The combined experience of authors throughout the ages offers a wealth of valuable information about the practice of creative writing. However, such lore can also be problematic for students and practitioners as it can be inherently additive, making it difficult to abandon processes that do not work. This adherence to lore also tends to be a US-centric endeavor. In order to take a nuanced approach to the uses and limitations of lore, The Place and the Writer offers a global perspective on creative writing pedagogy that has yet to be fully explored. Featuring a diverse array of cultural viewpoints from Brazil to Hong Kong, Finland to South Africa, this book explores the ongoing international debate about the best approaches for teaching and practicing creative writing. Marshall Moore and Sam Meekings challenge areas of perceived wisdom that persist in the field of creative writing, including aesthetics and politics in institutionalized creative writing; the process of workshopping; tuition and talent; anxiety in the classroom; unifying theory and lore; and teaching creative writing in languages other than English.

1. Foreword by Marshall Moore and Sam Meekings2. Introduction by Graeme Harper (University of Oakland, USA)3. Toward a Unified Field: The Complications of Lore and Global Context by Stephanie Vanderslice (University of Central Arkansas, USA)4. Ukubhukuda: 1 Not Sinking in Language but Swimming by Bronwyn Law-Viljoen and Phillippa Yaa de Villiers (University of the Witwatersrand, South Africa)5. Workshopping to Better Writing and Understanding by Dai Fan and Li Ling (Sun Yat-Sen University, China)6. Protagonizing the L2: the Case for "Life Writing" in Creative Writing (SL) Contexts by Dan Disney (Sogang University, Korea)7. From the Shadow of a Myth to an Academic Subject: Teaching Writing from a Cognitive Base by Nora Ekstrom (University of Jyväskylä, Finland)8. Scenes of Judgement: Teaching Narrative Form in Literary Memoir by Jonathan Taylor (University of Leicester, UK)9. Tuition and the Individual Talent by Ross Gibson (University of Canberra, Australia)10. Creative Portfolios: Adapting AWP Goals for EFL Creative Writing Courses in Japan by Holly Thompson (Yokohama City University, Japan)11. Through the Looking Glass and Back Again: Writing Reflectively in Creative Writing by Maria Taylor (De Montfort University, UK)12. Teacher Lore and Pedagogy in Creative Writing Courses in Poland:A Brief History and Practices That Work by Hanna Sieja-Skrzypulec (Jagiellonian University, Poland)13. Historical and Pedagogical Dimension of Creative Writing in Greece: From Conventional to Open and Distance-Learning Education by Triantafyllos Kotopoulos (University of Western Macedonia), Sophie Iakovidou (Democritus University of Thrace), and Iordanis Koumasidis (Hellenic Open University) 14. An American Walks into a Bar (with her British Creative Writing Students) by Lania Knight (University of Gloucestershire, UK)15. Teaching Chinese-Language Creative Writing in Hong Kong: Three Case Studies by James Shea (Hong Kong Baptist University) 16. Playing Catch-Up: Finding a Voice for Creative Writing in Brazil by Bernardo Bueno (Pontifical Catholic University of Rio Grande do Sul, Brazil)17. Teaching Creative Writing in a Threatened Language by Rúnar Vignisson (University of Iceland)