The fear of the blank page
I want to write but do not know how and what to start and what – it is the proverbial fear of the blank page. Of course, the teacher explains this anxiety with the model of internalized critic: spelling and expression as criteria are assessable on the one hand, and on the other hand, all is coated by own claims and the suspected expectations of the reader. To deal with the antipathy to writing a reorientation is recommended:
Creative Methods to complement the early writing lessons
Their general aim is to bring the internalized critic during the writing process and to lead to a new creative enthusiasm. It is allowed only in the revision phase – own criticism and others’ criticism for the text.
“Creative Writing” has become the buzzword for so many contexts and purposes, that it is not a uniform activity. The background is the pragmatic concept of “creative writing”, since the beginning of the 20th Century has developed in the United States, as a writing instruction for writing professionals (journalists, writers, etc.). It is one of the methodological foundations of university education in the United States.
Creative writing in school
As it is pointed in http://www.a-mentor.co.uk/services/research-writing/essay-writing/ the creative writing reached its apogee the early 60-s and writers first tested it. Soon developed it into a broader “writing movement,” discovered beyond the commercial or artistic interests of exploitation Creative Writing, as a way of self-discovery through self-expression. The current literature position oscillates between these two poles: the promise methodically write to learn to professionally /and perhaps even as a writer/ to be successful and find the promise in creative play.
Creative Writing has partly an explicit definition for schoolwork prescribed for the fun of writing and text work. Speaking, writing and reading are acts, and therefore applies to the creative use of texts as an example of action-oriented teaching (beyond the school). Since the 1970-s, educators have sought to use this approach for use in schools – with greater or lesser success.
New impetus pulled the writing movement in the late 1980-s and throughout the 1990-s, from the so-called post-modern movement. It was discovered that writing is a productive but not only. Detached from humanist educational ideals and rigorous historical-critical methodology, old or foreign texts were discovered as quarries for own writing. The insight itself became prevalent. The common misconception that an interpretation is a factual text was rejected. The alternative was that any text that refers to another interprets it.