AI-powered ChatGPT has sparked considerable discussion in media, academia, and the scientific community of late. This empirical study reports on how higher education (HE) students in Nepal have utilized, experienced, and perceived this technology. This study, based on a qualitative design, utilized semi-structured interviews with university…

This article details how we integrate Jody Shipka's approach to creativity and rhetorical awareness into a Professional Writing, Rhetoric, and Technology major at the University of South Florida. We situate Shipka's pedagogy alongside postpedagogy, differentiating the latter from postcomposition. In short, we argue that postpedagogy echoes…

In this article, the authors explore the corpus of literature on creative thinking and applied creativity in higher education to help composition teacher-scholars and writing center practitioners improve the application of creativity in written, visual, and multimodal composing practices. From studies of creative thinking investigated across…

Presents an interview with poet and novelist Fanny Howe. Discusses the nature of titles, the peripatetic poem, and the "perilous point" from which her favorite authors write. (RS)

Argues that, in understanding creativity and the process of composing, it is helpful to think in terms of the metaphysical concept and while polar opposites appear to be contradictory, they are part of the same whole. Suggests some polarities that help in understanding the creative process in writing. (TJ)

Presents an interview with Colson Whitehead. Discusses his approach to writing a novel. Considers several of his novels and his experiences writing them. (SG)

Argues that the possibility for surprise is the starting point for both effective writers and teachers and describes six elements that help create surprise: expectation, habit, ease, recognition, "pounceability," and acceptance. (MM)

Too often college composition students see language as an end in itself, rather than as a means to realization of self and world, and teachers need to establish a classroom environment that stimulates and demands that students use their language to find out about themselves. Techniques helpful in shaping composition classes toward this end…

The inhibiting effect of being conscious of the physical process of writing on the intuitive process of writing is discussed. (HTH)

Examines how art and design students' approaches to writing are potentially enriched by their creative approach to design. Suggests ways in which the art and design training could be exploited and used as a resource to produce strategies that work with all students. Concludes the key is to ask students about their creative preferences and build on…

What pushes a writer over the edge of thought into text production--over what may be called "the writing threshold?" This is the moment when the thoughts in a writer's mind, the writing situation, and personal motivations create a momentum that results in a pattern of written words. There is evidence that not everyone crosses the writing…

Assumptions that writers of books about creative writing make about their audiences, as well as assumptions about the purposes, practice, and value of writing, differ noticeably from the assumptions made by people who teach and write about composition. In substance and form, the range of creative writing books includes autobiography, interviews,…

Prewriting involves the entire period of time (and necessary activities) which extends between knowing that one is going to write on something and knowing that one has found something specific and substantial to say about it. In classical rhetoric, prewriting is expressed by such terms as "inventio" (whereby the writer discovers ideas to…

In order to explore new ways of talking to and with composition students, an instructor might ask whether visual artists can teach college writing instructors about the composing process and, whether, by stepping outside the discipline, insights can be gained for more effective teaching of first-year writing students. For one instructor,…

Each student has personal fears, anxieties, and insecurities about writing, which are productive only insofar as they force students into a reevaluation of the ways in which they perceive writing. Approached logically from a nonadversarial position, writing fears can easily be dispelled. (MLW)