David Snow

Dr. Shana Hartman

ENGL 683 The Teaching of Writing

10 December 2017

How does creative writing support/deepen

students knowledge of a text?

That was the question I started with. It seemed to

me that creative writing and analytical writing were

viewed as two separate modes; what if creative writing,

though, could be used as a means of deep analysis? I

began to explore this idea through a research project

using a variety of primary and secondary sources.

Though the interview and formal research have validated

some of my assumptions, the heart of my findings was in

the student responses Ive observed as theyve engaged

with a creative writing project. Leah, a fellow graduate

student, asked how I was able to get the students to buy-

in to the idea of simultaneously writing creatively and analytically. Based on the first round of

initial draft work students submitted, they appeared to embrace the expectation of demonstrating

their understanding of the text in their responses.

 Before reading further, click the image below to play Woody Guthries This Land Is

Your Land, and you will hear a bit of the sense of brotherhood and longing for belonging in

Steinbecks Of Mice and Men, which has been the source material for my students creative

exploration.

https://youtu.be/wxiMrvDbq3s
Since one of my main goals has been to expect students to develop their creative projects

while reading the novel rather than creating it when finished, they shared their first draft work

though we hadnt yet finished reading Of Mice and Men. Ive been impressed with their

eagerness to engage with the text this way, and its been exciting for me to see them demonstrate
informally their understanding of the characters and themes of the text and the authors choices

in constructing the novel.

Based on conversations Ive had with my students over the last few weeks regarding their

project choices, Im encouraged by the way they are able to articulate their understanding of

characters and themes from Of Mice and Men through nontraditional analysis. In-class

assignments and homework laid the foundation for their exploration. One of the primary

assessments I used was a Data Sheet students completed for sections of the text; on it they were

asked to summarize the plot, give examples of characterization, and give evidence for possible

themes and symbols in that section.

Plot summary Describe significant events and quotes from each chapter (4-5 sentences each)

Chapter 1 Title:

Chapter 2 Title:

Possible Themes (Need at least two)

Possible Themes Examples Explanation of how

example relates to theme
 In the draft work for their projects, they have proven that they understand the various

elements of the texts we have discussed and they have identified. One student is composing

poems from the point of view of George and Lennie as they encounter difficulties on the ranch.

Another is creating an interview between a newspaper reporter and George, as the reporter asks

him a series of (student generated) open-ended questions about his longings and struggles. Some

are making collages which represent visually the themes and symbols they observe in the novel.
 This, with the other research data I collected, seems to show that creative writing is not

inferior to more traditional forms of analysis when the goal is exploration of a text or idea;

rather, it is a powerful tool for understanding. Oliver Belas writes, education ought to take

seriously the role of poetical experience, and the practices fostered by creative writing (Belas

49).1 Belas further emphasizes this idea as he traces the history of creative writing, concluding

that literary criticism is essentially a creative genre (49). He proposes an arts-practical ideal for

English studies, in which creative writing would feature prominently (41).

Hinchman Interview

1
Belas, Oliver. The Perfectionist Call of Intelligibility: Secondary English, Creative Writing,
and Moral Education. Philosophical Inquiry in Education, vol. 26, no. 1, 2016, pp. 37-52.
 Stacey Hinchman began teaching at McGavock High School when I was two years old.

But shes not one of those stuffy teachers who long ago lost her passion for teaching and, as a

result, her effectiveness. She told me the reason she has taught in the same classroom for 25

years: I still love it and think I can still make a difference. And she does.

a. How does creative writing support/deepen students knowledge of a text?

Gets them in all their feels. Writing creatively about a text, especially a

character, enables the student to get into the characters situation and understand

what events feel like for that character, even if that character is a different sex,

nationality, etc.

Beyond the assignment itself, though, creative writing helps students understand

the world around them and Empathize with people who are different. Level 3

b. To what degree to writing creatively about a literary work lead to more

analytical writing about the same work?

Serves as a bridge to deeper analysis of themes and elements that the author

intends. Essential to understand the character before you can understand themes,

etc. Character sketches/maps helps them get to the bigger ideas. The author has

embedded themes into character motivations and relationships.

c. How can high school students demonstrate their understanding of a novel by

responding through nontraditional analysis (oral discussion, journaling,

writing creatively).

