Elbow, Peter. Foreword. "Writing Alone and With Others." Pat Schneider. New York: Oxford University Press, 2003.

I believe the foreword of this book would also make a great introductory lecture for a creative writing class. Elbow begins with "five essential affirmations" about writing with which I strongly agree:

1. Everyone has a strong, unique voice.
2. Everyone is born with creative genius.
3. Writing as an art form belongs to all people, regardless of economic class or educational level.
4. The teaching of craft can be done without damage to a writer's original voice or artistic self-esteem.
5. A writer is someone who writes (ix-x).

I've never been fond of literary snobbery, or of writers who advocate one style of writing. All of it needs to be out there, and writers should choose their own voices and genres. Even if they go against the grain of what the workshop leader likes or finds to be "good writing," the leader should consider what comes naturally to the writer, including his tastes, voices, and subject matter.

What is interesting is that Elbow then outlines "five essential practices," one of which I'm not sure I advocate:

1. A nonhierarchial spirit (how we treat writing) in the workshop is maintained while at the same time an appropriate discipline (how we interact as a group) keeps writers safe. (This I do agree with; I don't think the teacher has the final word, but should act as a guide and member of the class. This can be difficult for students to understand, as they look to the teacher for the "right" answer, but in creativity there is no right answer, just preferences and inclinations.)

2. Confidentiality about what is written in the workshop is maintained, and the privacy of the writer is protected ... at all times writers are free to refrain from reading their work aloud. (I don't know about this -- shouldn't a writer "own up" to his words? This seems a little overprotective.)

3. Absolutely no criticism, suggestion, or question is directed toward the writer in response to first-draft, just-written work. A thorough critique is offered only when the writer asks for it and distributes work in manuscript form. Critique is balanced; there is as much affirmation as suggestion for change. (I agree with this.)

4. The teaching of craft is taken seriously and is conducted through exerises that invite experimentation and growth as well as thorough response to manuscripts and in private conferences. (I like the idea of private conferences, and hop to do more of them, as soon as my schedule slows down more.)

5. The leader writes along with the participants and reads that work aloud at lest once in each writing session. This practice is absolutely necessary, for only in this way is there equality of risk-taking and mutuality of trust. (I see his point, but I have to admit I don't share much of my work in class as it seems to garner a "look at me the successful writer" quality that I don't think helps the students.)