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   ii my own writing narrative. These writing narratives include (auto) biographies, interviews, podcasts, and workshop notes.   iii 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.”   iv Dedication To Spirit To the Writer To Bob   v 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   vi 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   vii 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   viii 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   ix 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   1