Creative Writing Courses, The Debut Authors Festival, 2007
This event explored the pros and cons of the creative writing course - although, as most of the speakers were involved with creative writing courses in one way or another, it was perhaps a bit more pro than con. However it was a really interesting discussion. I have tried to pick out a few of the issues touched upon below.
Chair Jenny Brown of Jenny Brown Associates kicked off the session with an anecdote about how her agency had received a manuscript, accompanied by a CV claiming the writer had obtained a distinction from the UEA Creative Writing Masters. Of course, this turned out to be a hoax, but she did admit - to her credit - that the claim had pushed the ms to the top of the slushpile and it received a careful reading as a result.
So – to creative writing courses. The question was asked: “considered prestigious by some and unnecessary by others, are they now an essential part of becoming a successful novelist?”
It was certainly an eye-opener to hear Creative Writing is one of the fastest growing academic sectors, with many English Literature departments either moving to offer creative writing as a degree in English Literature Departments or turning more towards creative writing within existing English degrees.
It was also clear that there is a lot of debate even amongst those who taught Creative Writing. Alan Bissett (tutor of Creative Writing at Glasgow University) talked of the difficulty some tutors who are also writers have had with the different perception and restrictions imposed by the academic framework and the expectations of the institution. Kirsty Gunn, (professor of Creative Writing at Dundee University) talked of her interest in trying to set up a free space, a kind of space where writers could come together and explore. And the difficulties of satisfactorally shaping an atmosphere that encourages creativity within an academic context were discussed at some length.
As the panelists made clear, the gap between expectation and what a course can possibly deliver can also be a point of tension. There is no guarantee of publication, in fact the publication rates for graduates is still quite low and there is also no guarantee that people will get what they want from a course: a course can’t write a novel for you and even a startling academic result cannot get it published.
However, it is clear, that this is an industry with enormous demand, quite independent of the numbers of books published; it seems, there is an insatiable demand to be become a writer and anything that seems to take people closer will have a market. This also pays a part in the rise of other industries with would-be writers as the customer such as editorial consultancies, short residential courses and mentoring.
It was also interesting to note – just in the Debut Festival as a whole – how many writers found agents, not by submission processes, but by attending courses (either short residential courses or academic courses) or being recommended by a respected individual in the field. So, networking also seems to be another essential aspect that Creative Writing Courses touch upon and can, perhaps, give some access to.
Julian Gough’s recent article in Prospect Magazine questioned the prevalence of the creative writing course in the US and how it is becoming increasingly the norm here. He warns of the similarity of style and inward-looking subject-matter this encourages.
The thing that perhaps worries me more is that the overall trend moving more this way may favour those of certain backgrounds or with a level of support. These courses and other writers services are not cheap. I know that people will say “ah but if you are determined enough”. But it seems to me that this is often said about barriers that actually are more about money than determination. For, in actual fact, a lot of people will NOT have to be that determined to go on such a course, if it is not a major financial risk to them. Whilst others, who may well be determined, but also have other considerations including children, financial dependents, or the need for a course that can guarantee some future job opportunities (and no supportive relatives to help), may feel that they simply cannot sign up.
And idly imagining here - with it now being possible to study Creative Writing as an undergraduate and postgraduate - what is the result of writers who have lived a life almost predominantly doing Creative Writing Courses? Writing about writing? Or universities? This is not necessarily bad either, but I do think it is important to have a wide variety of voices, experiences and styles out there.
Which is why I think it is so important that however much these industries grow, that there must be other routes kept open for people all over society – such as the old-fashioned, unpopular, much-maligned slushpile. If it becomes the case that courses and other methods that require large financial outlays from the writer are overly-relied upon to filter out talent and commitment, might we not be in danger of missing out on some great material and experiences from elsewhere?
As usual, I certainly don’t have the answers to any of this. But thought, at least, I could pose some questions. What do you all think about this?
Are Creative Writing Courses exciting places with opportunities to really develop your voice and examine writing with others who are similarly engaged with the subject? Or, is it becoming increasingly the case that writers are expected to pay out huge sums of money, meet the right people, pay for consultancy/editorial services – just in order to reach the starting line? Or both, for that matter. Doesn't have to be an argument, would just be interested in what people think.

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