3rd Annual Creative Writing Studies Conference
"Critiques and Revisions: Examining the Ideologies
of Craft in Creative Writing"
October 17-18, 2018
All conference attendees including presenters must be current CWSO members. To become a member, click here.
Conference registration fee on or before July 15 (early bird rate extended): $125
July 15 to October 17: $175
The conference fee includes access to all conference programming, receptions, and meals.
We are sorry, but we are unable to refund conference registration fees for cancellations.
The conference will be held at the Montreat Conference Center in Montreat, North Carolina (http://www.montreat.org/), and we encourage conference attendees to stay in the same wheelchair-accessible building in which we'll hold conference events and meals. Rooms in the Assembly Inn (http://www.montreat.org/stay/assembly-inn/) are $100/night, and there is no extra charge to share a room (twin beds available). Montreat is around the corner from Black Mountain and is a short drive into Asheville, both of which boast many innovative restaurants, outdoor activities, shopping, and arts activities.
Questions? Email firstname.lastname@example.org
Call for Proposals - 2018 Creative Writing Studies Conference "Critiques and Revisions: Examining Ideologies of Craft"
We are now accepting proposals for the 2018 Creative Writing Studies Conference (CWSC) through May 1, 2018. Read about the conference theme and the submission guidelines below and then click here to submit your conference proposal.
Our conference theme this year is "Critiques and Revisions: Examining Ideologies of Craft in Creative Writing" and will explore questions pertaining to the craft of creative writing, including what we mean by craft, how we teach the craft of writing, what ideological assumptions may be hiding behind the label, and more.
For years, creative writers have taught "craft" as if it were a transparent set of values—fixed and universally agreed-upon in how it defines a particular genre. But creative writing is always embedded in particular cultural, aesthetic, critical, and (often) institutional contexts. Since the rise of creative writing programs in the post-World War II United States, the dominant pedagogical model has been the peer workshop. While workshops have always come in many shapes and sizes, one common thread is that student writers read, write, and critique each other’s work, usually with the (stated or unstated) goal of submitting it for publication.
Scholars working in the field creative writing studies have increasingly questioned the workshop model as the de facto form of creative writing pedagogy, noting how unexamined workshop practices can privilege the voices of predominantly white male authors while minimizing or excluding other workshop participants along the lines of gender, race, class, and sexual orientation. Others have critiqued the assumption that the creative writing workshop is to foster the production of print literature in the Western literary tradition as opposed to works of genre fiction, writing for children and young adults, or experimental works in digital or media spaces. Other critics have noted that notions of an objective “literary craft” only reflects a narrow concern of interests that pertain to white middle-class writers.
This year at CWSC, we will investigate the relationship between authors and these respective contexts, particularly as it stands to theoretically ground creative writing studies in the arts and humanities at large and to further enrich what we talk about when we talk about "craft."
Proposal Guidelines and Conference Tracks
The Creative Writing Studies Conference is focused on research and scholarship in creative writing. We seek proposals that are well written, well researched, theoretically grounded, and connected to current conversations in the field. Proposals should demonstrate an understanding of previous scholarship on the subject under investigation and should aim to create new knowledge and/or challenge disciplinary conceptions and practices. Proposals based solely on the author’s own experience may be appropriate if they are the result of well-defined action research and used established research methods. It is expected that research involving human subjects will conform to the highest standards of ethical conduct as outlined by the Institutional Review Board of the scholar’s home university.
We are interested in proposals that concern creative writing and pedagogy; history; qualitative and quantitative research; the digital and multimodal; diversity and inclusion; professionalization and labor; theory, craft, and culture; and social action. Proposals that respond to the theme of "Critiques and Revisions: Examining Ideologies of Craft in Creative Writing" will be given priority. Papers that respond to the conference theme should also correspond to one of the tracks below.
We seek articles on creative writing pedagogies that offer both a theoretical and historical background as well as practical applications to engage and reinvigorate the creative process for both students and teachers. We also welcome articles that advance and enlarge theoretical perspectives for creative writing pedagogy scholarship.
We welcome proposals exploring the histories of individuals, groups, and communities; institutions (broadly defined); and texts related to creative writing as a process, taught subject, or cultural practice. We seek proposals on creative writing pedagogies that offer both a theoretical and historical background as well as practical applications to engage and reinvigorate the creative process for both students and teachers. We also welcome proposals that advance and enlarge theoretical perspectives for creative writing pedagogy scholarship
Qualitative and Quantitative Research
We seek proposals that investigate the practice, pedagogy, and history of creative writing based on empirical research. We are also open to receiving work that is grounded in research while also challenging the assumptions and conventions of academic discourse in narrative, lyrical, dramatic, avant-garde, theoretical, or meta-theoretical modes. Additionally, we are interested in proposals that interrogate the definition and practice of creative writing research itself.
Digital and Multimodal
Creative Writing Studies scholarship welcomes examination of and engagement with changes in the technologies--especially digital technologies--that affect the composition, publication, and distribution of creative writing of all genres.
Diversity and inclusion
We particularly seek proposals that directly address race, ethnicity, ability, culture, class, language, and gender/sexuality difference as experienced and studied in the creative writing academic arena.
Professionalization and Labor
Teaching creative writing in the university or college intersects employment and institutional issues that often go unexamined. We seek proposals that discuss adjunct/contingent or professorial status; exploitative and/or uneven workloads, pay, and/or benefits; teacher training; interdisciplinarity; assessment; funding; and diversity requirements (or lack thereof).
Theory, Craft, and Culture
For years, creative writers have taught "craft" as if it were a transparent set of values—fixed and universally agreed-upon in how it defines a particular genre. But creative writing is always embedded in particular cultural, aesthetic, critical, and (often) institutional contexts. We seek proposals that investigate the relationship between authors and these respective contexts, particularly as it stands to theoretically ground creative writing studies in the humanities at large and to further enrich what we talk about when we talk about "craft."
We seek proposals that examine the connection between creative writing and its role in the public sphere. More specifically, we seek scholarly essays that reveal how creative writing is being used to engender social change, promote community activism, or intervene in culture in ways that reconnect poetics and politics, form and function, innovation and action, play and protest, artfulness and utility.
Workshops are 60-minute sessions where participants will be actively involved in doing or making something related to creative writing, such as classroom activities or how to use tools or techniques. Workshops must be grounded in sound pedagogical theory and evidence-based practice; we are not interested in lore-based writing prompts (even if they're really good ones!) unless they connect to one of the conference tracks in an explicit way, for example using digital tools, engaging with social action, or addressing issues of diversity and inclusion.
Before you begin, note that in order to complete the CFP you will need:
> Names and email addresses of all presenters
> A description of your submission that does not exceed 500 words
> A minimum of 5 relevant scholarly citations that support the proposal's description