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This essay suggests that our understanding of writing workshop pedagogy has been limited by a divide between composition and creative writing, and by the ways we've narrated this pedagogy in our respective fields, leaving us with little knowledge of what actually happens in writing workshops. To open new possibilities within workshop pedagogy, the author argues, we need to tell our workshop stories differently: not as method or myth, but as a complex classroom scene. [ABSTRACT FROM AUTHOR]

This article documents the authors' modification and implementation of anti‐racist writing workshop (ARWW) practices in the context of an online, drop‐in writing club, Pens Out. We sought to understand how teens perceive writing practices that are not white‐normed — specifically, centring relationships instead of prizing individuality, embedding choice instead of replicating one authorial view and observing writerly craft instead of errors. As white‐identifying educators and researchers, we engaged in practitioner inquiry to understand how programme participants who live in a predominately white region experience these practices. We asked: How do attendees understand and describe experiences with writing workshop pedagogies that seek to de‐centre whiteness? This question has become increasingly important as politicians in the United States restrict anti‐racist educational practices and content. We used conventional content analysis to observe themes across five participants' semi‐structured interviews. Findings indicated that participants' relationships with each other produced inspiration and reciprocity, writing expectations from inside and outside the club affected choice and risk taking, and observing craft multimodally encouraged sharing and reciprocity. What we discovered can help teachers and leaders of K12 writing workshops implement ARWW practices and increase allyship while discussing and questioning hegemonic ideals in K12 schooling. [ABSTRACT FROM AUTHOR]

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Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper focuses on the partnership between Writopia Lab and PS 89, a K-8, Title 1 School in the Bronx, to explore concrete ways of inviting joy and play into the classroom while interacting with the embedded obstacles within our education culture. [ABSTRACT FROM AUTHOR]

Peer-to-peer learning is nowadays firmly embedded in the undergraduate teaching context, understood as a way of enhancing the experience of both students (encouraging collaborative learning and building independent skills, for example) and staff (offering flexible teaching methods and a means of implementing innovative assessment, for example). Despite Boud and Lee's argument that peer-to-peer learning is a particularly relevant kind of pedagogy in the context of the Higher Degree by Research (HDR), its potential as a model of practice for candidates and supervisors remains relatively unexplored. In most universities around the world, the traditional candidate-supervisor model remains the most common method of supervision. The question we still need to ask, then, is: What might peer-to-peer learning bring to the HDR field, for both the candidate and their supervisor? In 2012, Australia's RMIT University piloted HDR peer-to-peer learning groups in three discipline areas across its three Colleges, to explore their usefulness and effectiveness in enhancing both the candidate's engagement and learning and the supervisor's practice. This paper discusses one of these groups, in the discipline area of Creative Writing, and focuses in particular on the benefits offered to the supervisor/facilitator in leading this type of activity. By exploring areas such as logistical practices, peer reviewing and critique, benchmarking skills and capabilities, and the collective experience, we will detail both the experiences and the dynamics of the group, from the supervisor/facilitator's perspective. We will draw on examples from the group's activities, and argue that supplementing conventional one-on-one supervision practices with peer-to-peer learning can enhance candidates' learning, and can be instructive and empowering for both candidates and the facilitator/supervisor. [ABSTRACT FROM AUTHOR]

Writing Workshop is an interactive approach to teaching writing as students learn and practice the importance of rehearsal, drafting/revising, and editing their pieces of writing (Calkins, 1986; Graves, 1983). This study implemented a mixed methodology design incorporating qualitative and quantitative analysis (Mills, 2007) by administering a pre survey to each child before he/she began the Writing Workshop and a post survey after the intervention; systematic observational research as a checklist (Glanz, 2003) to record observed practices of students during peer revising conferences; portfolios to assess student writing and graded via a rubric; and lastly interview of students regarding confidence and ability in writing. Therefore, the purpose of this study was to explore the writing processes of drafting/revising and editing to support first grade students to become independent writers. [ABSTRACT FROM AUTHOR]