Start with a scene and re-tell it through a different characters POV. Expects

student to examine POV and show, like an author does, how POV can affect the

story. Think on a deeper level than literal plot points.

Primary Data: Student Samples
 More sample proposals

Student 4: SC

21 November
- For list A, I am going to create a childrens book. Last year, we had a similar project like
this and I did not focus on being creative. I took a figurative project instead of doing a project
that involves art and creativity. So far right now I will include George and Lennie, their
backstory, and where they are working now. I would also list their relationships.
30 November
They used to work in Weed.
2 December
I would include where they worked (which was Weed) and why they got kicked out.
Jus wanted to feel that girls dress.how the hell did she know you jus wanted to feel her
dress? She jerks back and you hold on like it was a mouse. She yells and we got to hide in a
irrigation ditch all day with guys lookin for us. (pg.11) Basically Lennie likes the womans
dress, touches, confused as to why she is screaming and holds on even longer. In the womans
perspective, it looks like Lennie is trying to molest her.
Theyll planning to go to the next ranch which they will meet Slim, Carlson, Candy, Curley,
and his wife. They found out that Curley dislikes Lennie with a passion. Slim is considered the
leader or the good, wise guy of the group. Candys old but has money. Curleys wife is a bit of
a trouble. Then Crooks the negro man who hates everyone who enters his room...except Lennie.
- For List B, I am going to write a character journal. The perspective I chose will be
Slims. I like his character. He is considered the nice guy. For now I trust him. I would include
his relationships towards the others and his feelings. I would include his therapeutic talk with
George.

Student 5: BM

Part A: I have decided to do the collage project. I am using and finding quotes as we read the
book to keep track of quotes i can use within my project. I can also use photos of animals and
other singnificant pictures to represent things such aslennie or Candys dog.
Part B: I am going to do the character journal. I plan to either use Georger or Lennie as my
character. Georges journal woulf include his frustration with Lennie. Lennies journal would be
based off trying to please George and to make George happy.
Collage Quotes:
Jus a dead mouse, George. I didnt kill it. Honest! I found it. I found it dead. - Lennie
You jus stand there and dont say nothing. If he finds out what a crazy bastard you are,
we wont get no job, but if he sees ya work before he hears ya talk, were set. Ya got
that? - George
 I could get along so easy and so nice if I didnt have you on my tail. I could live so easy
and maybe have a girl.
 CONNECTION TO WRITING ASSIGNMENT DESIGN

Rationale/Overview:

This design began with a series of questions: How does creative writing support/deepen

students knowledge of a text; to what degree does writing creatively about a literary work lead

to more analytical writing about the same work; how can high school students demonstrate their

understanding of a novel by responding through nontraditional analysis (oral discussion,

journaling, writing creatively); and how could I promote greater student engagement with

extended texts through nontraditional forms of analysis?

In "Writing About Literature and Other Texts" (chapter 12) of Inside Out, Kirby and

Crovitz focus on using diverse methods to achieve what we as English teachers hold as a primary

goal: to foster a love for reading, writing, and indeed, learning. If my goal truly is to motivate

students to become lifelong learners who are excited about reading and writing, then the authors

implication of variety in assessment is appropriate "Sure, the traditional critique ... But what do

you do to change it up a bit in your class? To kick the lead out and generate some energy among

your students as they transact with a variety of texts?" They go on to describe in a fair degree of

detail a number of different strategies. At times in this chapter I was embarrassed to think of the

way that at times I have been guilty of trying to turn my students into English majors, though I

would never have admitted it--approaching curriculum choices and writing prompts with the goal

of getting them to know certain texts or concepts rather than to enjoy exploring them.

It wont be the first time Ive assigned a creative project. However, in the past Ive

treated such assignments as an add-on with an attitude that weve done everything important,

now do this for fun. My approach this time is to integrate the exploration of Of Mice and Men

with creative response, using different modes of writing to push students to engage with the text
in a way that reflects their understanding of it. I hope that my sophomores enjoy reading

Steinbecks classic as they analyze its contents

Context:

This writing assignment for my English II classes at McGavock High School (Nashville).

