Cover

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Title Page, Copyright

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Contents

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Prologue

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pp. 1-6

Pedagogy is one of three essential legs of any academic discipline. To become a recognized academic discipline or simply to evolve, a branch of study works purposefully on developing its pedagogy, research, and theory. Pedagogy, of the three, arguably has the most bearing on and the greatest...

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1. Rhetorical Pedagogy

Tom C. Hunley and Sandra Giles

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pp. 7-29

Let’s say that rhetoric is the art of persuasion. Or maybe it’s the art of speaking well. Or maybe it concerns itself with the effects of language. Of meaning. Of how we humans convey meaning. And interpret it. Or misinterpret. Simple enough, huh?
Even the ancients didn’t agree...

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2. Creative Writing and Process Pedagogy

Tim Mayers

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pp. 30-51

“There is an ambiguity in the term writing,” notes composition scholar Bruce Horner, “arising from its use to designate both an activity and the product of that activity” (209, italics in original). Creative writer and scholar Graeme Harper also notes this ambiguity: “When speaking about...

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3. Mutuality and the Teaching of the Introductory Creative Writing Course

Patrick Bizzaro

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pp. 52-77

Though he was not a classroom teacher of mine, William Stafford greatly influenced my thinking about the teaching of creative writing. In occasional workshops I had the good fortune to attend, but especially through my reading of Writing the Australian Crawl, I noted that Stafford took a...

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4. A Feminist Approach to Creative Writing Pedagogy

Pamela Annas and Joyce Peseroff

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pp. 78-101

A feminist app roach to teaching creative writing invites writers to explore the raw material of their lives in the context of their experiences as parents or on the battlefield, their historically specific memories of the racial or ethnic, working-class or professional-class neighborhood(s) in...

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5. Writers Inc.: Writing and Collaborative Practice

Jen Webb and Andrew Melrose

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pp. 102-125

These students were all enrolled in a creative writing subject, and pretty annoyed about the prospect of group assessment. Their points of view are easily understood; creative writing is invariably treated as a private, even a secret act, though one that (ideally) ends up in the public domain. What’s...

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6. Writing Center Theory and Pedagogy in the Undergraduate Creative Writing Classroom

Kate Kostelnik

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pp. 126-152

As North says, we all need to talk about our work with someone. I’ve found that person who will really listen in Claire, a fellow graduate student at the University of Nebraska, Lincoln. We exchange story drafts, e-mail one another notes, and meet to discuss everything over a beer. And by...

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7. Service Learning, Literary Citizenship, and the Creative Writing Classroom

Carey E. Smitherman and Stephanie Vanderslice

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pp. 153-168

Al though some students may have participated in volunteer work in the past, service learning meaningfully connects the classroom to the world just as Manolis and others advocate. According to the National Service-Learning Clearing House, service learning is “a teaching and learning...

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8. Creative Literacy Pedagogy

Steve Healey

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pp. 169-193

Recently I taught several poetry workshops at a residential school for juvenile offenders in Minnesota. I don’t have much experience teaching adolescent students, but over the years I’ve taught quite a few adult prisoners in various facilities. I’ve come to appreciate how these students can...

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9. The Pedagogy of Creative Writing across the Curriculum

Alexandria Peary

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pp. 194-220

Write a text in the voice of an anatomy cadaver, a poem that uses π as an organizational device, a short story that depicts you on the job ten years in the future in a sociology of work course, a one-act play or an advice column that explores a psychological concept, a business memo from the...

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10. A Basic Writing Teacher Teaches Creative Writing

Clyde Moneyhun

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pp. 221-242

Basic writing—sometimes called developmental writing or (less often these days) remedial writing—has in my experience been a fountain of pedagogical ideas for the teaching of all writing. In my particular case, teaching basic writing has definitely given me ideas about how to teach...

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11. Digital Technologies and Creative Writing Pedagogy

Bronwyn T. Williams

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pp. 243-268

Visit the webpages of most university creative writing programs and you’ll find similar images. Time and again you’ll see pictures of print books and journals, of students in a classroom talking about the printed manuscripts in front of them, of writers giving readings from their books, even of students...

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12. Ecological Creative Writing

James Engelhardt and Jeremy Schraffenberger

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pp. 269-288

On early summer weekends, very few people in the park are thinking about locally sourced food, water crises, or an increase in extreme weather events. Why should they? They’re gathered with friends and family enjoying the long, warm days. Summer romances and family vacations will follow...

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Afterword

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pp. 289-292

What happ ened as you read this book? We’re curious. Were you left with a different image of the creative writing classroom? Did one pedagogy particularly resonate with you, perhaps energizing your approach to an upcoming semester or your lesson plan for next week’s class? Did an...

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Contributors

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pp. 293-298

Pamela Annas is a professor emerita of English and formerly an associate dean of the College of Liberal Arts at the University of Massachusetts, Boston. She directed the English MA program at the University of Massachusetts Boston and helped develop the school’s MFA program. Her books include...

Index

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pp. 299-310

Back Cover

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