What are specific challenges that queer learners must navigate and how do we ensure that we create a safe space for all participants?
What kinds of familial and societal pressures can queer creativity address, palliate, challenge, reject?
What kinds of transmedial experiences and texts can lend themselves best to the learning and enhancing of queer creativity?
How might a creative writing or artistic workshop transform itself into a life-long support system for the young writers who take part in them?
How should queer texts—which can be scriptural, audiovisual, and/or performative—be “read” and what kind of contextual analyses do they require, so that they can be properly understood?
How might heteronormativity be avoided as a default interpretive procedure in the reading of literary and artistic texts?
Since writing presupposes reading, and since both are finally indistinguishable from each other, what kinds of queer reading experiences might the workshop incorporate, to help “feed” its participants’ imaginations, and complicate their artistic and/or political visions?
Inasmuch as it is the home of self-reflexivity and autocritique, does critical theory have a place in the creative writing or art workshop? If so, what is the optimal way for this interdisciplinary dialogue to take place, particularly within the workshop setup?
What are the pedagogical steps a teacher or workshop facilitator can take to help young queer readers, writers, and artists realize their full potentials?
What are the intersectional themes that present themselves in the reading of queer texts and how might these themes best be explained to learners in the senior high school and tertiary classrooms?
How can intersectionalities of oppression and resistance be operationalized in the writing and workshopping of texts composed by young and aspiring queer writers?
In the interest of encouraging intersectional diversity in the texts that young writers are producing, how might lessons on the ethics of cross-identification be inculcated in the mentoring of creative manuscripts?
How can the workshop method complicate the task of representing queer lives and what are the ethical affordances—as well as the limits—of solidarity, and more broadly speaking, of empathy?
What kinds of “technologies” might be mustered to help this project along?
How do we migrate from a traditional creative writing or arts workshop to one for digital natives?
How might the lessons learned in the queer classroom be inserted into the public domain?
How might the workshop structure be utilized to proliferate publishing or exhibition opportunities for young queer writers and artists?
How do we transform creative writing or art teachers to become pro-active allies and accomplices?
