Spanish Pavane, I am with EllieD. Your answer covers everything, well done!
(Of course, it helps that I agree passionately with every word you have written here . . . )
I teach several adults, and getting some of them to stick to a fingering and use only that fingering can be a major problem. Yes, five fingers on five notes/consecutive letter-names. Why is this rarely emphasised nowadays? Repeated notes: why change fingers on slow, repeated notes? If the idea (which I believe the editor must have) is to avoid tensition and hard-edged sounds, then teach how to achieve this by relaxation and orthodox standard methods. Fast repetitions are a totally different matter.
And the great Liszt stated that every serious pianist should be able to play every single scale using the same fingering as for C major, just as fluently as if using that scale's standard fingering. I think that this remark is truly profound, and says A LOT about Liszt's depth of keyboard undertanding. In a nutshell, by all means know the 'correct' fingering, but do not be inextricably bound to it. There are many times when one may need to use a fingering which flies in the face of conventional thinking, in order to achieve a particular musical effect, or deal with an unusual technical idiosyncracy. And be able to use an unorthodox fingering in a flash, on the spur of the moment. Bach dragged fingering out of the Middle Ages and more or less into the 21st century. HIS thumbs must have lived on black keys just as much as his other fingers (witness, as stated above, the WTC books 1 & 2).
I like to think that I am very creative, but logical with my fingering (I can always learn, however!!) Like others above I will try out a tricky passage and suggest what I believe to be the best solution to solve all the various aspects to consider. And then the student will try it, or alter it in some way to suit their hand or style. If the change can be done fluently, and does not harm the musical effect, I generally write in the alteration (in PENCIL ! ! ! ! ) and we carry on. Incidentally, who hasn't done this; only for the student to go straight back to the original obliterated fingering and use it perfectly well, without even realising it?? Ha ha!
Ligneo Fistula, this is a great question; sbhoa, like you I always start with the editor's fingering, as it gives a baseline to work from (someone has already tried their fingering and found that it worked),
. . . But if anyone has any idea how to get the student to STICK to it, I will be delighted to learn! . . . answers on a postcard, please . . .