In this paper Edmonds is ' ... concerned about the integration of creative writing programs into existing community initiatives so as to maximize the best use of resources ... Ultimately, creative writing programs can only operate to their full potential alongside an expanding and vibrant publishing culture ...' Edmonds discusses the fact that the small presses and magazines of the 1970s and early 80s ' ... were the equivalent of our contemporary creative writing classes in finding and encouraging potential writers.' The differences now are in validation, from writing courses rather than magazine readers, publication formats including web-based, and ' ... a publishing climate that tries to satisfy all manner of expectations'. In this climate, Edmonds argues, ' ... are we becoming unwitting servants of an homogenising marketplace, particularly if that market has largely abrogated responsibility for the survival and promotion of endangered literary forms such as poetry and the short story, two genres we wilfully and rightly insist on preserving in our courses? What are we teaching and how does it relate to this general picture? '