Describes how the author worked to create a writing program that was more aligned with her philosophy of education. Notes how she worked hard to give students choice in their activities so as to provide them with the chance to take ownership in a few areas of their learning. Focuses on what other researchers and educators had to say about writing…

Describes the incorporation of thematic teaching into the author's Reading-Writing Workshop class. Shares a few activities from one coming-of-age unit that increased engagement and helped students generate writing topics that genuinely interested them and related to the same theme. (SG)

Presents a survey that asks three educators to comment on the positive and negative results of the writing workshop tradition in America. Considers the ways in which the workshop has come to reflect contemporary notions of education, the relationship between the writer and the audience, and the nature of the imagination. (SG)

Suggests that the interplay between illustrative objectivity and artistic impression is nearly the same, in essence, in the imagery of poetry and in the imagery of painting. Discusses the nature and function of imagery in poetry and visual art. Describes the dilemma of attempting to convince students to "show" rather than…

Discusses the use of fairy tales in a prison adult basic education writing workshop based on work of Campbell and others. Examines use of mythology with beginning writers to enhance writing skills and provide a forum for the exploration of personal lives and values. (SK)

Introduces Gary Paulsen as an author who deserves to be discovered and appreciated in the reading and writing workshop setting. Asserts that his appeal is widespread and that he is an author to be read aloud, to be listened to, and to be written about. Suggests activities for using Paulsen's works in the classroom. (PRA)

Responds to an article in the same issue by Ann Ruggles Gere entitled, "Kitchen Tables and Rented Rooms: The Extracurriculum of Composition." Argues that Gere's emphasis on alternative histories of literacy instruction provides a useful new direction for historians of composition instruction. (HB)

Responds to an article in the same issue by Ann Ruggles Gere entitled, "Kitchen Tables and Rented Rooms: The Extracurriculum of Composition." Considers the feasibility of the term established by Gere, "extracurriculum." Analyzes Gere's argument concerning the composition field's culture of professionalism. (HB)

Discusses four Romantic themes that are crucial to writing workshop practice (self-expression, liberation from convention, celebration of emotion, and a valuing of folk cultures), explaining how the writing workshop approach embodies these themes; summarizing criticisms of these approaches; sketching a conception of student voice that looks…

Notes that by sharing her ideas and her reflective notebook with her students, the author was able to model for her students. Uses three different learning experiences to promote a reflective stance in her writer's workshop: sharing and discussing quality literature; sharing students' writing in a writer's circle; and holding writing conferences…

Students can learn to appreciate history as readers and writers of historical fiction. This section presents an introduction to historical fiction, a display idea, a mystery history game, discussion of character-building, charts for students to fill in with information on historical characters, suggestions for customizing writing centers and for…

Describes how four teachers used a pilot program of incorporating art into a writing workshop, as described in several related articles in this issue. Notes the experiences with its development, the integration of teaching and learning, the challenges faced, and a presentation to the National Council of Teachers of English convention. (SG)

Cauley's books about snakes demonstrate intentional and interesting decisions by a beginning writer. The conclusion states that learning to choose topics for writing in thoughtful ways is an important part of the curriculum in writing workshop.

This article describes the interpretive paraphrase class workshop method, which emphasizes dialogue as a centerpiece of the composing process and provides students with opportunities to re-envision their compositions based on the alternative readings of their peers. A major goal of this writing workshop is to create and sustain student-talk about…

Many current approaches to composing with technology require teachers to spend considerable time showing students how to use the software and hardware. Technologies described in many resources are often costly or require complex procedures to adapt for the classroom. In addition, the majority of approaches to teaching music with technology, center…