Category Archives: Creative Writing

Teaching High-School Students to Write (1946)

LaBrant, L. (1946). Teaching high-school students to write. English Journal, 35(3), 123–128.

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LaBrant asserts that writing instruction must focus on the content of student compositions before addressing surface features. The piece is a powerful argument for student-centered writing instruction and the failure of isolated grammar instruction to support students as writers, notably: “We have some hundreds of studies now which demonstrate that there is little correlation (whatever that may cover) between exercises in punctuation and sentence structure and the tendency to use the principles illustrated in independent writing” (p. 127).

Quoting LaBrant:

There are many ways of writing English, and the teacher of composition must know, before he thinks of means for teaching, what kind of writing he thinks important to teach. He may be content if the writing is composed of sentences with correct structure, with periods neatly placed, verbs correctly ended, pronouns in the right case, and all attractively placed on the page. I have heard teachers say that if their pupils do all this, and spell with reasonable correctness, they (the teachers) are content. I am willing to admit that a conventional paper, such as is just described, tempts one to be satisfied; but I am not willing to admit that it represents a worth-while aim. As a teacher of English, I am not willing to teach the polishing and adornment of irresponsible, unimportant writing….I would place as the first aim of teaching students to write the development of full responsibility for what they say. (p. 123)

No English teacher would deny that one function of work in language is to improve the method of presentation; but to make method first reduces it automatically to use of approved form and gives as full credit to the irresponsible statement or paper as to the thoughtful one….We have consistently led them away from writing as a means for conveying thought and have substituted writing as an exercise in conjugation, punctuation, spelling, and declension….Read over the drivel which passes for content in the millions of exercises American children are working on, and see whether these children would gain the idea that we learn to use language so that we may state what we believe and that we are responsible for the ideas we set forth. (p. 124)

“But,”a teacher once said to me, “if I don’t use drillbooks and if I wait for sincere writing, I’d never teach punctuation or form. My students never want to write.” The answer is, of course,too obvious: If they don’t write, how can they use skills in punctuation and paragraphing? There is no need to drive a car when I have no expectation of driving one. It would be far better to spend my efforts on learning to walk well….First, the teacher should set up a friendly, unstrained atmosphere. (p. 125)

All writing that is worth putting on paper is creative in that it is made by the writer and is his own product….Again there may be those who will infer that I am advocating no correction, no emphasis on form. The opposite is really true. The reason for clarity, for approved usage, for attractive form, for organization, lies in the fact that these are means to the communication of something important. (p. 126)

We have some hundreds of studies now which demonstrate that there is little correlation(whatever that may cover) between exercises in punctuation and sentence structure and the tendency to use the principles illustrated in independent writing….Little is gained from blind drills, that is, from drills prepared in advance by some textbook writer who could, of course, not know the idiosyncrasies of the class….We think our exercises lead to clarification; he finds them merely inhibiting. (p. 127)

There will undoubtedly be many who will call this an ideal picture, an impossible end. If they are right, I see no reason for teaching writing;if they are right, we teachers of English have the dubious privilege of spending our best efforts to produce more conventionally stated futility. I am not willing to admit such defeat. (p. 128)

The Psychological Basis for Creative Writing (1936)

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

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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)