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In this new edition of his popular book, well-known advocate of innovative teaching methods Peter Elbow outlines a practical program for learning how to write.
Contains a collection of specific classroom strategies & suggestions for teaching writing to elementary school students according to an eight-stage process. Specific techniques for teaching each stage of the writing process & descriptions of proven approaches for using these techniques are also included. "A wonderful resource, a labor of love from a large & talented group of educators." Had its beginnings in the California Writing Project at the Univ. of California, Irvine. Best Seller! Illustrated.
With Writing without Teachers (OUP 1975) and Writing with Power (OUP 1995) Peter Elbow revolutionized the teaching of writing. His process method--and its now commonplace "free writing" techniques--liberated generations of students and teachers from the emphasis on formal principles of grammar that had dominated composition pedagogy. This new collection of essays brings together the best of Elbow's writing since the publication of Embracing Contraries in 1987. The volume includes sections on voice, the experience of writing, teaching, and evaluation. Implicit throughout is Elbow's commitment to humanizing the profession, and his continued emphasis on the importance of binary thinking and nonadversarial argument. The result is a compendium of a master teacher's thought on the relation between good pedagogy and good writing; it is sure to be of interest to all professional teachers of writing, and will be a valuable book for use in composition courses at all levels.
For more than a quarter of a century, Pat Schneider has helped writers find and liberate their true voices. She has taught all kinds--the award winning, the struggling, and those who have been silenced by poverty and hardship. Her innovative methods have worked in classrooms from elementary to graduate level, in jail cells and public housing projects, in convents and seminaries, in youth at-risk programs, and with groups of the terminally ill. Now, in Writing Alone and with Others, Schneider's acclaimed methods are available in a single, well-organized, and highly readable volume. The first part of the book guides the reader through the perils of the solitary writing life: fear, writer's block, and the bad habits of the internal critic. In the second section, Schneider describes the Amherst Writers and Artists workshop method, widely used across the U.S. and abroad. Chapters on fiction and poetry address matters of technique and point to further resources, while more than a hundred writing exercises offer specific ways to jumpstart the blocked and stretch the rut-stuck. Schneider's innovative teaching method will refresh the experienced writer and encourage the beginner. Her book is the essential owner's manual for the writer's voice.
This is the first scholarly examination of the use of dialogic theory and pedagogy by scholars and teachers of writing. Dialogic methods have become extremely important to many different approaches to pedagogy. However, no one has yet noted that such pedagogies are being espoused by scholars and teachers who have vastly differing theoretical and ideological orientations from one another. Given the fact that the same kind of pedagogy is being proposed by people from such widely differing perspectives, it is time for a substantial reassessment of the use of dialogic pedagogies in literacy education. Ward’s critique of the “democratic” dialogue that expressivists, social constructionists, radical pedagogists, and poststructuralists profess should be read by all compositionists employing collaborative learning in their classrooms. Ward’s pedagogy acknowledges and makes room for the differences among students that feminist and social constructionist pedagogies often ignore; it takes into account that social relationships outside the composition classroom can affect the relationships of students within it.
Provide young writers with skills that expand their creativity and writer's craft vocabulary. Each self-contained lesson targets a specific technique or skill that teaches craft and author's devices, and encourages elaboration. Sixty mini-lessons give your students practice in applying the skills they need to write well-developed narrative and expository pieces. Best of all, each mini-lesson provides examples of polished writing and writing that need revision, as well as reference to other books to use as models -- all you need to teach "show me" writing effectively.

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