An Investigation of Non-Cognitive Approaches to the Creative Writing Process by Penny Ann ...

244 Pages·2016·0.9 MB·English

An Investigation of Non-Cognitive Approaches to the Creative Writing Process

by

Penny Ann Verbruggen

Graduate Department of Curriculum, Teaching, and Learning
Ontario Institute for Studies in Education
University of Toronto

A thesis submitted in conformity with the requirements
for the degree of Doctor of Philosophy
Graduate Department of Curriculum, Teaching and Learning
Ontario Institute for Studies in Education
University of Toronto

© Copyright by Penny Ann Verbruggen 2017
An Investigation of Non-Cognitive Approaches to the Creative Writing Process
Doctor of Philosophy, 2017
Penny Ann Verbruggen
Graduate Department of Curriculum, Teaching and Learning
Ontario Institute for Studies in Education
University of Toronto

Abstract
Much research suggests that the writing process, as taught in public schools, focuses on
essay writing and literacy skills development. Statistics published by the Education
Quality and Accountability Office (EQAO) in Ontario suggest this focus on essay writing
and literacy skills development is both warranted and effective; students consistently
achieve or surpass provincial standards for literacy.
However, much extant writing research reinforces this narrow view of writing, which is
weighted in favour of outcomes-based skills development. Data collected from the
Contextual Information (taken from the Student Questionnaire at the conclusion of the
Ontario Secondary School Literacy Test) reveal that students view writing as an
assignment-driven, un-creative, and stressful activity.
Research into the process of writers writing creatively within the public school system is
limited. Therefore, this narrative inquiry explores the creative writing process of
accomplished, professional Canadian creative writers, and includes my own creative
process as a published writer of narrative fiction. This study contributes to composition
process theory and pedagogy by considering the process of creative writing, using a
holistic framework. Data are collected from the narratives of three accomplished
Canadian writers: Margaret Atwood, Lawrence Hill, and Alice Munro, as well as from

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my own writing narrative. These writing narratives include (auto) biographies, interviews,
podcasts, and workshop notes.

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Acknowledgments
Those fortunate to make the pilgrimage to Santiago de Compostela, Spain quickly
discover the gifts of strength in vulnerability, joy in adversity, and beauty in the grey
mists that cloud the Pyrenees. Along the Way, pilgrims call, “Ultreïa.” It is a blessing of
encouragement to keep the pilgrim moving forward and upward, both physically and
spiritually.
This vignette describes my experience of the PhD journey. With the unflagging support
and direction of my supervisor, Dr. Karyn Cooper, I realized strength, joy, and beauty in
a process sometimes fraught with uncertainty and obstacles. My committee members, Dr.
Grace Feuerverger and Dr. Jack Miller, offered clarity during the early days of my
clouded vision. Dr. Robert White and Dr. Carl Leggo suggested new avenues of
discovery through their thoughtful questions and discussion. For your company along my
journey, I am grateful.
What mother could fulfill a long-held dream without the love, humour, and calm of her
children? God bless you Jessica, Jeremy, and Zoë for enriching my life always and
forever.
Andrew, my husband and my inspiration, God love you for twice carrying my backpack
on the road to Santiago, and then my spirit on the road to a PhD.
And my dear friends, who loved me as a sister, wading through the muck with me and
celebrating at the end…know that your kindness was the breath of life that kept me
moving forward.
“Ultreïa.”

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Dedication

To Spirit
To the Writer
To Bob

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Table of Contents
Abstract……………………………………………………………………………………ii
Acknowledgments………………………………………………………………………..iv
Dedication………………………………………………………………………………....v
Chapter 1: Introduction....................................................................................................1
My Story……………………………………………………………………………….1
Overview……………………………………………………………………………….2
Research Problem……………………………………………………………………...5
Chapter 2: Literature, Theory, and Research Questions...……………………………8
Literature Review………………………………………………………………………8
Composition Theories……………………………………………………………..8
A Broader Approach to Composition Studies…………………………………...11
Research Beyond the Intellectual Domain: The Creative Writing Experience.....16
Research Questions…………………………………………………………………...20
Theoretical Perspective……………………………………………………………….20
Definition of Terms and Context……………………………………………………..22
Mind-body-spirit balance………………………………………………………...22
Mind……………………………………………………………………………...24
Body……………………………………………………………………………...25
Spirit……………………………………………………………………………...27
Holistic Creative Writing Process…………………………………………………….28
Chapter 3: A Methodology that Matters.……………………………………………..30
Research Methodology and Methods…………………………………………………30
Scholarly Personal Narrative (SPN)………………………………………………….33
SPN Guidelines……………………………………………………………………….38
SPN Challenges………………………………………………………………………42
Concerns About Data Collection………………………………………………...43
What is Community? What is Culture?.................................................................44
Data Sources and Analysis……………………………………………………………45
The Writers…………………………………………………………………………...47
Other Voices/Other Writers…………………………………………………………..49

