Explains how to create the philosophical and physical environment needed to develop successful writing communities in which students learn, practice, and apply writing-craft skills.

This edited volume explores the nature of writing groups inside and outside the academic environment. For writing instructors, writing center directors & scholars researching writing groups.

Circulating Communities: The Tactics and Strategies of Community Publishing, edited by Paula Mathieu, Steve Parks, and Tiffany Rousculp, represents the first attempt to gather the myriad of community and college publishing projects, providing not only history and analysis but extended samples of the community writing produced. Rather than feature only the voices of academic scholars, this collection features also the words of writing group participants, community organizers, literacy instructors, librarians, and stay-at-home parents as well. In libraries, community centers, prisons, and homeless shelters across the US and around the world, people not traditionally understood as writers regularly come together to write, offer feedback, revise, publish--and most importantly circulate--their words. The vast amount of literature that these community-publishing projects create has historically been overlooked by scholars of literature, journalism, and literacy. Over the past decade, however, higher education has moved outward, off campus and into the streets. Many of these efforts build from writing and publication projects that extend back over decades, are grassroots in nature, and are independent of college efforts. Circulating Communities offers a unique glimpse into how neighbor and scholar, teacher and activist, are using writing and publishing to improve the daily lives on the streets they call home.

This book is the first comprehensive and state-of-the-art review of the relationship between executive function skills and writing. It explores its role across the lifespan, addressing all groups of writers, from children and those with learning and language difficulties, to adults and elders.

The development of online learning environments has enhanced the availability of educational opportunities for students. By implementing effective curriculum strategies, this ensures proper quality and instruction in online settings. The Handbook of Research on Writing and Composing in the Age of MOOCs is a critical reference source that overviews the current state of larger scale online courses and the latest competencies for teaching writing online. Featuring comprehensive coverage across a range of perspectives on teaching in virtual classrooms, such as MOOC delivery models, digital participation, and user-centered instructional design, this book is ideal for educators, professionals, practitioners, academics, and researchers interested in the latest material on writing and composition strategies for online classrooms.

The first study to explore deeply and intimately the complex and multifaceted nature of creative writing practice, The Scholarship of Creative Writing and Practice offers a new route in scholarly inquiry for creative writing studies, probing beyond pedagogical methods (with which most of the field's scholarship is occupied) to explore the writing life as it is experienced by a wealth of international writer/academics. With academic creative writing programs beginning to adopt a more pragmatic, industry-focused stance, students of writing increasingly need and expect to complete their degrees moderately prepared to monetize the skills they have learned – so there is now more than ever a great responsibility to present studies, methodologies and experience that can inform students and instructors. In response, Sam Meekings and Marshall Moore have pulled together academic investigations from some of the most prominent names in creative writing studies to take stock of the diverse definitions and pluralities of creative practice, to examine how they have carved out a 'writing life', what work habits they have adopted to achieve this, how these practitioners work as creatives both within and outside of the academy and to put forward strategies for a viable writing life. Offering intelligent, philosophical, pragmatic and actionable methods for robust writing practice, this book provides a multi-national perspective on the various aspects of practice and process. Essays explore what writing practice means for individuals and how this can be modeled for students; how the mythic nature of creativity can be channeled though practical working habits; practice through the lenses of social responsibility, sensitivity, empathy and imagination; writing during times of duress and the barriers writers encounter in their craft; the demand of author platforms; the role of the creative writing academic/writer; and the process of learning from published and practicing authors. Wide-ranging in its investigations and generous in insight, The Scholarship of Creative Writing and Practice presents creative, imaginative and transdisciplinary approaches to this under-researched area.

These inspirational and practical quotes come from 500+ podcast interviews with hard-working, award-winning, and New York Times bestselling authors in more than 33 U.S. states and five countries. In Book 6, authors share their honest reflections on Writing Community, Revision, & Editors. These quotes reveal why writing communities are so important and how writers can get engaged, along with tips for revision and working with editors. Authors quoted include David Baldacci, Therese Anne Fowler, Steve Berry, Lisa Jewell, Ron Rash, Craig Johnson, Wylie Cash, Kristy Harvey, Brad Taylor, Charlie Lovett, Judy Goldman, Chris Fabry, Amber Smith, Tracy Clark, John Gilstrap, Kimmery Martin, A.J. Hartley, Clyde Edgerton, Jill McCorkle, Mark de Castrique, Cathy Pickens, and many more. Writing communities are where authors learn, grow, and support one another. As author Steven Grossman quips, “If I knew it was so much fun being friends with writers, I wouldn't have bothered with people that aren’t.” And as Ed Southern, author and Executive Director of the North Carolina Writers’ Network, says, “The literary community includes anyone who is involved with the written word, in one way or another,” and “You want community to be a place where people feel welcomed, and even nurtured, as opposed to a place where they feel put down or excluded.” And every author explains–in their own way–that revision is essential to the writing process. New York Times bestselling novelist David Baldacci says, “Self-editing continues to this day. Not every word that I write is going to be set in stone. Some days, I'm better than other days, and some days require more editing when I go back and look at what I've written. And sometimes I just delete it all and start again. That's just the nature of the beast.” And then there are the editors. As author Kevin Winchester tells us with a smile, “Editors, it's a love-hate relationship.” But editors are critical to the writing process, as these writers tell us. This book finishes with a section on mistakes, because they happen. But as award-winning author Cathey Pickens says, “If we're not making mistakes, and things aren't working, we just aren't trying anything new.”