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Toward an inclusive creative writing: threshold concepts to guide the literary curriculum

Toward an inclusive creative writing: threshold concepts to guide the literary curriculum

Adsit, Janelle, author

The creative writing workshop has existed since the early part of the 20th century, but does it adequately serve the students who come to it today? While the workshop is often thought of as a form of student-centered pedagogy, it turns out that workshop conversations serve to marginalize a range of aesthetic orientations and the cultural histories to which they belong. Given the shifting demographics of higher education, it is time to re-evaluate the creative writing curriculum and move literary writing pedagogy toward a more inclusive, equitable model. Toward an Inclusive Creative Writing makes the argument that creative writing stands upon problematic assumptions about what counts as valid artistic production, and these implicit beliefs result in exclusionary pedagogical practices. To counter this tendency of creative writing, this book proposes a revised curriculum that rests upon 12 threshold concepts that can serve to transform the teaching of literary writing craft. The book also has a companion website offering supplemental materials such as lesson plans and course materials

eBook, Hardback, Electronic resource, Book. English.
Published London; New York, NY: Bloomsbury Academic, 2017
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    Barcode Shelfmark Loan type Status
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Statement of responsibility: Janelle Adsit, Humboldt State University, USA
ISBN: 1350023868, 1350023876, 1350023884, 1350023892, 9781350023864, 9781350023871, 9781350023888, 9781350023895
Physical Description: 1 online resource
Series: War, culture and society
Subject: Creative writing (Higher education); English language Rhetoric Study and teaching.
Reproduction: Electronic reproduction. London: Bloomsbury Publishing, 2014. Available via World Wide Web. Access limited by licensing agreement.
Series Title: War, culture and society.
Other formats: Also issued in print.


  1. 1. Introduction: Aesthetic Otherness in Creative Writing
  2. What We Talk about When We Talk About Aesthetics
  3. Creative Writing as Cultural Production
  4. Reader-Writer Cultures, Gatekeeping and Tastemaking
  5. Creative Writing Pedagogy as Disconnected from the Literary Landscape
  6. Critical Inclusive Pedagogies
  7. 2. Privileged Assumptions and Assumptions of Privilege
  8. Systemic Barriers and Inequities in Creative Writing
  9. What the VIDA Count Tells about Teaching
  10. Exclusionary Constructions of the Writer's Life
  11. Mapping Pedagogical Constructions of the Writer
  12. 3. Marginalized Aesthetics
  13. Whiteness and Craft
  14. Activist Writing-Polemics against Polemics
  15. Genre Fiction, Elitism and False Genre Divides
  16. Revisiting the Tolerance Project
  17. 4. Toward Critical Inclusive Pedagogy
  18. Writer-Teachers and Responsibility
  19. Integrating the Curriculum
  20. Access and Linguistic Diversity in Literary Art
  21. Moving Away from Deficit-Model Instruction
  22. Threshold Concepts as Tools for Curriculum Redesign
  23. 5. Twelve Threshold Concepts for Creative Writing
  24. (1) Literary value is contingent.
  25. (2) There are no universal standards for "good writing"; however, there are conventions that are
  26. particular to each aesthetic situation.
  27. (3) Literature reflects and produces culture.
  28. (4) Writing is a social practice that alters the world.
  29. (5) All representation should be interrogated for its assumptions, values, ideology, etc.
  30. (6) Writers benefit from a robust toolkit of applied theoretical frames for analyzing and revising texts.
  31. (7) Craft choices produce effects.
  32. (8) There are risks and possibilities to each craft choice, which are context-dependent.
  33. (9) Literary production is a unique way of thinking and discovering.
  34. (10) Writing processes are recursive, interpretive, and situated.
  35. (11) Literary production can benefit from rhetorical knowledge.
  36. (12) Principles from the psychology of creativity are useful for increasing the versatility of writers.
  37. 6. Conclusion: Another Future for Creative Writing
  38. Assessing the Pluralized Curriculum
  39. Social Justice in the (Extra)curriculum
  40. Literary Citizenship and Advocacy
  41. Aesthetic Development of Diverse Artists

Author note

Janelle Adsit is Assistant Professor of Writing Practices at Humboldt State University, USA.