This accessible yet authoritative book considers and encourages flexible, playful and innovative practices in the teaching of writing, and shows how certain practices can develop children's creative and linguistic potential and their overall skill

"Writing, Redefined asks educators to reflect critically on the kinds of writing - and the kinds of writers - traditionally valued in school spaces and offers a compelling argument for broadening our ideas around composition in order to honor the stories, the voices, and the lived experiences of all students"--

While standard language ideology (SLI) is harmful in its exclusion of minorities through expression of language and race, translingualism provides a positive scaffolding characterized by the disposition of openness. Translingualism suggests that each utterance creates meaning and is a direct rebellion against SLI. It privileges unprivileged varieties of English over so-called Standard English. In order to combat SLI, scholars have emphasized the need for congenial multicultural spaces where students can use their cultural and linguistic resources as an asset and which supports the idea of students learning from each other through their diversity. Teaching Practices and Language Ideologies for Multilingual Classrooms is an essential scholarly publication that examines the educational necessities for diverse student populations and multilingual students and provides rich teaching resources for guiding the creation of classroom environments that engage multilingual students and support their writing and problem-solving skills. Featuring a range of topics such as ethics, code-switching, and language education, this book is ideal for teachers, instructional designers, academicians, sociologists, administrators, language professionals, researchers, and students.

The creative writing workshop: beloved by some, dreaded by others, and ubiquitous in writing programs across the nation. For decades, the workshop has been entrenched as the primary pedagogy of creative writing. While the field of creative writing studies has sometimes myopically focused on this single method, the related discipline of composition studies has made use of numerous pedagogical models. In Creative Writing Pedagogies for the Twenty-First Century, editors Alexandria Peary and Tom C. Hunley gather experts from both creative writing and composition studies to offer innovative alternatives to the traditional creative writing workshop. Drawing primarily from the field of composition studies—a discipline rich with a wide range of established pedagogies—the contributors in this volume build on previous models to present fresh and inventive methods for the teaching of creative writing. Each chapter offers both a theoretical and a historical background for its respective pedagogical ideas, as well as practical applications for use in the classroom. This myriad of methods can be used either as a supplement to the customary workshop model or as stand-alone roadmaps to engage and reinvigorate the creative process for both students and teachers alike. A fresh and inspiring collection of teaching methods, Creative Writing Pedagogies for the Twenty-First Century combines both conventional and cutting-edge techniques to expand the pedagogical possibilities in creative writing studies.

Second-Language Writing addresses key issues for instructors working with multilingual writers in first-year composition. Framed with insightful introductory material, this sourcebook provides both theoretical context and practical resources for designing courses, negotiating differences among students, and responding to and assessing second-language writing. This edition includes the 2009 update of the CCCC position statement on second language writing and writers.

This book brings together contemporary authors and well-respected creative writing instructors and theorists to explore ways creativity in composition may be encouraged in student writers. The question in this anthology is not 'Can writing be taught?' but 'How can we inspire students to embrace the creative process no matter what they write?'