Discusses the pedagogical consequences that follow from distinguishing invention from prewriting. Contrasts the importance of stasis in invention, and the resulting importance of writing with an audience in mind, with prewriting techniques that merely direct students toward exploring a topic without reference to an audience. (RL)

Presents a dialogue between two adherents of the process centered paradigm of rhetoric: one a "classicist" who sees art as the knowledge necessary for producing preconceived results by conscious, directed actions, and the other a "romantic," who sees art as "magical" inspiration. (HTH)

Argues that composition teachers need to spend more time teaching writing as a process. Suggests that models of the writing process should avoid strict references to prewriting, writing, and rewriting stages and should instead reflect the reality that each aspect of writing may occur at any time during the composing process. (TJ)

Encourages teachers to view writing as a process creating meaning, enabling the writer to come to grips with complex experience. (DD)

Discusses the "can of worms" opened by exhorting students to "write with a purpose." Examines other cliches that state the obvious about the writing process. (HTH)

Suggests that, in helping students understand the process of composing, teachers share their own personal experience. (TJ)

Recommends ways teachers can help students write better research papers. (JL)

Discusses the philosophical thought of Jacques Derrida and Michel Foucault as it applies to writing instruction. (SRT)

Argues that classical rhetoric has much to offer basic writers, including the fact that rhetoric and ethics are intertwined. (DF)

Examines two responses to current traditional rhetoric--the new romantics who insist on the primacy of discovery and the new classicists who believe in aiding discovery through systematic heuristic procedures. (HOD)

Discusses the advantages of using short films in writing classes. Shows how contrastive and comparative uses of the media encourage complex treatments of the cyclical stages of writing. Offers an example of how film in the classroom can be used, with a heuristic for directing stages of composing. (RL)

Describes a writing assignment that has been used with high school students, college freshmen, and graduate students to help them more adequately understand their own composing processes. Argues that heuristic methods are extremely powerful teaching tools and that teachers should learn the theory on which they are based. (TJ)

Argues that freshman composition courses should teach students to use writing to develop an awareness and trust in their own thinking processes. Cautions that students who get nothing but directive instruction will be handicapped in learning to think for themselves. (RS)

Argues that little is known about the teaching of writing beyond what good teachers have always known: that some students learn without teachers; that some students learn if they are given simple assignments, have their papers read with respect, and are taught the few simple things that can be demonstrated simply. (RS)

Describes, through letters and narrative, how a teacher struggled with a stubborn adult student to teach him how to write. (SRT)