Each class meets for 72 minutes every other day (A days, B days). We will be reading Of Mice

and Men. The study of the novel will be couched in a larger context of rhetorical strategies and

the theme of disillusionment; we will have read two short informational pieces, and will study at

least one speech after finishing Of Mice and Men.

 INQUIRY PROJECT OUTLINE

I. Connection with WAD

II. Inquiry Questions

A. What happens when a variety of modalities/genres are used as process work for a

research assignment?

B. How does creative writing support/deepen students knowledge of a text?

C. To what degree to writing creatively about a literary work lead to more analytical

writing about the same work?

D. How can high school students demonstrate their understanding of a novel by

responding through nontraditional analysis (oral discussion, journaling, writing

creatively).

E. How could I promote greater student engagement with extended texts through

nontraditional forms of analysis?

F. To what degree does student collaboration and shared feedback produce better

writing?

III. Primary Source Data Collection plan/ideas

A. Past student worklook for evidence in creative assignments of understanding of

the work studied

B. Student survey or reflection of assessment when finishedthis could be a

traditional survey or a reflective letter to the instructor

C. ??

IV. Secondary Source plan/ideas

A. Inside Out Chapter 12

B. Belas, Oliver. The Perfectionist Call of Intelligibility: Secondary English,

Creative Writing, and Moral Education. Philosophical Inquiry in Education, vol.

26, no. 1, 2016, pp. 37-52.

also potentially a source for my philosophy of teaching assignment. May

borrow some aspects

literary criticism as creative genre (38)

arts-practical ideal for English studies (41)

Stanley Cavell's Emersonian moral perfectionism - not sure about this

"To increase ones compositional abilities, then, is to improve

ones capacity for (intelligible) moral deliberation, for increasingly

refined articulations of ones sense of self, ones shifting web of

moral beliefs, and ones beliefs about those beliefs" (40).

"[since] critical reading is a form of (re-)writing, one needs some

compositional competence in order to make the nature of ones

reading experience intelligible" (45).

Importance of having a working understanding of language in order to

express ideas.

I was exploring this idea in the discuss last week for ENGL 501: "

I fear that the pendulum has swung so far toward self-expression

that many secondary students have little working understanding of

simple rules of composition. Many can't compose coherent

sentences, much less give attention to considerations such as style,

 voice, or audience. Surely there can still be common, basic

expectations for writing even with the broader shifts in approach."

Belas validates this in his article; though the particular methods

may deviate from systematic genres (i.e., essay writing), students

must be proficient in manipulating language in order to creatively

express ideas. So, grammar instruction, among other writing

instruction, is far from irrelevant.

creative writing as an integral part of well-rounded learner. More of a

classical approach

Questions:

In the history of classical education, was educated mandated for all

citizens? What, exactly, was required?

What were some of the defining moments in the shift from rhetoric

and the artistic nature of English to a "core" discipline with almost

exclusive focus on reception and reproduction of knowledge?

C. Interview Chris Skinner / Bob Stackhouse / Stacy Hinchman (veteran English

teachers at McGavock High School, Nashville)

 INQUIRY PROJECT IMPLEMENTATION (WAD PHASE II)

At the beginning of the quarter, we gave our sophomores a narrative writing prompt (and

corresponding rubric) from the district which would serve as a benchmark assessment; students

were to read a short, illustrated informational article on the Dust Bowl and the migrant families,

then write a narrative from the perspective of one of three types of characters: a father looking

for work, a mother trying to provide basic necessities for her family, or a child witnessing a dust

storm and its effects. We were originally simply going to assign a numerical grade and report the

data to the district and to the school for our SIP, but decided rather to give more authentic

feedback to the students for revision and assign a series of grades as they work toward a more

polished final product. We did this for two reasons: 1) the benchmark assessment prompt aligned

historically to our major text, and 2) we hadnt prepared students adequately for the kind of

narrative writing being asked of them.

So, as we read Of Mice and Men over the next three weeks (beginning tomorrow,

introducing the creative project Wednesday), they will both use the text to inform their project

choices and revise their narratives. The rubric is below, followed by samples from the first

responses from students. The grades assigned for the initial draft are formative; their subsequent

grades will be based on the same rubric, but summative.