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Chapter 4: Margaret Atwood………………………………………………………….51
Why Margaret Atwood?...............................................................................................51
Questions to Writers………………………………………………………………….59
Place…………………………………………………………………………………....60
Routines of Time……………………………………………………………………...63
Routines of Discipline………………………………………………………………...66
Preparations…………………………………………………………………………...73
Pen and Paper…………………………………………………………………….73
Desks, Typewriters, and Computers……………………………………………..75
Drink more water/Go to bed earlier……………………………………………...76
Ideas and Creating Empty Space……………………………………………………..78
Support and Passion…………………………………………………………………..80
Chapter 5: Lawrence Hill………………………………………………………………83
Why Lawrence Hill?.....................................................................................................83
On Writing and Becoming a Writer…………………………………………………..86
The Nurturing Environment………………………………………………………..…87
Sub-text: The nurturing, UNsupportive home environment……………………..87
Passion………………………………………………………………………………..93
Courage……………………………………………………………………………….96
Imagination and Inspiration…………………………………………………………..99
Routines of Time and Place…………………………………………………………105
Gestation………………………………………………………………………..108
Writing Furiously, Listening, and Going Deep………………………………...109
Staring into Space………………………………………………………………111
Tools………………………………………………………………………………...113
Write What You Don’t Know……………………………………………………….113
Qualities of a Writer…………………………………………………………………114
Chapter 6: Alice Munro………………………………………………………………116
Why Alice Munro?.....................................................................................................116
Becoming a Writer…………………………………………………………………..124
A Fine Balance………………………………………………………………………127

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Early Years: Writing in the Slivers of Time……………………………………128
Writing in Later Years………………………………………………………….133
Conditions for Writing………………………………………………………………136
The Ideal Place………………………………………………………………….136
Writing at Home: The Particulars of a Writing Life……………………………140
Writer’s Block……………………………………………………………………….144
Inspiration and the “Gift”…........................................................................................149
Chapter 7: Exploring the Creative Process………………………………………….151
Findings and Discussion……………………………………………………………151
The Starting Block……………………………………………………………...151
Passion for Writing and Teaching the Joy of Writing………………………………156
Recreating the Experience/Recreating the World...…………………………………158
Writing Truth………………………………………………………………………..163
Voice: defined and explored………………………………………………………...166
Audience: For Whom Do I Write?..............................................................................169
Creative Patterns and Routines Amidst the Busy-ness of Life……………………...172
Creative Space(s)……………………………………………………………………174
Other Rituals of the Mind, Body, and Spirit………………………...………………176
Inspiration…………………………………………………………………………...178
Chapter 8: Implications and Reflections…………………………………………….180
Failure to Start……………………………………………………………………….183
Implications for the Classroom…………………………………………………183
Movement…………………………………………………………………………...186
Implications for the Classroom…………………………………………………187
Encouragement and Support………………………………………………………...187
Implications for the Classroom…………………………………………………188
Physical Space/Environment………………………………………………………..191
Implications for the Classroom…………………………………………………192
The Importance of Routines/Rituals/Patterns……………………………………….195
Rituals……………………………………………………………………………….196
Implications for the Classroom…………………………………………………198

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The Uniform Voice That is No Voice……………………………………………….200
Implications for the Classroom: Change our Narratives, Change Ourselves…..204
Significance of the Research………………………………………………………...208
Opportunities for Further Research…………………………………………………209
Gender…………………………………………………………………………..209
Epilogue……………………………………………………………………………..210
Works Cited……………………………………………………………………………213

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Chapter 1: Introduction
To use your imagination is to use a gift of the gods. --Lawrence Hill
Chapter 1 describes my early interest in writing and the writing process. I present an
overview of the educational problem, and articulate the educational research problem.
My Story
I keep journals, and know the value of journals to the creative process. I
questioned both Drs. Conle and Feuerverger’s advice when they suggested I plumb the
depths of my writing experiences through a journal dedicated to “writing” so that I might
discover my thesis topic. However, my writing journal resulted in a collection of writing
vignettes that revealed the power of words throughout my student life and beyond. Words,
imagination, and story became my strength during uncertainty, my protection against
loneliness, and my ticket to acceptance in an ungainly world where I struggled to find
footing.
I jotted memories of filling a Schaeffer fountain pen from a bottle of blue ink that
sat in an inkwell carved into the top corner of my student desk. We used fountain pens to
learn cursive writing, forming graceful circular and oval loops across lines in our
scribblers. Mistakes magically disappeared into a single drop of bleach and water from an
eyedropper that was dabbed away with a rectangular white blotter. That fountain pen was
a key to worlds I created from my imagination. The nuns, my teachers, and my friends
enjoyed the tales that rolled from its scratchy tip.
While I struggled with mathematics, I excelled at language arts. I wrote poetry
and holiday-themed pieces for our elementary school newsletter and stories for the high
school paper. Much later, I wrote opinion pieces and reviews for the Brock University

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