The Poetics of Aristotle as a Practical Guide

Introduction

The following essay by Jill Paton Walsh is based on the lecture she gave during the Creative Writing Strand that was launched at CLISS 2003. The Creative Writing Strand proved a popular addition to the summer-school program and represented a new direction for the MA in Children's Literature. The teaching team at NCRCL had wanted to introduce creative writing to the MA for some time; CLISS 2 provided the ideal opportunity for running a pilot version of the forthcoming module, Writing for A Young Audience. The MA in Children's Literature has increasingly attracted both aspiring and practicing writers/illustrators, so creative writing seemed an obvious area for development. Indeed, the inception of this strand at CLISS reflects a widening interest in writing for children, which has been fuelled by the international success of writers such as J. K. Rowling and Philip Pullman and the "crossover" phenomenon that allows writers access to both child and adult markets.

The Creative Writing Strand offered a diverse program of lectures by experienced and highly regarded practitioners in the field of children's literature. Lectures were followed by practical workshops, providing students with the opportunity to share and develop their own work with peers and tutors. Students were also able to take this strand for credit; this option was taken up by more students than any other strand at CLISS. Each lecturer on this strand offered a different approach to the writing process and though, as Jill Paton Walsh confirms in her paper, some had doubts about the value of teaching creative writing, each offered useful insights into his or her craft nonetheless. Indeed, the notion of "craft" (whether writing for children or adults) proved a common thread between each lecture, suggesting that while the craft of writing requires years of experience (that cannot be taught), there are certain tools or skills that at least can be shared, if not taught.

The inaugural lecture, given by Aidan Chambers, provided a fascinating glimpse into the genesis of Breaktime (1978), the first of a sequence of six youth novels. Through reference to original drafts and working journals, Aidan used his own writing practices to illustrate his theoretical lecture on "finding your voice." Similarly, Adèle Geras reflected on her own experience as a published author, particularly drawing on her knowledge of the publishing industry. She gave excellent advice to fledgeling writers and confirmed the value of writing groups, courses, and competitions. Jan Pieñkowski's lecture explored the process of creating pop-up books, delving into his own history as an innovator in this field. Jan has enhanced his designs though digital technology, and he exhibited some of these techniques via a computer demonstration. To the obvious delight of students, Jan also brought along a mocked-up version of a "work in progress," The First Noel (published 2004), an intricate pop-up lantern. Jill Paton Walsh's lecture combined her experience as a writer and a scholar; hence, it was probably the most theoretical of those presented to students. Her discussion was particularly valuable to CLISS students who similarly unite an academic and creative approach to children's literature. Her paper was also the most obvious choice for inclusion in this issue, since it deals with the subject of writing for children in academic terms.

The Poetics of Aristotle As a Practical Guide

I've got a cheek, writing about Aristotle; I am not a classical scholar, and I am dependent on translations and commentaries in understanding what he meant. But for the particular use I have from time to time made of The Poetics, in teaching creative writing, an exact understanding of his text is not necessary—even a general grasp of what he was saying is a powerful stimulus to insight.

There was a time when I quite often gave creative writing workshops, and nearly as often became cross about the participants. And sometimes the participants are rather odd. Is the world full of people who want to become professional musicians by taking short courses, but who do not want to listen to music? Who, when...