The Psychological Basis for Creative Writing (1936)

LaBrant, L. (1936, April). The psychological basis for creative writing. The English Journal, 25(4), 292-301.

Stable URL: http://www.jstor.org/stable/805015

LaBrant calls for a reconsideration of the term “creative writing,” arguing for a redefinition: “that written composition for which the writer has determined his own subject, the form in which he presents it, and the length of the product” (p. 293). She presents reasons this definition and implementation of creative writing is important for students as a key part of the writing curriculum.

Quoting LaBrant:

Although teachers of English should be an especially discriminating group when verbal products are concerned, unfortunately we have been as guilty as other educators in devising equivocal phrases and vague statements. We have talked about “tool writing,” “mechanics of reading,” “creative writing,” and “functional grammar.” We have suggested a knowledge as to where grammar ceases to be functional and becomes formal, although grammarians have assured us that all formal grammar is derived from speech. We have verbally separated good usage from grammar, reading skills from reading, and implied other such distinctions. “Creative writing” is probably another one of these vague inventions of our lips. (pp. 292-293)

For in truth every new sentence is a creation, a very intricate and remarkable product. By the term “creative writing” we are, however, emphasizing the degree to which an individual has contributed his personal feeling or thinking to the sentence or paragraph. This emphasis has been necessary because too frequently the school has set up a series of directions, to this extent limiting what we may think of as the creative contribution: the teacher names the topic, determines the length of the paper, and even sometimes assigns the form. For the purposes of this paper I shall, perhaps arbitrarily, use the term “creative writing” to include only that written composition for which the writer has determined his own subject, the form in which he presents it, and the length of the product. (p. 293)

Before continuing I should make it clear that in discussing creative writing and its basis in child need, I am not suggesting that this is the total writing program. There is no necessity for deciding that formal, carefully organized papers have no place in the high-school student’s writing; but neither is there need to conclude that the necessity for writing assigned and limited history papers precludes the possibility of creative work. In my own classes both needs are recognized. (p. 294)

The foregoing are the chief reasons I see for a program of creative writing. Such a program as here outlined is not easy to direct nor is it a thing to be accepted without careful thought. It demands a recognition of each pupil as an individual; a belief in the real force of creative, active intelligence; a willingness to accept pupil participation in the program planning. I have heard many teachers argue that, given a free hand, pupils will write very little. I can only say that has not been my observation nor my teaching experience…. (p. 299)

Let’s not tell them what to write. (p. 301)

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About plthomasedd

P. L. Thomas, Associate Professor of Education (Furman University, Greenville SC), taught high school English in rural South Carolina before moving to teacher education. He is a column editor for English Journal (National Council of Teachers of English) and series editor for Critical Literacy Teaching Series: Challenging Authors and Genres (Sense Publishers), in which he authored the first volume—Challenging Genres: Comics and Graphic Novels (2010). He has served on major committees with NCTE, and has been named Council Historian (2013-2015), and formerly served as co-editor for The South Carolina English Teacher for SCCTE. Recent books include Ignoring Poverty in the U.S.: The Corporate Takeover of Public Education (Information Age Publishing, 2012) and Parental Choice?: A Critical Reconsideration of Choice and the Debate about Choice (Information Age Publishing, 2010).He has also published books on Barbara Kingsolver, Kurt Vonnegut, Margaret Atwood, and Ralph Ellison. His scholarly work includes dozens of works in major journals—English Journal, English Education, Souls, Notes on American Literature, Journal of Educational Controversy, Journal of Teaching Writing, and others. His commentaries have been included in Room for Debate (The New York Times), The Answer Sheet (Washington Post), The Guardian (UK), truthout, Education Week, The Daily Censored, OpEdNews, The State (Columbia, SC), The Charlotte Observer (Charlotte, NC), The Post and Courier (Charleston, SC) and The Greenville News (Greenville, SC). His work can be followed at the becoming radical (http://radicalscholarship.wordpress.com/) and @plthomasEdD on twitter. View all posts by plthomasedd

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