies in the Classroom - Shady Cosgrove (University of Wollongong, Australia)8. Creative Writing as Narrative Design - Trent Hergenrader (Rochester Institute of Technology, USA)9. Generative AI in the Poetry Workshop - David Devanny (Falmouth University, UK)10. No Such Thing as a Final Draft: the Effects of Always Framing Student Work as “In Progress” and Never “Finished” - Adrian Markle (Falmouth University, UK)11. Getting Political with Craft - Jon Udelson (Shenandoah University, USA)12. Wang Anyi’s Fiction Workshop: Basic Methods and Principles - Liu Weidong (Wenzhou University, China) & Xiao Wenwen (Macau University of Science and Technology, China)13. Writers Get in Trouble: Encouraging Risk-taking Through Assessment Design in the Creative Writing Studio - Sreedhevi Iyer (RMIT University, Australia) & Bonny Cassidy (RMIT University, Australia)Index